In our young hey days, one of the biggest attraction to visit our local Library (M J Library, Ahmedabad) was to have look the latest issue of LIFE. Here is one issue that is still fresh in the deep recesses of my memory –
I now take unplanned, random, search for websites that would be primarily focusing on photographs as the subject. In a recent search, there were a few photographs that interested me. Presently, I would like to share these photographs here:
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Portrait photography has been accorded a valuable space in the field of photographic art.
Travel photography spans the interests of amateurs as well commercial and art photography professionals.
Volcán de Fuego, Guatemala: Close to 4,000 people were evacuated from their homes in November when Guatemala’s Fuego volcano erupted, spewing ash and lava.
Photographs of objects from cosmos can also have value as an object of art, apart from its inherent value as a scientific data !
The Bubble Nebula, also known as NGC 7635, is an emission nebula located 8 000 light-years away. This stunning new image was observed by the NASA/ESA Hubble Space Telescope to celebrate its 26th year in space.
The Bubble Nebula, also known as NGC 7635, is an emission nebula located 8 000 light-years away. This stunning new image was observed by the NASA/ESA Hubble Space Telescope to celebrate its 26th year in space.
Credit: NASA, ESA, Hubble Heritage Team ║Top 100 Images – Hubble Space Telescope
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Silhouette photography is no more a simple outlined object which appears dark, normally black, against a bright, normally a strong source of light, background.
The presence of mind of photographer, coupled with his immaculate technical expertise, can turn a moment in to an iconic shot.
Photojournalist Richard Drew’s iconic image remains that of a man falling from the World Trade Center towers after the September 11 attacks. Known as The Falling Man, the image provides a powerful commentary on the attack-
These are the findings of just a few, random, not-so-deep dives in the big ocean of photography. Does it give me an idea to make such visits more regular and systematic in 2019! Not inclined to make New Year resolution at this stage, but, certainly, to me at least this is worth its while, so would like to be more frequent, to begin with.
Disclaimer: This is to unequivocally acknowledge the copy rights of the respective original creator for the photographs presented here, with no commercial interest whatsoever.. Thank you all.
Shakeel-Naushad: Classy Confluence, Seamless Flow – 1 – Shakeel Badayuni is considered to be one of the finest romantic poets of the previous century. And Naushad among the monarchs of Hindi film music. When they teamed up, the result was classic! Vijay Kumar pays a tribute to this inimitable confluence with an exploration of the music and poetry they created together.
Remembering my father and the legend Madan Mohan – In response to SoY invitation, Sangeeta Gupta, the eldest daughter of Madan Mohan, joins in contributing a guest article on Madan Mohan’s songs ‘with other singers’ as a touching finale to the tandem series on Roshan and Madan Mohan on SoY.
The ‘Radio Songs’ from Hindi films are the songs that have radio to a major extent. The song can be the one which is being played on radio and is also seen being recorded too.
Chariots of Verse – The older generations rues the Axial Age of our cinema, mainly the middle 1940s to the late 1960s, when cinema and music reached heights of excellence that seem unachievable today. That age was exemplified not just by a wide range of words used, but by the high use of imagery too…Sometimes, songwriters of that time used different words or sentence structures to express essentially the same idea, like he lyrics-writer Anjaan said Teri aankh mein wo kamaal hai(Rafi/Mr India, 1961).. There are many thoughts—more or less of the same kind—that have been offered differently in 3 or more songs, even if it’s sometimes the same poet in two songs. The post engages with such poetic chariots of 3 poems with similar attributes:
Musically Yours, 1963: Part 3 – This is Part 3, following up Part 1 and Part 2 in a 4-part series of essays, exploring the Hindi film music of 1963, the year of birth of the writer Monica Kar. In a personal tribute to composers who gave music that makes its presence felt even after 55 years, Monica Kar explores the enduring magic of three composer-duos – Shankar Jaikishan, Kalyanji-Anandji and Laxmikant-Pyarelal.
If it’s a Harp, This Could be a Woman – there is a musical instrument that is mostly associated with women, and it’s an ancient instrument too, so for observation’s sake, its history can be studied in some detail. The instrument is called the harp, whose early shape was inspired by the curve of the hunting bow. It now comes in many shapes, but in all of them, it has a charming appearance. The post lists songs featured on women with harp.
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.
Woh Hum Na The Woh Tum Na The – Cha Cha Cha (1964) – Iqbal Qureshi – Neeraj
Maya Ka Aanchal Jale – Kinare Kinare (1964)– With Usha Mangeshkar, – Jaidev – Nyay Sharma
Baman Ho Ya Jaat – Karigar (1958) – C Ramchandra -Bharat Vyas
To commemorate Mohammad Rafi’s anniversaries, [Born: 24 December, 1924// Death: 31 July, 1980] we commenced a series of articles on Mohammad Rafi that essentially tried to bring the solo song of Mohammad Rafi from the first film with the music director. Beginning 2016, we have taken up one five-year slot every year, in the chronological order, starting from 1944, the year in which Mohammad Rafi sang his maiden solo song in Hindi Films.
We now take up the 3d and the last piece of the years 1957 and 1958 of this five-year period.
