Carnival of Blogs on Golden Era of Hindi Film Music : November, 2018

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

We will take up posts dedicated to commemorate 51st death anniversary of Roshan as THE topic for November, 2018.

Early Days of Roshan is the first of the two parts that takes us through Roshan’s relatively less known journey of 1950s. In the concluding post, well-known, years 1960-1968 – part of Roshan’s career has been covered. Roshan had his usual creative flavor even in the relatively less-known films like Warrant (1961) in this period, as can be seen in the songs as diverse as Hothon Pe Hasin, Ankhon Mein Shararat Raheti Hai (Lata Mangeshkar), Nigahon Mein Yeh Masti Kyon Kyun (Geeta Dutt), O Beimaan Maine Tujhe Pehchan Liya (Asha Bhosle).

Six years after Rafi’s solos by Roshan, and after a tandem series on Roshan and Madan Mohan, Songs of Yore has presented two well-crafted posts on Roshan:

Rafi’s duets by Roshan – Out of the total 92 Rafi-Roshan songs, solos are about 35 and duets 57. Third of Roshan’s Rafi songs belong to eleven years of 1949 to 1959,, and two thirds belong to the nine years of  1960 to 1968.

Roshan’s songs for ‘other’ singers – Apart from qawaalis, whenever Roshan has used other ‘singer’s, the resulting output has been quite everlasting. e.g.  Yeh Ichak Beechak Chhurr  (Baware Nain – 1950- Shamshad Begum)

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

A Eulogy that Touches the Heart – Three-quarters of a century back, a child prodigy from Punjab, the sensational vocalist named Master Madan used to electrify live audiences with his light classical singing of ghazals, thumris and Punjabi gurbanis. But before he became 15 years old, the boy passed away as a result of mercury poisoning, if the rumour is true. He was able to cut just 8 records, through which he is immortalized, especially for rendering two ghazals written by Sagar Nizami: Yoon na reh reh kar humen tarsaaiyeand Hairat se tak raha hai jahaan-e-wafa mujhe…. Our films have featured kids in hundreds of situations as well as songs. On Jawaharlal Nehru’s birthday, Bal Din, the post lists some songs now, but only those where children themselves sing, without any adults singing with them.

Sohrab Modi – His films always carried Social or National Message – (born 2 November 1897) a great filmmaker of the 1930s 1940s.and 1950s. He launched Minerva Movietone in 1936.

Sohrab Modi: The Great Mughal of Historicals – Amrit Gangar║ ISBN : 8183281087, 9788183281089

In the Musical Memory of Meena Kapoor is a tribute to Meena Kapoor on her first death anniversary (B: 1930 – D: 23 November, 2017). In a comprehensive review of Meena Kapoor’s career, Shalan Lal takes a close look at her first 10 films

S D Burman Was Someone Who Adjusted To Changing Times, Therein Lies His Greatness – Anirudha Bhattacharjee – The entire book, S D Burman – The Prince Musician, by Anirudha Bhattacharjee and Balaji Vittal, is full with trivia, minutest details of his work, his career, his unreleased songs, the work which went unnoticed and yet the book focuses on what it should be focussing – his music.

Here is The Concluding Post – S D Burman after S D Burman – the 60s in the S D Burman series that Mehfil Celebrates ‘S D Burman’ Month

That The Song “Gata Rahe Mera Dil” was the Last Addition in Guide is perhaps not a less known story now. Here is a good recount, nonetheless

Usha Uthup – A Journey from Night Club to Bollywood – recorded covers of two pop songs in English, “Jambalaya” and The Kingston Trio‘s “Greenback Dollar”, on an EP.

Runa Laila – The Melody Queen Beyond Borders has listed, among other, her song of a Pakistani ‘Hum Dono’ (1966)

Mala Sinha – One of the most sought-after actresses in the 1950s, 1960s – (born on 11th Nov 1936) was the highest-paid actress from 1958-65

Baazi- The Film that was a trendsetter and gave Bollywood many Legends, like Dev Ananad as a hero, Guru Dutt as a director, S D Burman as a music director and the Kalpna Kartik, the future wife of Dev Ananad.

On the 10th birthday of the blog, Dusted Off, Ten of my favourite songs from films I haven’t watched. In most cases, the films seem to have completely disappeared off the radar.

November, 2018 episode of Fading Memories, Unforgettable Songs is dedicated to Salil Chaudhury’s composition of Shaliendra’s songs for the years 1953 to part of 1956..

And, now the posts on other subjects:

Rahi (1952) – India’s First Film to Venice and Moscow International Film Festivals in 1954 – starred Dev Anand and Nalini Jaywant with Balraj Sahni produced and directed by K A Abbas. The film was based on Mulk Raj Anand‘s novel “Two Leaves and a Bud“. It was produced as a bilingual in Hindi as Rahi and in English as The Wayfarer, under the Naya Sansar banner. It was also dubbed in Russian. The Russian version called Ganga was released in the USSR

When The Moon And Romance Go Together – Moon has fascinated and charmed the poets and the lovers alike. Poets have turned into lovers and lovers have turned into poets because of its beauty. We have folklores singing the praise of the moon too. Here is a list of few such songs.

In continuing the Food and Food Movie Month on Dustedoff, The Food and Food Movie Project, Part 4 is followed by Onscreen Chefs: The Myth and the Reality, Ten memorable food scenes from Hindi cinema..

