Carnival of Blogs on Golden Era of Hindi Film Music, March 2019

Welcome to March 2019 edition of Carnival of Blogs on Golden Era of Hindi Film Music.

A tribute to Shashi Kapoor on his 81st birth anniversary: The many faces of the legendary Shakespeare Wallah

Rekha speaks through her eyes, which made her my choice for Umrao Jaan: Muzaffar Ali -For every art enthusiast, Muzaffar Ali’s home is a treat to the eyes. Speaking with him about his films while laying focus on his best-known work, Umrao Jaan (1981), we got to know a bit more about him and his process of bringing poetry and art to the 70mm screen and more.

Rarely Heard Ghulam Mohammad – on 51st death anniversarythe lyrics formed an important part, then the actual tune.

Remembering Ravi through the songs that he wrote, Lata sings for Ravi and The silent giant-killer and the man of many-splendoured talents: Ravi are rich tributes to a music director who did not get credit befitting his success.

Chalo Ek Baar Phir Se Ajnabi – Gumraah – Strangers Once Again – the situation in life becomes such that you start feeling it is better to be strangers than being lovers. Music composer Ravi takes all the care to handle the delicate situation with utmost care. He uses only the piano (violin and percussion is just an accompaniment) and Mahendra Kapoor’s voice to convey Sahir’s thoughts.

The real mesmeriser Talat Mahmood: His best non-film songs capture some of the most remembered non-film songs of Talat Mahmood.

The Story Of A Sindbad – Shankarrao Biniwale, is narrated to us by Kaushal Inamdar in Marathi here. The post is English translation of that article. Shankarrao Biniwale was an accomplished violinist, who went around the world and explored the origins of violin.

Shailendra Sharma @ Golden Era of Bollywood has posted following memorial tribute posts:

Farooq Sheikh – A Man For All Seasons, who worked with directors like M S Sathyu, Satyajit Ray, Muzaffar Ali, Sai Paranjape, Hrishikesh Mukherjee, Yash Chopra, Ketan Mehta, Ayan Mukherjee.

On Kundan Shah, Paigham, and Vyjayanthimala as the comic foil recollects a lighthearted scene in the 1959 Dilip Kumar-Vyjayanthimala-starrer Paigham

Flashback series: human pain and human comedy in Boot Polish (1954) recommends seeing the film because two child actors get top billing in a 1950s Hindi film… and earn it

March, 2019 episode of Fading Memories, Unforgettable Songs takes up S N Tripathi: Unremembered music director of remembered songs :1957 – 1960. This is the 3rd article in the series on S N Tripathi. First two covered his songs from 1941 to 1950 and from 1951 to 1956 respectively in 2017 and in 2018.

And, now the posts on other subjects:

Barahmasa in film songs = Literally meaning ‘twelve months’, in music it refers to folk or light classical form of north and east India, sung primarily in the rainy season. E.g.

His girl Friday: Sanjeev Kumar and the ‘computer’ in Trishul, an economical, unobtrusive little moment in a larger-than-life film. The scene is where we are introduced to the middle-aged version of the businessman RK Gupta, played by Sanjeev Kumar, and his superbly resourceful secretary Geeta (Raakhee). The office scene in Trishul isn’t subdued or quirky, but it performs a comparable function – telling us something important about a character, a situation and an environment with a few minute brush-strokes.

Songs At The Opening Credits Of The Movie – Title songs carried a gist of that particular film and the songs at the opening credits sort of served as the preamble of that particular film. Though at times both combined as one and solved both purposes. Opening credit songs might not essentially have the title of film in it. Sometimes the film might also have both, opening credits having the title as well as independent title song. We have picked up a few examples form the article:


Umrao Jan

Rang Birangi – serves the purpose of title songs and an opening credit song.

Somewhat Cross-dressed Women ‘Romancing’ Women in Performances: Ten Songs from which I have picked out a few, which are relatively less-known-

Few Marathi songs by prominent Hindi singers has listed Marathi songs sung by Geeta Dut, Sudha Malhotra, Mukesh, Manna Dey, Hemant Kumar and Moahammad Rafi, obviously excluding Lata Mageshkar, Asha Bhosle and Suamn Kalyanpuar. The post ends with a note on Lata Mangeshkar’s connection with Marathi cinema – a music director. Sixty-nine years back Lata Mangeshkar debuted as a Music Director in the Marathi movie Ram Ram Pavhana (1950). It is to be noted that in her first movie as a composer she used her own name. And it’s not clear why in the later four Marathi movies she gave music under the pseudonym- Anandghan. Anonymity I guess.  Her music was one of the 8 state awrds that Sadhi Manas got.

How SD Burman became as famous as the singers he worked with despite his thin, nasally voice – In edited excerpts from a reissued biography – Incomparable Sachin Dev Burman –  on SD Burman (known as Dada), H Q Chowdhury reopens the debate: was he a singer-composer or a composer-singer?

Who wrote the classic Hindi film ‘Aandhi’? And was it based on Indira Gandhi? Gulzar clears the air – In edited excerpts from an interview, by Saba Mahmood Bashir, in ‘Aandhi Insights into the Film’, Gulzar reveals how his Suchitra Sen-Sanjeev Kumar starrer got made.

Khilte Hain Gul Yahan – Sharmilee – Of Roses And Romance – One version rendered by Kishore Kumar and the other by Lata Mangeshkar. One is happy, the other is sad. The opening lines of both songs depict the sense of the opposites in the songs.