1957
1957 had as many as 187 solo songs of Mohammad Rafi. Apart from the music directors who already have been regularly selecting him, we see music directors, like Anil Biswas, Ajeet Merchant, Shivram Krishna, who had first solo with Rafi in 1956 also opting for Rafi again.
In terms of numbers, 1957 does not seem to have many of Mohammad Rafi’s maiden solo songs with a music director. But the ones that are there, more than make up for the paucity of numbers.
Dattaram (Wadkar) had had a maiden solo song with Mohammad Rafi that has gone onto become a milestone song. In his later films Dattaram seems to have experimented with other male singers like Mukesh and Manna Dey too. However, his own career unfortunately could not reach the critical escape velocity, for reasons other than his merit as composer.
Chun Chun Kar Ke AAyi Chidiya – Ab Dilli Door Nahin – Lyrics: Shailendra
The song has remained so evergreen, that hardly anything more need to be said about it.
Ramnath has only other picture, Meera of 1947 to his credit. This is the film that was a remake of the Tamil version. Both had M S Suubulaxmi as the lead actor and, obviously, the lead singer. Ramnath was the music director who seems to have been added for the Hindi version.
Radhe Shyam Duniya Door Se Suhani – Aadmi – Lyrics Sartaj Rahmani
Getting to listen the song for the first time!
Jaidev, though did not use Mohammad Rafi in his maiden film Joru Ka Bhai. However, he has several of Rafi’s greatest songs to his credit.
Even though the song has not attained the level of popularity that the Anil Biswas composition of 1960 film Angoolimal has attained, Mohammad Rafi has full justice to Jaidev’s concept of composing the tune to the spirit of the message.
Dil To Kisi Ko Doge Kisi Ke Aakhir Hoge – Ek Saal – Lyrics: Prem Dhawan
Ravi has successfully created a classic-fit composition to Johnny Walker’s signature mannerisms.
Kis Ke Liye Ruka Hai Kis Ke Ruka Hai Karana Hai Jo Bhi Karle Ye Waqt Ja Raha Hai – Ek Saal – Lyrics: Prem Dhawan
Here is another successful experiment of using Rafi’s voice for a background title song. Ravi has used voices of Hemant Kumar (Ulaj Gaye Do Naina) and Talat Mahmood (Sab Kuchh Luta Ke) in the film..
Basant Prakash began his career in Hindi films from 1942. So he becomes one more of vintage era music director to work with Mohammad Rafi. He has composed two solos Dharti Maan Ke Veer Sipahi Jeene Marne Aaj and Gajar Baj Raha Hai Sehar Ho Rahi Hai in ‘Maharani’. I have not been able to locate the digital links to these songs.
S Haridarshan is another obscure music director whose first solo with Rafi, Aya Kar Ke Bhesh Nirala in ‘Shahi Bazaar’ seems to have no soft digital link.
To end the year with live linked song, we reach out a forgotten song from the film which had one Rafi song which remains a milestone even today- Jawan Ho Ya Budhiya Ya Nanhi Si Gudiya – Bhabhi (1957) – Music: Chitragupta – Lyrics: Rajinder Krishna); –
On the Brother Mukul Roypage of the site Geeta Dutt.com, it is noted that the song borrows its main body and interlude from “Bimbo” – a 1953 Jim Reeves song.
Khayyam, technically, could be considered to have made a debut with a 1949 film Parda. But here we have films with his more official name. We have two films in this year. So, instead of choosing which film should appear as the one to include a maiden Rafi solo, I would prefer to place Hai Kali Kali Ke Lab Pe Tere Hush Ka Fasana (Lala Rukh, Lyrics: Kaifi Azmi) in the phigh pedestal of an evergreen song. That leads us to another film, Phir Subah Hogi, in the same year.
Sabki Ho Khair Baba Sab Ka Bhala, De De Bhookhe Pet Ko Roti Ka Tukda – Phir Subah Hogi – Lyrics: Sahir Ludhyanavi
Here is the least noted song from the film which had some great Mukesh songs, including a Mukesh- Rafi duet, Jis Pyaar Mein Ye Haal Ho. The present song is a beggar genre song, wherein chorus of support singers also join Mohammad Rafi.
R Sudharshanam is a music director from the Tamil films, and as such would be content with scoring music for the remake-into-Hindi films.
Jis Dil Mein Lagan Manzil Ki Ho – Matwala – Lyrics: Har Govind
We have what is popularly known as Tonga genre song, wherein Rafi maintains high scale to reflect the high mood of the song.
Iqbal Quereshi, is one of those fairly known music directors, who could not make it as big as his caliber was. He makes a debut this year..
This a background title song, and assuch conveys the core message of the film.
Adinarayana Rao, also is a music director from Telugu films, who makes appearance on Hindi films because of the remakes form the South. He, also, is the producer of Suvarna Sundari, the film that figures presently.
Ram Naam Japna Paraya Maal Apna – Suvarna Sundari – Lyrics: Bharat Vyas
The song is possibly made to cater to the Hindi film audience.
Maa Maa Karta Phire Laadla – Suvarna Sundari – Lyrics: Bharat Vyas
This is a background song, which typically is used a vehicle to carry the film story forward .