Mirza Ghalib eats mangoes (Mirza Ghalib, 1954)

Top 20 Bollywood film soundtracks of Golden Era is a very representative selection from the films released in 1940s till 1975.

Coming Down the Musical Notes – If we compare music to adventure sports, it has same thrill of going up the scale like in mountaineering or coming down the scale like in skiing. A song starting from any of these four notes: Sa Re Ga Ma, and then heading up in the mukhda itself is a mountain-climbing, purvaang start song, while any song descending the ski slopes of the saptak, from Sa Ni Dha Pa in the mukhda itself is an utaraang start. You will, normally, find that a large percentage of them belong to the purvaang kind. It is very seldom that you find songs fashioned in the utaraang way. The post has spotted some such songs. Here is one good example:

Aaja o jaan-e-jaan, mere meherbaan (Asha/Hasrat/Ramlal/Geet Gaya Patharone, 1963)

Mi Raat Taakli Mi Kaat Taakli – Jait Re Jait – Liberated In Love – When Shailendra wrote, Tay Kar Liya… Aaj Phir Jeene Ki Tamanna Hai, Aaj Phir Marane Ka Irada Hai, little would he have known that he is going voice to thousands of women. Like Rosie of Guide, Maya of Maya Memsaheb are the examples of the women who had the courage to remove themselves from the situation in life which was unacceptable to them. Present song from Jabbar Patel’s Marathi Film Jait Re Jait (Win Win) is a classic example of art concealing the art.  The film is about winning in life, but losing in love.

The Punjabification of Bollywood – It was B.R Chopra. and Raj Kapoor led the ‘Punjabification’ of the Indian film industry.  Punjabi music was first introduced by Gulam Haider. In the 50s and 60s, we saw the influence of Urdu and Muslim influence in Hindi songs and films besides Bengali.

Urdu sounds are disappearing from Bollywood songsRizwan Ahmad traces the gradual decline of Urdu diction in Bollywood songs from Mughal-e-Azam to My Name is Khan.

To Each His Colour – The history of Films is from monochrome – B&W – to, multicolor films. Wadia Brothers were the first production company to announce a B-grade film entirely in colour. That was the Feroz Khan and Sayeeda Khan starrer Char Darwesh of 1964. The post has listed some colour songs that were from “partly-in-colour” films:

From BIG DATA to Small Cinema? Challenges & Opportunities of Cinema in New Media – The rate of increase of mobile internet subscription is extremely fast .. With ‘big’ data being harnessed by companies, the customer targeting has reached a new aggression. Cinema not only gets changed continuously with respect to the format and projection technologies but with the giant nation slowly but surely getting addicted to the small screen, the bigger question is with so much information about the audience preferences whether cinema is actually becoming ‘small’.

Raat bhar ka hai mehmaan andhera – Lata Jagatiani has remembered the stanza that is in the Original Sountrack of the film:

Yoon hi duniya mein aakar na jaana         
sirf aansoo baha kar na jaana
musuraahat pe bhi haq hai tera
kiske roke ruka hai savera…

Do not just pay a visit to this world,
Don’t go away shedding just tears
You have a right over a smile
Who can ever stop the rise of the morning…

Tere mere milan ki ye raina – Monica Kar discusses how Hrishikesh Mukherjee explores the shades of grey in the husband and wife relationship.

We continue Micro View of Best songs of 1947: And the winners are? with the Duets of 1947, in terms of  Female – Female Duets, Male- Male duet as Triads/Triads+, then conclude with a summary of MY Top Duets so as to end the Micro-View of Songs of 1947  with MY Top Music Directors. All the episodes of The Micro View of Best Songs of 1947 can be read / downloaded from one file, by clicking on the hyper link.

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.

Khali Jebe Ho Kadki Ho, Mera Dil Maage Wo Ladki Ho – Chhora Chhori(1955) – Roshan – Kedar Sharma

Chand Takata Hai Idhar Aao Kahin Chhup Jaen, Kahn Lage Na Nazar Aao Kahi Chhup Jaen – Dooj Ka Chand (1964) – with Suman Kalyanpur – Roshan – Sahir Ludhyanvi

Mere Pyar Mein Tujhe Kya Mila – Suhagan (1964) – Madan Mohan – Hasrat Jaipuri

Gusse Mein Tum Aur Achhi Lagati Ho – Char Darwesh (1964) – G S Kohli – Anjaan

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 : MY Top Music Director(s)

As the Journey of Micro-Viewing the songs of a given year has progressed, backwards  in terms of the chronology of the years, the task of selecting TOP music director has become an exercise that is getting severely affected by limited exposure to the pre-1950 songs. Music directors with whose work I am more acquainted were making initial tentative strides in the years before 1949. Some of the otherwise familiar music directors, like Naushad or Anil Biswas, had not yet fully graduated to post-1950 styles. The Hindi Film Music field of post-150 years was to so dramatically change that criteria like number of films in year, or number popular songs in year seem carrying no purpose.

As such, therefore this exercise essentially remains MY micro-summary View of the songs from only one of the four dimensions, that of songs of the music director(s) that I liked most. In other words, it is not a review of overall impact a music director has made in that year.