Botal Mein Band Jawani Peete Peete Dil Jaani – Taqdeer – Lyrics: Verma Malik
A fast paced, drunkad (sharabi) genre song, which I hae listened for the first time.
Is Taqdeer Ke Aage Koi Hi Tadbeer Chalti hai, Agar Chalti Hai Dunia Mein To Bas Taqdeeir Chalti Hai, Is Taqdeer Ke Age Jhuk Gaye … – Taqdeer – Lyrics: Verma Malik
This appears to be the background song, which typically is played with the film titles.
The receding-from-the-memory song that I have selected to end the present episode is a very unique Madan Mohan composition
Bada Hi CID Hai Wo Nili Chhatriwala – Chandan (1958) – Music: MadanMohan – Lyrics: Rajendra Krishna
Well, on the whole, the third five-year period of 1954 to 1958, for Mohammad Rafi’s maiden solo song with a music directors, has indeed proved to a very rich experience that has refreshed as many known or quite unknown songs, with a large catch of gems as an add-on bonus.
Next year we will take up the 4th Five-year period of 1959 to 1963, which expectedly should be as interesting as our present 3rd five-year period.
Welcome to December, 2018 edition of Carnival of Quality Management Articles and Blogs.
This is the last issue of 6th annual period of our blog carnival of quality management articles and blogs. We have taken up Sustained Success of an Organization as our key topic for discussion.
ISO 9004: 2018 goes on to state that “Factors affecting an organization’s success continually emerge, evolve, increase or diminish over the years, and adapting to these changes is important for sustained success. Examples include social responsibility, environmental and cultural factors, in addition to those that might have been previously considered, such as efficiency, quality and agility; taken together, these factors are part of the organization’s context.”
We will pick three different articles that individually links up efficiency, quality and agility respectively with the sustained success.
Efficiency and Sustained Success:
Building Efficient Organizations – An efficiency mindset is the key to long-term gains. – Ryan Morrissey, Peter Guarraia, Véronique Pauwels and Sudarshan Sampathkumar – There is no fixed blueprint for embedding efficiency in an organization’s DNA. In our experience, however, successful companies share a common overarching approach: They make sure their efficiency effort spans five critical areas: strategy, metrics, commitment, behaviors and culture. Tenacity and a sustained investment in these areas create the best chance of success.
There is an interesting white paper – Capturing Operational Efficiency and Sustainable Value through Claims – by Capegemini and Guidewire,which studies the business case for claims transformation and paying specific attention to the critical factors that generate benefits, insurers can capture substantial operational efficiency and sustainable value for the insurance companies..
Quality and Sustained Success
ISO 9004 goes beyond product quality concept of consistently meeting the requirements of customer and stresses on two key concepts for of an Organization:
focus on the concept of “quality of an organization”;
focus of the concept of “identity of an organization”
The relationship between efficiency, effectiveness, sustained success and the quality of management in terms of immediate and final results.
The Figure here above shows a diagram describing the company’s hierarchy. It includes the company’s embedded resources, processes, immediate results (produced goods and services), as well as final results and impact (strategic effect). Immediate results should be presented in vector form
Agility and Sustained Success:
The leaders of organization design at McKinsey, principals Wouter Aghina and Aaron De Smet, explain what agility means and how organizations can evolve to thrive in an environment that demands constant change in the article, The keys to organization agility. Agility is when you thrive on change and get stronger and it becomes a source of real competitive advantage. (For more on the importance of being both agile and stable, see “Agility: It rhymes with stability.”)
There are a few more, general, articles which helps in understanding how to build sustained success:
A winning culture …can be the catalyst that ignites an organization into truly becoming a “best place to work!”. The article offers 5 keys:
Establish a corporate set of core values that highlights being a champion for doing the right thing and taking care of people.
Communicate the values through the behavior and actions of the management.
Hire people who fit your values – Invest the resources – time, money, energy – to determine if a candidate fits with your values.
Enhance employee sense of ownership– This ownership is derived from opportunities that enable employees to know their leaders, to being informed on the success of the company, to know who their customers are, and future plans for the company.
Assess employee passion and satisfaction – and act on results.
How to Create Sustained Success is a rapid-fire summary of Jim Collins’ famous first book, ‘Built to Last‘.
Recognizing the limitation of what can be covered in an article like ours, one can find good deal of highly useful literature on the subject.
We will now turn to our regular sections:
For the present episode we have picked up William Cohen, Ph.D.’s article The Focus on the Customer and What the Customer Values @ Effective Management topic of Management Matters Network….At the strategic level this could mean an important differential advantage in positioning against competitors to win customers.
We now watch two videos of the ASQ TV, one of which is related to quality improvement and other one containing the year-end message:
Enhancing Quality through Improved Quality Reports : Gregory (Grisha) Gorodetsky, Safety, Environmental & Quality Manager, Wipro Givon, discusses the importance for organizations to format all documents, such as quality reports, in an identical way.
2018 Year-End Message: Elmer Corbin, ASQ Chair : In his year-end video message, ASQ Board of Directors Chair Elmer Corbin highlights significant accomplishments in 2018 and acknowledges contributions of the Board, GCC, TCC, member leaders, members, and staff.
Jim L. Smith’s Jim’s Gems posting for November, 2018 is:
Success makes us feel good, but failures teach us valuable lessons – Certainly, negative results are never fun, but they shouldn’t become demoralizing. What innovative people realize is that negative results are signaling that something different and new needs to be done…It is easier to understand the concept of productive mistakes when the situation is reversed…When the project is successful. In this situation, your assumptions were correct, you most likely took the standard approach to getting the tasks done and did a good job managing the project…While completing a successful project is something to feel good about, there may have been a missed opportunity to get breakthrough improvements from the project. Was it your objective to simply get the job done, or was it your goal to take some risks that could take the business to a new level of performance?.. Think about this for a moment to consider how you can adjust your mindset. Most likely you won’t become another Thomas Edison, but there’s no doubt you can find ways to make your life more productive.
Personal GPS – May be you’ve never thought of your roadmap for success being like a personal Goal Projection System (GPS) but it is much the same. Let’s see if we can connect the dots…Ask yourself, what would you like the outcomes to be for yourself at the end of one, five, ten and twenty years? Once you have that outcome, what will you see? What will you hear? What will you feel? Be as specific as possible, as you write the answers down…After this is done which as much honesty as possible, examine current reality…This process isn’t easy and will take some time but stay with it. You also should revisit this on occasion to ensure you’re staying on tract. Once you have everything recorded, you’ll have a roadmap you can use to guide you to a very personal kind of success.
On that note I take your leave for the year.
Trust you had had a great year and wish that your 2019 also is more productive, more successful, and above a thoroughly enjoyable year of your personal and career life journeys.
Note: The images depicted here above are through courtesy of respective websites who have the copyrights for the respective images.
As a meticulous curator, dedicated researcher and an occasional author, Harish Raghuvanshi is not an unknown name to the loyal Hindi Film Music followers. He has painstakingly collected a vast treasure of huge, and highly valuable, data relating to the film history. But he remains zero error perfectionist at the core when it comes to sharing any information to others. As a result, he has been very frugal when it comes to publish his work in the print media.
His one such work of immense value was a book, Inhe Na Bhulana, published in Gujarati in 2003. It is a compendium of crisp career notes of 35 film personalities of the early golden period of the Hindi Films, who had had carved a niche in their days, but not much has been authoritatively documented about their work. The book is now out of print for many years.
To the good fortune of the documented Hindi Film history, Sunderdas Vishandas Gohrani has undertaken the task of translating Harish Raguvanshi’s original Gujarati work into Hindi. Sunderdas Gohrani’s Hindi translation id now published as Inhe Na Bhulana (इन्हें न भुलाना).
In the history of 106+ years, there is a vast number of people who have been directly associated with the Hindi films on, and off, the screen. Most of these people, while being highly dedicated to their respective profession, certainly not very commercial in their overall outlook. Discussions of the film personalities normally remained confined to private discussions in parties and clubs. As a result, many of the most noted aspects of even the-then-well-known personalities did not last long once these persons went inactive.
Barring a few, the 35 film personalities that Harish Raghuvanshi has chosen in the book, do not belong to the miniscule minority of well-documented on-screen personalities. But, each of the person discussed does have a well-defined place, known and etched into the minds of their fans. Harish Raguvanshi presents such details in very lucid style, with his known zero-error-accuracy.
Here is the list of the film personalities discussed in the book:
प्रेम अदीब; रुपहले पर्देके राम
Prem Adib: Ram of our silver screen
निगार सुल्ताना: पिन अप गर्ल
Nigar Sultana: Pin Up Girl
श्याम: रंगीन तबीअतका जाम
Shyam: Peg of a colorful life
कुलदीप कौर: क़ातिल नज़रकी कटार
Kuldeep Kaur: Dagger of deadly gaze
कन्हैयालाल: मदर इण्डियाका अकेला ‘सुखालाल‘
Kanhaiyalal : The only “Sukhalal of ‘Mother India’
नसीम बानो : ‘परी-चेहरा‘
Nasim Bano: ‘Fairy-face’
मज़्हर खान: पुलिस विभाग से रुपहले पर्दे तक
Mazhar Khan : From police force to silver screen
लीला मेहता: स्लीवलेस ब्लाउज़ वाला रोल ठुकराने वाली
Leela Mehta : Rejected a sleeveless bloused role
नूर मुहम्मद: चार्ली पलट तेरा ध्यान किधर है
Noor Muhammad Charlie : Where is your inverted attention
शक़ीळा: बाबूजी धीरे चलना
Shakeela : Babuji Dheere Chalana
मास्टर निसार: अब वो मुक़दर नहीं रहा…