So, here we go into MY micro-view of the Top Music Director(s) for the year 1947:

For the sake of lending some sort of structure to my thought process, I have selected two criteria:

  • Music directors of the films appearing in the heading image of the overview post Best songs of 1947: And the winners are?, and
  • The quantitative summary of Music directors whose songs appear in MY TOP micro-view of other three dimensions, viz. of Solo songs of Male Playnack Singers, Solo songs of Female Playback Singers and the Duets.

SoY over-view post banner

The banner of SoY over view posts fairly faithfully reflect the most noted films of the given year from the view of the songs and music of the films in that year.

For 1947, we have Parwana (Music Director: Kursheed Anwar), Dard (Music Director: Naushad Ali), Jugnu (Music Director: Firoze Nizami), Meera (Music Directors: S V Venkatraman, G Ramanathan, Naresh Bhattacharya), Shehnai (Music Director: C Ramchandra) and Mirza Sahiban (Music Directors: Pt. Amarnath, Husnalal-Bhagatram).

Of these music directors, Meera remains beyond any comparison because of presence M S Subbulaxmi as the singer of all songs. Of course, that would not take way the credit from the music directors for creating songs that did full justice to the voice of the singer as well as to the spirit of the subject.

Parawana’s Suariya songs did make noticeable impact even when the male songs had overshadowing dominance of K L Saigal and established Suraiy as a capable singer too.

In comparison, songs of Jugnu, possibly either because of the story or because of the presence of Noor Jehan, appear more Noor_jehan-cemntric.

Naushad indeed continues to remain a havey-wieght player in the year with three films – Dard, Elaan and Naatak.

Pt. Amarnath, Husnlal Bhagatram’s core in Mirza Sahiban remains quite varied in terms of choice of singers or song format. Husnlal Bhagatram, separately too, have a few noticeable scores in the year.

C Ramchandra (Saajan and Leela, over and above Shehnai) emerges as an iconoclast who is ready to tread a dirrent path for creating his own space in the field already dominated by stalwarts of the vintage-era-style-compositions. He has succeeded in the pursuit of his strategy.

Quantitative add-on view of other three dimensions, viz. My Top Solo songs of Male Playback Singers, Solo songs of Female Playback Singers and the Duets

Since I have bent towards a wide range of singers while selecting the songs in these three categories, the numbers in the present analysis, in all probabilities, as expected, should emerge the music director(s) that I liked for 1947. It is likely that casting the net wider over all the songs that have appeared in the micro-review of the respective category may have yielded a different pattern. But in a year where most of the songs are heard first time, such an exercise would not have helped to identify the music director who has bearing on the songs that I liked.

I have listed here music directors whose two or more songs have cumulatively appeared in the three, aforementioned, individual lists.

From amongst the music diectors whose only one song has appeared in the any of there aforementioned dimensions, I would take specific note of Hansraj Behl for the duet Moti Chugane Gayi Re Hansi, Man Sarovar Teer and Naushad for the duet Betab Hai Dil Dard E Muhabbat Ke Asar Se

The quanitative analysis of male, female solos and duets @ Best songs of 1947: Final Wrap Up 4, places Naushad, Khursheed Anwar and C Ramchandra in the top three list. Based on the qualitative evaluation The Songs of Yore Award for the Best Music Director of 1947 has been jointly conferred on Naushad and C Ramchandra.

How would have you analysed the Songs of 1947?

I look forward to join me to take up a similar detailed Micro View when SoY takes up further more challenging year of 1946 next in this Best songs of year series.

P.S. All the episodes of The Micro View of Best Songs of 1947 can be read  / downloaded from one file, by clicking on the hyper link.

Carnival of Quality Management Articles and Blogs – November, 2018

Welcome to November, 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”

We will expand the concept of Identity of an Organization in this November, 2018 issue.

Organizational Identity is not a new subject to the world of management academics and the practicing professionals. However with the introduction of the concept into the body of the revised ISO 9004:2018 standard, the subject opens up a very interesting dimension to the quality professionals too.

Organizational identity is a field of study in organizational theory that seeks the answer to the question: “who are we as an organization?” ..According to Whetten (2006) the attributes of an organizational identity are central, enduring, and distinctive/distinguishing (CED).

  • Central attributes are ones that have changed the history of the company; if these attribute were missing, the history of the organization would have been different.
  • Enduring attributes are ones deeply ingrained in the organization, often explicitly considered sacrosanct or embedded in the organizational history.
  • Distinguishing attributes are ones used by the organization to separate itself from other similar organizations, but can also set minimum standards and norms for that type of organization.

Organizational Identity = Purpose + Philosophy – As a unit, the Purpose and the Philosophy are the central attributes of the Organizational Identity that have defined the character of the organization and the cause that it has served over the years. These elements of Organizational Identity serve as the basis for all aspects of the business.

Organizational Identity- From ‘Why we are’ to ‘Who we are – Organizational Identity also helps define the organization to Who Are We? And Why Are We?. Very few organizations actually know the answer to these questions – ’Who are we as an organization?’ ’What are we doing?’ ’What do we want to be in the future?’ An organization’s identity affects its actions, interpretation, and decision-making by its members and the management. This identity also has a huge impact on organizational change processes.

Is your identity given or created? | Marcus Lyon | TEDxExeter : Using Somos Brasil (We are Brazil), a multimedia photography, sound and DNA project, Marcus Lyon brings us images, stories and ancestral DNA to examine modern Brazilian identity. In turn he asks us to consider what drives us and what we can become.