Master Nissar : When that destiny
दुलारी: साढे पांच दस्गक का फ़िमी सफर
Dulari: A film journey of 5 ½ decades
पी. जयराज : ऐतिहासुक पात्रोंके रुपमें इतिहासमें स्थान बनाने वाले
P. Jairaj: Created a place in the history through historical characters
क़मर जलालाबादी: इक दिलके टुकडे हज़ार हुए
Qamar Jalalabadi: Ik Dil Ke Tukade Hzar Hue
कृष्णकान्त उर्फ के.के.: चिरवृध्द अभिनेता
Krishnakant a.k.a. K.K.: Eternally old actor
भरत व्यास: तुम गगनके चन्द्रमा हो
Bharat Vyas : Tum Gagan Ke Chandrama Ho
रंजन: ‘तलवारबाज़ के रुपमें मान्य प्रतिभाशाली
Ranjan: The recognized talent in the form of swordsmanship
खुमार बाराबंकवी: तस्वीर बनाता हूं
Khumar Barabankvi: Tasveer Banata Hun
महीपाल: फिल्ममें गीत लीखनेवाळे एकमात्र ‘राम‘
Mahipal: Only ‘Ram’ to pen lyrics for films
पं. नरेन्द्र शर्मा: ज्योति कलश छलके
Pt. Narendra Sharma: Jyoti Kalash Chhalake
नासिर ख़ान: ट्रेजॅडी-किंगका भाई होनेकी ट्रेजेडी
Nasir Khan : Tragedy of being the brother of tragedy-king
प्रेम धवन: गीत, संगीत और नृत्यकी त्रिवेणी
Prem Dhawan: Three-way confluence of song, music and dance
माधुलाल मास्टर: संगीतके नींवके पत्थर परन्तु संयोगो के समक्ष कठपूतली
Babulal Master: Corner stone of music, but puppet against circumstances
करण दीवान: चाक्लेटी हीरो
Karan Diwan: Chocolate hero
वी. बलसारा: सात दशकका स्वर-संसार
V. Balsara: Seven decades of world of notes
जयन्त: गब्बर सिंह के पिता
Jayant: Father of Gabbar Sinh
अल्ला रखा अर्थात तबला
Alla Rakha means Tabla
वास्ती: एक याद किसीकी आती रही
Vasti: A continuing memory of someone
द्वारकादास सम्पत: मूक फिल्मों का गुजराती मान्धाता
Dwarkadas Sampat: Towering Gujarati personality of silent films
डी बीलीमोरिया: र्रुपहले सलीमकी सुनहरी सफलता
D Bilimoria: Silvery success of sliver-screen Salim
मोहनलाल दवे: हिन्दी फिल्मोंकी पटकथा के गुजराती पितामह
Mohanlal Dave – Grandfather of Hindi film screenplays
ई. बीलीमोरिया डोर कीपर से हीरो
E. Bilimoria: From door-keeper to hero
Of the 35 career-sketches presented in the book, 18 sketches are of the actors, 6 those of actresses, 5 those of lyricists, 1 character actor, 3 music directors, 1 producer and 1 screenplay writer.
Each career-sketch is highly informative and is packed with all important details, including birth date, birth place, death date etc. too. And yet, none of the article becomes a drab documentary record. Each sketch is very concise. The title of each sketch has quite a pithy subtitled adjective, which creates a full picture of the concerned personality in the mind of the reader. The simple, fluent writing style of the author makes reading of the book as much interesting as it make rewarding. The Hindi translation of such a unique style must have been a major challenge for the translator, Sunderdas Gohrani. But we must give full credit to him – the Hindi text never appears clichéd or contrived.
For the generation who have seen the films of (even some of) these artists, the book is a nostalgic trip. To the new, and the future, generations, the book will be torch that will shed the light on the type of pioneering work that generation of the film personalities have done to help create one of the most productive film industries of the world. For the researchers and the historians, the book will be an invaluable source of authentic references.
Once you read this book there is bound to be a deep urge to look out for more works of Shri Harish Raghuvanshi. Fortunately, there appears a ray of light at the end of tunnel – all efforts are being made to get his all-time classic, Mukesh Geet Kosh, and Gujarati Film Geet Kosh reprinted. His 103 articles on the contribution of the Gujarati community in Hindi cinema is also under advanced stage of getting printed under the title Hindi Cinema Gujarati Mahima.
How one would wish that along with Inhe Na Bhulana as well as these potential reprints be available for online purchase, and ideally in the digital formats.
However till that becomes a reality, these publications (and of course the Hid Film Geet Kosh volumes of Har Mandir Sinh ‘Hamraza’ and his coauthored with Harish Raghuvanshi book on K L Saigal, Jab Dil Ji Toot Gaya) can be purchased from the publisher:
Mohammad Rafi’s First Solo Song With The Music Director: 1956
To commemorate Mohammad Rafi’s anniversaries, [Born: 24 December, 1924// Death: 31 July, 1980] we commenced a series of articles on Mohammad Rafi that essentially tried to bring the solo song of Mohammad Rafi from the first film with the music director. Beginning 2016, we have taken up one five-year slot every year, in the chronological order, starting from 1944, the year in which Mohammad Rafi sang his maiden solo song in Hindi Films.
Presently, we will take up songs for the year 1956, of the third five-year-slot of 1954-1958.
[For the sake for structured documentation, I will be following the alphabetical sequence of Film names in the post.]
1956
1956 has 138 solo songs of Mohammad Rafi., and as can be expected most of these songs are from music directors like, Bulo C Rani, Husnlal Bhagatram, Narayan Dutt, A R Quereshi, Hemant Kumar, Salil Chaudhary, Shamker Jaikishan, Madan Mohan, Shardul Kwatra, N Dutta, O P Nayyar, Lachhi Ram, Shyam Babu Pathak etc.
Interestingly, for the year 1956, even as there are so many music directors who have already settled on Mohammad Rafi as a lead male singer, we have a fairly large catch of first films in which a music director has composed solo songs for the first time for Mohammad Rafi.
Sudipta Bhattacharya is totally an unknown name.in so far as Hindi films is concerned. There appears to be one more film to his credit – Taaj Aur Talwar in this year itself.
Bahut Jal Kar Mohabbat Mein Mera Dil, Aaj Bola Kayamat Hai Tu , Are Bijali Hai Tu Shola Hai Thoda Sa Sharbat-e-Dildar Chahiye – Ghulam Brgum Badshah – Lyrics: Rupbani
The song is quawaali-styled composition, rendered in what is recognized as classic Johnny-Walker mannerisms on screen and mimicked by Rafi in the playback.
K Datta (a.k.a. Korgaonkar Datta) was a music director whose main body of the work pertains to the vintage era. He was known for his preference of Noor Jehan as his most favored singer.
Hamein Na Bisaro Hamein Taro Sanware – Harihar Bhakti – Lyrics: S P Kalla
I have not been able to locate the digital copy of this song from net.
It was high time thatAnil Biswasuses Mohammad Rafi in a solo song. He has used Rafi’s voice for two s0los and a duet (with Asha Bhosle).
Preet Ka Rogi Ho Ya Jogi, Dono Ek Saman, Ho Ek Dhunde Apne Pritam Ko, Ek Dhunde Bhagwan Allah Teri Khair Kare, Maula Teri Khair Kare, Data Teri Khair Kare – Heer – Lyrics: Rajendra Krishna
Rafi enacts the intense desire to meet the beloved while retaining an undertone of control befitting an ascetic.
Le Ja Uski Duaaye Woh Jo Tera Ho Na Saka, Apni Jati Baharo Se Gale Mil Ke Ro Na Saka – Heer – Lyrics: Majrooh Sultanpuri
The song is set to the Punjabi folk tune heer, meant for the songs sung at the time of farewell of bride from her parent’s home.
Ajit Merchant is one of the legions of music directors who did not succeed at the altar of commercial counter.
Panchhi Gane Lage Prabhati Aane Laga Saras Savera, Jaag Sundari Madhur Milan Ka Aaya Hai Din Tera….– Indra leela – Lyrics: Deepak Kumar Saraswati
Here is a, quite a complex, song to sing, particularly for a film that seems to be based on a mythological subject.
Name of Sanmukh Babu (Upadhyay) will immediately bring to mind his Mubarak Begum song – Nigahon Se Dil Mein Chale Aayiega…(Hameer Hath, 1964)
Angaro Pe Hai Teri Zindagi Ki Gaadi, Khele Ja Tu Aag Se Khiladi – Lakar – Lyricist: Pradeep
We get to listen to an innovative variation of marching tune.
Naya Aadmi seems to be a remake of a Telugu film, hence barring three songs, which were composed by Madan Mohan, all songs have been composed by the music directors of the original version, i.e. Vishwanaath – Ram Murthy.
Jo Bhi Chahe Mang Le Bhagwan Ke Bhandar Se, Koi Bhi Na Jaaye Khali Is Darbar Se…. Jagat Ka Rakhwala Bhagwan Are Insaan Use Pahechan – Naya Aadmi – Rajendra Krishna
The song appears to be a background song.
Shivram Krishna, known for his music for the Surang(1953), Teen Batti Char Rasta(1953) and Sampurna Teerth Yatra(1970), gives two solos for Mohammad Rafi here.
Bade Pyar Se Milana Sab Se – Sati Anasuya – Lyrics: Bharat Vyas
The songs is enacted by an ascetic on his daily alms-collection round. The song is quite melodious and has deftly embedded Rafi’s signature scale variations.
Sun Sun Re Zara Insaan – Sati Anasuya – Lyrics: Bharat Vyas
This one seems to be a background song. .Incidentally song draws upon the Gujarati folk rhythm of Garba.
Iqbal, a.k.a. Chhota Iqbal, more a stunt film composer, is often been mistaken for more famous name-alike composer Iqbal Qureshi. Iqbal (Mohammed Iqbal), operated from 1953 to 1975.
Aye Madre Vatan Madre Vatan, Rahenge Leke Raj Hum Wo Tera Takhat-o-Taz Hum – Sipahsalar – Lyrics: Farooq Qaisaar
We have a patriotic songs, composed on the marching tune.
Kamal Mitra is an obscure name.
Pyaar Be-qaraar Hai, Pyaar Ki Pukaar Sun, Rakh Le Aaj Meri Laaj, Main Tere Nisaar Sun – Yahudi Ki Beti – Lyrucs: Kaifi Azmi
The composition of the song does full justice to Kaifi Azami’s lyrics. The song appears to be the background song, ending with high-pitched call to the love to listen to the voice of the loved one.
There is a Lata Mangeshkar version, composed to an altogether different style, manifesting more the poignancy of separation.
To end our present episode, I have selected a Mohammad Rafi song from 1956, which is lesser known one:
Ankh Mein Surat Teri Lab Pe Fasana Tera – Choo Mantar (1956) – O P Nayyar – Lyrucs: Jan Nissar Akhtar
As we have had enough number of songs for one post, we will take up the songs for 1957 and 1958 in a separate post, planned to be published on 24th December, 2018, on the birth anniversary of Mohammad Rafi.