IKEA is known as one organization that is strongly identified for the alignment of its organizational identity with its brand. For IKEA, its vision of creating a better everyday life for the many people also means making a difference for the people and communities where they work. The film – The IKEA Group – The Story of How We Work – lets you know more about how.

Finally, here is a Management system model to achieve sustained success

We will now turn to our regular sections:

For the present episode we have picked up Joshua Spodek’s article The 20/80 Rule, Integrity, and the Opposite of the 80/20 Rule @ Leadership Step By Step column of Management Matters Network….Vince Lombardi says that paying attention to details always pays, i.e. paying attention to the last few percent. When you care about the 1 percent that others don’t, people look to you to lead. It is more important to get every detail right than getting it right most of the time.

We now watch one of the latest ASQ TV  episodes:

  • Risk Intelligence for the Organization – Sanjeev Koshe, Vice President, Management Assurance Group, Tata Housing Development Company Limited, explains how to go beyond brainstorming identify risk, measuring it, and how best to deliver a risk report.
  • Big Data – discusses Big data, data analytics, and predictive modeling, and how organizations and quality professionals can use all three. Additional reference – The Deal With Big Data

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

  • Pursuit of Excellence – Like the old story of the race between the tortoise and the hare, it’s the slow, steady and continuous pursuit of excellence that wins the race, not the flashy sprint that can’t be sustained. Experience has taught me to believe that sustainable improvement requires an organizational culture change. Continuous improvement is more about rigor and discipline than technique. It is about the pursuit of excellence.

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 : MY Top Duet Songs

For the purpose of summing up the duets, when I reviewed all the duets that I have listed up in our Micro View of Duets of 1947,  picking  up the ones that I had liked on the first hearing was relatively an easier task. On a further review, I would rather divide this select list into The Duets that I have Heard Often Enough Before and The Duets that I Heard for the first time.

So, here is the list, in no particular order:

The Duets that I have Heard Often Enough Before

Mukesh, Hamida Bano – Door Kahi Door Kahi Is Jag Se Duniya Ham Tum Nayi Basaye – But Tarash – Gulam Haidar – Amin Gilani

Mukesh, Shamshad Begum – Moti Chugane Gayi Re Hansi, Man Sarovar Teer – Chhin Le Azadi – Hansraj Behl –  Pandit Indra

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

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

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

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

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

Uma Devi, Suraiya – Betab Hai Dil Dard E Muhabbat Ke Asar Se – Dard – Naushad Ali – Shakeel Badayuni

Amirbai, Shamshad Begum – Hamare Angana Ho Hamare Anagana AAj Baaje Baje Shehnai – Shehhnai – C Ramchandra – P L Santoshi

Zohra, Noor Jehan, Shamshad Begu, Chorus – Haye Re Ud Ud Jaaye Mora Reshami Dupatta – Mirza Sahiban  – Pt.Amarnath, Husnalal Bhagatram – Qamar Jalalabadi

Fairly large number of duets in this category is more a reflection of popularity that these songs have attained.  I would give credit for the longevity of these songs for their inherent melody and also to the fact that these have been composed by music directors who had had a good presence during the subsequent two decades of the Golden period.

The Duets that I Heard for the First Time

Mukesh, Hamida Bano – Door Kahi Door Kahi Is Jag Se Duniya Ham Tum Nayi Basaye – But Tarash – Gulam Haidar – Amin Gilani

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

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

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

That I have been able to pick up only three duets in this category reflects my inadequate acquaintance with pre-1950 songs.

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.

We will conclude The Micro View of Songs of 1947 in the next episode with MY Top Music Director(s)

P.S.  :All the episodes of The Micro View of Best Songs of 1947 : Duets can be read  / downloaded from one file by clicking on the hyper link.

P.P.S. : All the individual episodes of the Micro View of Songs of 1947 : Duets cane be seen / downloaded from one file. Please click the link.

Fading Memories…. Unforgettable Songs: November, 2018

Salil Chaudhury and Shailendra’s Songs Fading From the Memory – 1

Salil Chaudhary (10 November, 1922 – 5 September, 1995)is considered to be belonging to the unorthodox style of music composition even he had manifested marked influence of folk tunes of his native Bengal, had been attracted by the western classical music through the works of Bach, Beethoven or Mozart and adapted Indian classical Ragas too very comfortably. He could play many Indian and Western instruments, and he was an acclaimed writer, playwright, choir conductor, composer and lyricist during his first innings during 40s- till early ‘50s, in Calcutta. His second innings in Mumbai, with his maiden Hindi Film, Do Bigha Zameen, brought him in contact with another genius- Shailendra.

Whether it was Shailendra’s knowledge of Bengali, his capability to write poetic lyrics, fully reflecting the situation in the film, even when presented with a tune or his own background of working as a proletariat, the simple fact remains that, after Shankar Jaikishan, Shailendra has written around 108 songs for around 19 Hindi Films under the baton of Salil Chaudhary, which works out to almost one fourth of the Hindi films for which Salil Chaudhary composed music.  Salil Chaudhary used to prefer compose tune first and would expect his lyricist to write the lyrics in that spirit. Shailendra’s songs under his composition have retained Shailendra’s poetic touch even under these constraints.