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 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.
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, then linking up it with Self and Self-Image in segment 2 and then further wish. Loyalty and Dharma in segment3.
Episode 9 takes up the subject of Discrimination. What came first? Gender discrimination or mythology? Does mythology sanction gender discrimination or is mythology a reflection of gender discrimination? The problem with symbols is that people look at them literally and so miss the whole point. Mythology are symbols communicating an idea. Male form is therefore ‘signifier’ of an idea and not what is ‘signified’. Same holds true for female forms. When Durga kills a male demon, it is not about women killing men. The image communicates a deeper idea that is often missed as we are in a hurry for a simplistic convenient ‘sign post’. Devdutt Pattanaik has tackled this great problem of discrimination w.r.t. mythological studies in this episode.
Business Sutra |9.1| Gender: Is Man superior to Woman?
Discrimination has one more meaning, too, which is recognition and understanding of the difference between one thing and another. For the present of this series, we will exclude this aspect from the discussion.
To be specific, Gender Discrimination is a situation in which someone is treated less well because of theirsex, usually when a woman is treated less well than a man.
This can be looked at from two angles: Gender equity means fairness of treatment for women and men, according to their respective needs. … UNICEF says gender equality “means that women and men, and girls and boys, enjoy the same rights, resources, opportunities and protections.
The Gender Bias can be conscious or unconscious, and may manifest in many ways, both subtle and obvious. In many countries, eliminating gender bias is the basis of many laws, including those that govern workplaces, family courts, and even the voting booth. Despite these efforts, many legal and political scholars argue that total gender parity remains a far off goal, one which many regions are not remotely close to reaching.
Professor Mary Beard’s latest book[1]Women & Power: A Manifesto is a short, sharp analysis of women in the West and their ongoing struggles for a voice in the public domain. Based on two lectures delivered in 2014 and 2017, Beard chronicles some of the major obstacles women continue to face, framing her analysis through the lens of the legacies of ancient Greece and Rome.
We may be able to find many scholarly articles that deal with the status of women in the Western Mythology. I have selected Mark Cartwright’s three articles as representative ones.
The article, Women in Ancient Greece, states that in the ancient Greek society the women had few rights in comparison to male citizens. Unable to vote, own land, or inherit, a woman’s place was in the home and her purpose in life was the rearing of children. However, in contrast to the lot of most women, some professional women, exceptionally and exceptional, rose above the limitations of Greek society and gained lasting acclaim as poets (Sappho of Lesbos), philosophers (Arete of Cyrene), leaders (Gorgo of Sparta and Aspasia of Athens), and physicians (Agnodice of Athens). Considering their limited role in actual society there is a surprisingly strong cast of female characters in Greek religion and mythology. Whether these fictional characters had any bearing on the role of women in real life is an open question, as is the more intriguing one of what did Greek women themselves think of such male-created role-models? Perhaps we will never know.
In an another article – The Role of Women in the Roman World – Mark Cartwright concludes that Roman males did not think women their equal but neither did they hate them. Perhaps the ambivalent attitude of Roman men to their women is best summarized by the words of Metellus Numidicus who was quoted in a speech by Augustus when the emperor addressed the assembly, ‘nature has made it so that we cannot live with them particularly comfortably, but we can’t live without them at all..
Moving towards the East, The Women In Ancient Egypt, in consonance with ma’at, one of the central values of ancient Egyptiancivilization, were the equals of men in every area except occupations.
As we see two opposing stands – one in the practice and second in the idealism – in the present times, the western mythology seems to have two almost opposing stance in so far as discrimination to female gender is concerned. As we move towards east, Egyptian culture takes a balanced view. So, it is time now to look at what Indian mythology has to on the subject, as interpreted by Devudtt Pattanaik, in Segment 1 – Is Man Superior to Woman? – of the episode 9.
A symbol of good fortune is a goddess and among the most revered gods is a cowherd and a charioteer. We love and worship them no matter what their gender or caste and yet India is infamous for the persecution of its women and an entrenched caste system.
How does mythology see gender?
The mythology is subjective truth which is communicated through stories, symbols and rituals. Have you ever ate an éclair chocolate?
Yes, often.
What is the best part of an éclair chocolate?
The middle.
The middle, right. So just think of that burst of chocolate that you get that is the idea. Now if I want to communicate an idea I need a form. The chocolate is the idea and the caramel outside is the form. A form is of two types – there is a male form and there is a female form. Male form communicates one idea and the female form communicates another idea. That is how male forms and female forms are seen in mythology. It is trying to explain an idea. Now what is that idea? The idea talks of the relationship of the mind and the world around us so mind and world. The mind is represented using a male form and the world is represented using a female form. Let me explain this in form of a story.
Shiva is the ascetic whose eyes are shut and when his eyes are shut the world is a desolate place. The Sun does not shine, it is cold the wind doesn’t blow, the water is still, it is snow everywhere. Nothing grows, nothing moves. In this world in front of him is the goddess Kali, she is wild, naked and bloodthirsty; her hair is flowing in all directions and she’s dancing on top of him. If you see the images of Kali, Shiva is lying still and she’s dancing on top of him. This is what happens to the world when one is indifferent to it, when one shuts oneself from the world. The world becomes wild when you are indifferent. The moment the God pays attention, his eyes open. Shiva becomes Shankara. Then the wild goddess who is Kali, becomes the gentle domestic goddess called Gouri. So the change in mind brings about the change in the world and this is expressed in the form of gender – male God, female God. So it is not about God and Goddess, but it is about mind and world.
So what you’re saying is the mind is represented through the male form and the world or matter is represented through the female form? These are only forms to represent ideas. I don’t mean to be a feminist because I really am NOT, but I would still like to ask the question – if mind is male and female as matter, is female subservient to male because matter is subservient to mind ?
First we must be very careful when we say mind is male. In fact, mind is represented by male. Representation and reality are two different things and this is the biggest mistake that people do when they read mythology. They mistake representation for reality. We are talking about representation of an idea. The idea is more important than the form in which it is represented. It is neither Shiva nor Shankara who are important as the idea of the mind. Similarly, Kali or Gauri are not as important as the idea of a relationship to the world. You cannot separate the mind and the world.
Now coming to the question you asked, is the world subservient to the mind? This is a chicken and egg situation. Whether culture came first or the nature came first. It has to be obviously the nature. Nature is always first and culture comes after that. So the world / matter is from which comes the mind and from mind comes the matter. If this is to be represented by a male /female form, then it is from the female where the male came and from the male then came the female. So in Rigveda you have this famous line which says Daksha came from Aditi and Aditi came from Daksha, which means you cannot know what comes first. When you see the Ardhanarishwar image you have Shiva on one side and the Goddess on the other. One cannot be separated from the other, just as you cannot separate the mind from the world.
So my mind and my world are interdependent on each other. My mind is inside my world is outside. As is my mind so is my world. So if my mind is like Shiva and shut to the external world the world outside will become frightening like Kali. However, if my mind pays attention to the world as Shankara then the wild frightening goddess becomes the gently demure Gauri. That is what is being conveyed to the community, by using forms.
There is one thing that still troubles me about this – why is the mind represented through a male form? Why is the mind not represented through a female form? Why most of the leaders are male? Or, why are the leadership stories in our mythology told through the male form and not as much through the female form?
Two points here – first let’s see as the leader, then on the other side we have organization, represented as a female form. Now this question can be answered why mind is represented using a male form. The data shows that leaders are always represented using male forms and organization is always represented using female form. This is this divide based on patriarchy or it is based on physiology? I belong to the school which says it this is based on physiology not on patriarchy, because the storytellers of the mythology who created the narratives were interested in the idea. They were not interested in gender politics.
Let us look at this thing physiologically. The man creates life outside his body. Physiologically man doesn’t create life inside his body, whereas a woman creates life inside her body. So the male form lends itself to represent the leader because the leader cannot create wealth alone and within himself. He depends on the organization for creating the wealth. Within the organization he creates wealth. The female form lends itself to represent the organization because within the organization is created wealth as just as a woman creates a child within. So the female form was most useful in representing the organization. The trigger for wealth creation came from the leader but the actual embodiment of that wealth took place in the organization. Once the idea comes from the leader, the leader doesn’t matter. Then the organization that takes it over becomes more important than the leader. But can the organization exist independent of the leader? No. Can the leader exist independent of the organization? No. They are codependent on each other like the Ardhanarishwar image. As a result, there is no attempt to make one superior to the other.
There is no attempt to make superior than the other.
And that is the tragedy. The tragedy is people assume that mythology prescribes gender hierarchy. Mythology does not. There is gender hierarchy in society and then people look at mythology and say that here is from where it came. It is the other way round. Mythology speaks about codependency, it is society that unfortunately thinks of one being better than the other.
How and when the biological factors like physical strength or the time a female needs to nurture the offspring in the initial period have seeped into the gender hierarchy bias in the human society is a subject of detailed separate study. At this stage, we will only take note of the fact in the animal kingdom too, a male and female have different roles, physiologically. It is incumbent of the male to please the female for mating. However, even that has not been institutionalized in to a gender bias. And then, even in the human societies, there enough examples of matriarchy. Interestingly, these were (or is it, are?) in the primitive cultures, rarely in a developed societal set-up? Are we supposed to get any message?
In our continuing journey of Devdutt Pattanaik’s TV serial Business Sutra, we will move on to the second segment Creation of Hierarchy 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.
Credit: LIFE Magazine Launched 80 Years Ago. Here’s How It Covered History ║TIME |LIFE
Credit: JINGNA ZHANG | The Most Famous Portrait PHOTOGRAPHERS OF 2018 ║ Berify
Volcán de Fuego, Guatemala: Close to 4,000 people were evacuated from their homes in November when Guatemala’s Fuego volcano erupted, spewing ash and lava.
Raghuvanshi is not an unknown name to the loyal Hindi Film Music followers. He has painstakingly collected a vast treasure of huge, and highly valuable, data relating to the film history. But he remains zero error perfectionist at the core when it comes to sharing any information to others. As a result, he has been very frugal when it comes to publish his work in the print media.
The world is too small? or Is it? 