In our series of annual articles, we will cover Shaildendra’s songs composed by Salil Chaudhary We will take a closer look at the songs that seem to receding from the memory while we take note of the songs that remain quite popular even now. For this purpose, we will traverse their films in chronological order.

Do Bigha Jamin (1953)

This is the film for which his script is based on his own short story. As per the original design he was being called in to write the script, and fate landed music composition too in his account. He also composed music for another Bimal Roy directed in the same year – Biraj Bahu. There is not much documentation available how was Shailendra was called in as a lyricist for the film. Nor does it matter, as we have all evergreen songs form this pair’s maiden joint venture:

We will listen to Aaja Ja Ri Aa Nindiya (Lata Mangeshkar) in details here.

Meena Kumari, who was the leading lady of a 1953 Ashok Kumar’s production, and Bimal Roy directed, Parineeta, appears in a cameo role for this lullaby. This remains the only occasion wherein Meena Kumari has perfumed such a cameo role in her entire career.

Naukari 1954

A Nepali tune based happy version o Chhota Sa Ghar Hoga (Kishore, Sheila Belle )  overshadows other songs of the film Salil Chowdhury has experimented with Hemant Kumar for the sad version of this song.

Ek Chhoti Si Naukri Ka Talabdar Hun – Kishore, Shankar Dasgupta, Shyamal Mitra

Shailendra has so wonderfully laid down expectations of an educated youth, which remains universally true at all the times. Salil Chaudhary establishes his prowess to compose light tunes in an unconventional style.

Arji Hamari Ye Marji Hamari, Jo Soche Bina Thukraoge Dekho Bade Pachhataoge – Kishore Kumar

The song opens with what appears to be a simple recital of the application for the job, but soon cleverly gets transformed in an application for a space in mind of the beloved.

Jhoome Re Kali Bhanwara Ulajh Kaanton Mein – Geeta Dutt

Salil Chaudhary has opted for Geeta Dutt’s voice to convey the bubbling pleasure of formal acceptance, with the self, of the budding love relation. Shailendra’s poetic imagination matches every note of the song that expresses the subdued pleasure of the very young girl in the conservative times of a traditional society.

O Man Re Na Gham Kar, Ye Aansoo Banege Sitare, Judai Mein Dil Ke Sahare  – Lata Mangeshkar

Salil Chaudhary had so high respect for Lata Mangeshkar’s singing prowess that he would come up with difficult than normal composition for her songs. In the present song, he has used harmonica in the prelude and orchestration of violins with flute in the interludes to create the feeling of train motion. In the process, he has synchronized the director’s use of metaphor of the train movement to indicate the anticipation of much awaited momentum in hero’s life. Shailendra’s lyrics truthfully convey the pang of partition while Sheela Ramani ruefully bids him the farewell.

Amaanat (1955)

Ho Jab Se Mili Tose Ankiyan Jiyara Dole Re (Hemant Kumar, Geeta Dutt) and Meri Wafaye Tumhari Jafaye, Aansoo Likhenge Fasaana Pyar Ka (Asha Bhosle) qualify as more known than the other songs of the film. The former duet is an Assamese folk tune based song, which reelect the feelings of the lead pair. The later Asha Bhosle solo would be immediately recalled by the fans of Asha Bhosle, even if the song has receded from the memory after the onslaught of OPN – Asha deluge in the later years. The songs is a signature Salil Chaudhary composition.

Chet Re Moorkh Chet Re Awsar Beet Jaye Re – Manna Dey, Asha Bhosle

An old saintly beggar and his young keeper singing a song that contains the deep message for the principal protagonists was a popular genre of Hindi Films in that period, and Manna Dey required lot of luck and hard work to get of this cast..

Chhal Chhal Paani Hamari Zindagani Ye Chal Ke Rukana Jaane Na – Manna Dey, Asha Bhosle, chorus

The song depicts a cheering group of young children taking out water from the wheel with the help of a bucketed water-wheel. The water flowing into the trough spurs them to the song which the sings the beauty and power of flowing water. The village belle and the working artisans also flow into the mood of the song. Shailendra, too, fully utilizes the opportunity to present the idea of a utopian world!

Baanki Adayein Dekhna Ji  Dekhna Dil Na Churaye Dekhanaji  – Geeta Dutt

Salil Chaudhary once again uses mellifluous silken charm of Geeta Dutt’s soft voice to express the feelings of Chand Usmani, on the piano, through the lips of her friend, Asha Mathur, in this party.

Jab Tumne Mohabbat Cheen Li Kya Milega Bahroon Se – Asha Bhosle

Salil Chaudhary has, inexplicably, chosen Asha Bhosle for this pathos song. In what is now emerging as his individual style, he has gone onto compose quite complex tune. Asha Bhosle rises to the challenge and does full justice to the confidence invested in her. However, the song become so difficult for an ordinary listener to sing the song on her own, that song does not attain the popularity.

Aawaz (1956)

Awaz was a Mehboob production, directed by the lyricist Zia Sarhadi. It had popular songs penned by lyricists other than Shailendra, like Dil Tere Liye Dole, Dhitang Dhitang Bole (Prem Dhawan), Dil Diwana Dil Mastana Mane Na and Aaraa Ram Taara Ram Duniya Ke Kaise Gam (both by Zia Sarhadi). Shailendra was one of the four lyricists and has penned three of the total 10 songs.

Baba Teri Sone Chiraiya, Jaaye Anajane Ki Nagariya   – Lata Mangeshkar

The song is a marriage song wherein bride’s friend try to tone down the pall of gloom that is imminently felt because of the departure of the bride from her parental home. The interlude music has very cleverly interwoven the traditional band party music played during the bridegroom procession.

The other two songs have Mohammad Rafi. Therefore, that makes a very opportune placement to traditionally our post with relevant Mohammad Rafi song(s):

Aayi Baraat Baje Gaaje Se…… Aaj Mera Dulha Kam Nahi Kisi Raje Se – Mohammad Rafi, S.Balbir, chorus

This is the song that friends of the bridegroom sing when they take him on their shoulders to the marriage podium. If the previous genre songs have an undercurrent of pathos, these types of song have loud boisterous tone.

Lo Bhor Hui Panchi Nikle …. Talash Mein Dane Dane Ki, Insan Bhi Lo Ghar Se Nikla, Dhun Roti Kamane Ki – Mohammad Rafi

The song is typically the voice of the proletariat class, which is the basic theme of the film, as evidenced by the title. Shailendra has again taken the opportunity to place his own deep-felt ideals into the poetic mound the lyrics of the song. The song has been very innovatively been placed as the title-credit song, too. Rafi’s very soft delivery of the song also is quite noteworthy.

In these four films, we have been able to look at multiple facets of Salil Chaudhary’s music composing styles and the degree of Salil Chaudhary – Shailendra tuning. The wait till the next year may appear to be too long, but if you consider these songs as the gourmet wine, then that time is indeed required to allow the songs to mature into our minds.

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 : Male-Male Duet Song AND Triads, Triads+

Male-Male Duet Song

I have been able to locate only one male-male duet from HFGK for the year 1947.

G M Sajan, Mohammad Rafi, Chorus- Desh Mein Sankat AAya Hai Ab Kuchh Kar Ke Dikhalana Hai – Aap Ki Sewa Mein  – Datta Dawjekar – Mahipal

Triads, Triads+

The triad songs of 1947, though statistically limyed to 6 films and 5 music directors, present a wider range of singers and situations. We did find a couple of more songs in HFGK data, but could not find YT links to these additional songs.

Popular songs

Zohra, Noor Jehan, Shamshad Begu, Chorus – Haye Re Ud Ud Jaaye Mora Reshami Dupatta – Mirza Sahiban  – Pt.Amarnath, Husnalal Bhagatram – Qamar Jalalabadi

Zohra, Noor Jehan, Shamshad Begu, Chorus – Rut Arangeeli Aayee Chandani Chaayee, Chand Mere Aaja – Mirza Sahiban  – Pt.Amarnath, Husnalal Bhagatram – Qamar Jalalabadi

Geeta Roy, Lata Mangeshkar, Chitalkar – Jawani Ki Rel Chali Jaye Re  – Shehnai – C Eamchandra – P L Santoshi

Other Songs

Abha, Geeta Roy, G M Durrani, Chorus – Chamkat Chamkat Damini Shor Karat Ghanghor – Geet Govind – Gyan Dutt – Pt. Indra (Part I)

Geeta Roy, Rekha Rani, G M Durrani – Viyogan Deep Shikha Si Jal Rahi – – Geet Govind – Gyan Dutt – Pt. Indra (Part II)

YT links to Part III – Man Hi Man Jalane Lagi (Geeta Roy, Rekha Rani, G M Durrani) and Part IV Maan Jaa Maan Jaa O Manini (Rekha Rani, G M Durrani) could not be found.

Geeta Roy, Rajkumari, Bhatkar, Chorus – Brij Mein Dhum Macha Ja O Mathura Ke Raja – Neel Kamal – B Vasudev – Kedar Sharma

Mohammad Rafi, Geeta Roy, Lalita Deulkar, Chorus – Ham Banjare Sang Hamare Dhum Macha Le Duniya – Saajan – C Ramchandra – Moti B A

Mohammad Rafi, Geeta Roy, Lalita Deulkar, Chorus – Sambhal Ke Jaiyo Banjare, Delhi Door Hai – Saajan – C Ramchandra – Moti B A

Geeta Roy, Beenapani Mukherjee, Chitalkar – Chadhati Jawani Mein Zulo Zulo Meri Rani – – Shehnai – C Eamchandra – P L Santoshi

Beena Pani Mukherjee, Meena Kapoor, Mohantara, Chorus – Chhuk Chhuk Chahaiya Chhaiya… Sone Ki Machhariyan – Shehnai – C Eamchandra – P L Santoshi

We will take up the concluding part of the Duet Songs of 1947 in our next episode.

Business Sutra |8.3| Loyalty and Dharma

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, and then linking up it with Self and Self-Image in segment 2.

Business Sutra |8.3| Loyalty and Dharma

First let us look at two definitions of Loyalty:

Loyal. … Someone who is loyal is reliable and always true, like your trusty dog.Loyal comes from the Old French word loial which means something like “legal,” but if someone is only loyal to you because the law requires him to be, that’s not true loyalty, which should come from the heart, not a contract.

In the article, Loyalty Is Very Important To A Relationship !!! , Wally Horton states that, “Being loyal is defined as “Being faithful to one’s oath, engagements or obligations. Being faithful to one’s allegiance to a government or state or to a person conceived as imposing obligation”. This definition seems formal and obligatory. I suggest that loyalty is not an obligation imposed by outside influences, but internal moral characteristics and decisions that are given freely.”

Even as we do understand that loyalty is more of one’s volition, our mind conjures of phrases like Customer Loyalty, Supplier Loyalty or Employee Loyalty in the field of management practice. One would find a wide ranging literature on the psychological and managerial aspects of these loyalties as well benefits of having the loyal interested parties. We would have come across enough experiences in our own professional life where these loyalties have created, from ripples to storms, both positively and negatively.

So one can possibly connection of Loyalty with Family Feuds. But what has that do with previous episode presented Self and Self-Image – what we are and why we are – appears to be hazy. Our crucial senses become eager enough to turn to Segment 3 of the episode 8  to see what Devdutt Pattanaik has to present on the subject of Loyalty and Dharma and how does Loyalty links up with s subject of the present segment from the point of view of Indian mythology.

I’m curious. All the three instances, the stories that you’ve told us are of brothers warring over property. We agree that may not completely strictly be applicable in case of Ram and Bharat, Well, they didn’t quite war, but the rift between them which caused Ram to leave was property. What is the idea of brotherhood then? These are issues that are always going to plague us. Is Ram and Lakshman the ideal Brotherhood?

I think the scriptures are not interested in how ideal brothers should behave. It is about who you are. If you are okay then your relationship with your brother will be okay, then your relationship with the organization will be okay. You will then know how to behave in different situations because you have figured yourself out. The whole narration therefore focuses on the person who has figured himself out. In fact,  that is why there is a very interesting relationship between Rama and Lakshmana.

Why do you call it interesting? Lakshamana followed Rama every step of the way. Therefore, to some extent he was an ideal brother on comparison to Bharat. Bharat was willing to give up the kingdom or not rule and give up kingship and we wait for Ram to return.  Lakshman went a step ahead and said I will follow you always and live the same hardships that you do.

The question is we celebrate Lakshmana, He is such a good brother, a loyal brother, a loving brother. But does Ramayana celebrate him as such?

Doesn’t it?

Well, I have my doubts. How does Ram relate to Lakshmana? It is a very interesting narrative.

I thought that was as some as an older brother, who is very fond of his younger brother.

Fond, yes, but as an elder brother his job is to tell Lakshmana what is really important and loyalty is not really important. Where does loyalty come from? Does it come from an animal nature where brothers become territories? Or, is it coming from a human, or the potential divine, nature where we look beyond territoriality, where all human beings are my brothers; not just the one who is biologically connected to me.

So, was loyalty was a negative attribute of Lakshman?

Let us listen to a story and figure this out. It is never stated very explicitly. Mythology never states things explicitly but it implies things.

Let’s look at what happens to Lakshmana and Rams relationship after they return to Ayodhya. That reveals something very different. After Ram has become King and he IS the great king of Ayodhya. The story changes dramatically. The loyalty of Laxmana has been tested repeatedly based on conditions put by Ram. Why is Ram testing his loyalty? For instance, Rama takes one of the toughest decisions of his kingship when he decides to abandon Sita as his queen. It is a very complex narrative. But who does he tell to convey this message? Ram tells Lakshmana to convey this message to Sita, to take her to the forest and leave her there and then tell her not to come back, not to identify herself as my wife.

Why is he giving Laxmana this responsibility? Lakshmana always represented the average human being. He is a passionate man, he talks from his heart. Laxmana was obviously horrified with this decision. The elder brother still looks calm and composed. He tells Lakshamana just do this. Lakshman honors him, but nonetheless is angry with his brother. His loyalty is being tested. Is this the brother he respects?

Is this the brother he followed into the forest?

Is he really a great man he followed with in the forest? Why is he doing this?

Later we are told when Ram loses the only battle in his life to his children and Sita then after  goes back under the earth and the children come back to live with Ram. At this stage, the gods come to Ram and tell him that it is time for you to die. Ram says I have one more task, just one task to complete. I will tell you about it shortly. He then looks at Lakshmana and says I want solitude, I want the room to be shut and I want to stay alone. Lakshmana like a loyal brother says, don’t worry if anybody dares enter your chambers I will guard your chambers. If anybody dares to enter I will kill them. The moment the doors are shut, Rishi Durvasa comes in and tells that I want to meet Ram, now. Lakshman very respectfully submits that you can meet him now, because Ram has chosen to be in the solitude. Rishi Durvasa is known to be an angry sage. He looks at Lakshmana and says if you don’t let me meet Ram I will destroy the city of Ayodhya. now Lakshman is in a Dharma Sankat – at a make or break decision stage. He has to decide whether he has to obey his brother or allow for the destruction in our city. He takes a decision, opens the door of his brother’s chamber and inform Ram that Rishi Durvasa has come to see you.  Ram is visibly upset and tells Lakshamana that I did tell you that I want solitude. Lakshamana replies that Iknow that but it was the city of Ayodhya which was at the stake, so I had to disturb you. Then Ram smiles and they turn around. But, there is no Rishi Durvasa there. Lakshman realized it was just an apparition. He looks at his brother. Ram smilingly tells him that you finally realize what matters more. It is Ayodhya, the kingdom, our basic duty to it which matters more than me. Now that you have decided and broken your own now, keep your word that you will kill whoever disturbs my solitude. It is time for you to die. Lakshmana then goes into the forest to give up his life.

Why this punishment of death?

It is not the punishment. Who took that vow that I will kill whoever breaks Ram’s solitude?

Lakshman himself did so.

So he has to keep that word. It is the family tradition – Raghu Kul Rit – that the word has to be humored, even at the cost of one’s  life. It was the word which made Ram leave the city of Ayodhya and go into exile, the same word which forced Ram to give up his wife. Lakshmana is now made aware of  the value of the word which creates civilization, a commitment, a contract when  you give your word.

Is this not a bit too harsh, considering the fact that it was created by Ram to teach his brother, about the need to prioritize your duty towards the kingdom more than your brother?

The story is not for Lakshman  or Ram. The story is for us.  It is a mythical narrative  which is trying to tell people what matters more. This is the story where Lakshmi is told loyalty doesn’t matter, your word matters, Ayodhya matters more, your wife doesn’t matter, your kingdom doesn’t matter, but what matters more is the people whom you serve as king. They matter the most. In other words in the modern management, it’s not the leader that matters, it is the institution that he builds matters more.

Now that is very interesting. Till now Lakshman was always held up as the ideal brother and now you are telling me that Ram in fact teaches him a lesson that loyalty to your brother cannot be a priority.

What is important is Dhama, the principles. Why do we value loyalty? Because when I say I have loyal followers I am still thinking of what I have, not what I am.

So it is still territorial.

It is still the property, It is not the physical property, this is property of relationships. I have brothers, I have followers, I have vote banks. These are properties that tell more about what we have it does not tell us anything about who we are.

The episode thus affirmatively puts forth that loyalty is a desirable intangible asset if it is not person oriented, after a stage, not even institution-oriented for ‘what they are’ but for the basic principles for ‘why they are’. Only when the loyalty is for the principles, then the loyalty becomes sustainable and only the organization who continue to get such principle-based loyalties of its stakeholders sustain themselves in the long run.

In our continuing journey of Devdutt Pattanaik’s TV serial Business Sutra, we will move on to the first segment Gender of 9th Episode, the Discrimination, 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 Female – Female Duets :

Like the ‘other’ male-female duets, the female-female duets for the year 1947 too present a wide variety in terms of singer combinations as well as the range of music directors. The numbers could have been far more in the present post if

  • All the female-female duets listed in HFGK were available on Yout Ube, and
  • If more films would have identifiable recorded songs on HFGK.

Barring two or three female-female duets, I got to listen all other duets for the first time during the present Micro View. It would not be a coincidence that the duets that I have heard, and heard them often enough, are the ones composed by the music directors who have had a fairly noticeable presence in the later Golden Era. It would be redundant to state that this is the limitation of my knowledge of the pre-1950 songs.

Asha Bhosle, Shamshad Begum – Sunau Hal-e-DilKaise – Andhon Ki Duniya – Vasant Desai – Diwan Sharar

Amirbai, Rajkumari – Milane Ki Rut Aai Sakhi Ri, Khilane Ki Rut Aai Ri – Bhakta Dhruva – Sahnkar Rao Vyas –

Lalita Deulkar, Krishna Ganguli, Chorus – Zulana Zulo More Pyare Lala Re – Bhakta Dhruva – Shankar Rao Vyas

Geeta Roy, Shamshad Begum – Ye Hasino Ke Mele Albele.. – Bhookh – Anil Biswas – Dr. Safdar ‘Aah’

Uma Devi, Suraiya – Betab Hai Dil Dard E Muhabbat Ke Asar Se – Dard – Naushad Ali – Shakeel Badayuni

Zoharabai, Rajkumari – Na Ghar Apna…Kis Ko Sunaun Gam Ka Fasana – Doosri Shadi – Govind Ram – Ishwar Chandra Kapoor

Zohrabai, Meena Kumari – Cheen Li Hamari Hansi, De Gaye Rona Ham Ko – Duniya Ek Sarai – Hans Rah Behl – Kedar Sharma

ZOharbai, Rajkumari – Phir Badal Ghir Ghir AAye Re Mera Jiya Dolata Jaye Re – Gaon – Khemchand Prakash – D N Madhok

Geeta Roy, Binapani Mukherji – Meri Ankein Cham Cham ….Kya Isi Ka Naam Hai Preet – Leela – C Ramchandra  – Qamar Jalalabadi

Geeta Roy, Rajkumari – Bol Bol Balam Bedardi Kya Teri Marzi Hai – Neel Kamal – B Vasudev – Kedar Sharama

Geeta Roy, Rajkumari – Jawani Agar Hook Dil Ki Dabaye – Neel Kamal – B Vasudev – Kedar Sharama

Geeta Roy, Rajkumari –Maa Ne Bheja Dhor Charane Dhor Le Gayi Ban Mein– Neel Kamal – B Vasudev – Kedar Sharama

Baby Vimla, Baby Shaila – Bachpan Hai Ek Khel Suhana – Renuka – Sardar Malik – Qamar Jalalabadi

Amirbai, Shamshad Begum – Hamare Angana Ho Hamare Anagana Aaj Baaje Baje Shehnai – Shehhnai – C Ramchandra – P L Santoshi

We will take up Micro View of one Male-Male Duet and  that of Triads /Triads+ songs for the year 1947 in our next episode.