Songs with a Surprise! Share the opening lines by chance. The post has put up quite demaninding filters for the selection of these songs

    • The words should be from the opening lines of the songs
    • The songs should share at least four words.
    • The songs should not have been inspired from a well known ghazal or a bhajan,
    • The songs should be from two different films

Teri Dhoom Har Kahin – Kala Bazaar – Money Matters is a praise money situation –

Sooraj ke jaisi golaai
Chanda ki thandak bhi paayi
Thanke toh pyare duhai
Lai lai lai lai
Teri dhoom har kahin
Tujh sa yaar koi nahin
Hum ko toh pyare tu sab se pyara

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.

Duniya Ki Haalat Naram Naram, Halwa Chhodo, Poodi Chhodo, Bajhiya Yeh Kha Lo Garam Garam–  Guzara-1(954) – Ghulam Muhammad – Raja Mehdi Ali Khan

Ghoda Peshauri Mera Tanaga Lahori  Mera –  Pyar Ka Bandhan (1963) – Ravi – Sahir Ludhyanavi

Beta Jamure Kah De Duniya Ko Lalakar Ke – Biradari (1966) – With Manna Dey – Chitragupta – Prem Dhawan

Kya Hua Maine Agar Ishq Ka Izahar Kiya – Yeh Dil Kis Ko Doon (1963) – with Asha Bhosle – Iqbal Quereshi – Qamar Jalalabadi

I am also not able resist temptation to recall one of my most favorite song – Ghulam mOhammad creation.

Hai Bas Ke Har Ek Unke Ek Ishare Pe Nishan Aur – Mirza Ghalib (1954)

I earnestly solicit your inputs for further broad-basing our cache for the content for our carnival of blogs on the Golden Era of Hindi film music.

Disclaimer: This monthly series of posts is my best-effort-based compilation of posts on Hindi film songs that I normally visit regularly. As I record my sincere thanks to all the original creators of these posts, any other posts that I have nor covered herein shows my lack of awareness of existence of such posts and is by no means any disrespect to their work. The copyrights to the posts, images and video clips remain the properties of the original creators.

Carnival of Quality Management Articles and Blogs, March, 2019

Welcome to March 2019 edition of Carnival of Quality Management Articles and Blogs.

Our core subject of Quality Management – Road Ahead to Digital Transformation during the year 2019, we have covered:

  • The Basics of Digitization, Digitalization and Digital Transformation in January 2019;
  • The foundation of the Digital Quality February 2019.

Presently we will take up one of very-oft heard term Quality 4.0

Quality 4.0 blends new technologies with traditional quality methods to arrive at new optimums in Operational Excellence,[1] For the quality professionals, these technologies are important because they enable the transformation of culture, leadership, collaboration, and compliance.

The webinar- It’s Time for a QMS Revolution with Quality 4.0 – provides insightful information on how Quality 4.0 will revolutionize the QMS implementation process. Moreover, the presenter discusses on how the emergence of social media platforms will play a role in the organization`s ability to achieve results.

Quality 4.0 can also be represented as[2] :

Quality 4.0 = Connectedness + Intelligence + Automation (C-I-A)
for Performance Innovation

What Are the Four Things Quality Isn’t?[3]

#1 Quality 4.0 is not separate from traditional quality:

#2 Quality 4.0 is not EQMS

#3 Quality 4.0 is not all about technology.

#4 Quality 4.0 is not just the job of IT.,

Quality 4.0 is closely aligning Quality principles and Standards with the predicted challenges of the new Industrial Revolution, to enable innovation and better business models[4].

There is one more implication for the quality professionals – It is about new skills to keep one of the LESSER more SKILLED JOBS that will be available. In a complimentary webinar – The Smart Factory, Industry 4.0 And Quality – presented by Dr. Joseph A. DeFeo, wherein he discusses how to get on board with Quality 4.0 and lead it!

Nine disruptive technologies are involved in the Industry 4.0[5]

What do the digital technologies bring in terms of performance jump across functions? Let’s start by looking at the operations, where McKinsey & Company experts have shown that the impact potential is significant across all functions.[6] In so far as quality is concerned, This survey expects a decrease in costs related to suboptimal quality of 10 to 20%, by through Industry 4.0 Quality levers such as SPC, advanced process control (APC), and digital performance management.

Before we look at the strategy to transform traditional quality management practices into Quality 4.0-driven culture, we will take a closer look at the nine disruptive technologies, in our forthcoming articles.

We will now turn to our regular sections:

For the present episode we have picked up article, Despite Technology’s Hype, Business Remains a Human Enterprise,by Jim Champy , …. The challenge today is increasingly to digitize work while still paying attention to the skills and values of the people who will make the enterprise work… There may be fewer people in digitized enterprises, but …they will have to be more skilled. And if they misbehave, their bad actions will impact the enterprise all the more quickly… The masters of the digital enterprise must become contemporary masters of the whole – and learn to balance the hard and the soft (sides of the business).

We now watch Why You Should Care About Quality 4.0 in ASQ TV, which looks at importance of Quality 4.0.

Jim L. Smith’s Jim’s Gems posting for February 2019 is:

Commitment and Discipline :

  • Quality Requires a Team Effort – Achievement of a robust quality culture is an outcome of the combined efforts of the minds and hearts of everyone working together toward a common cause. Involving the combined efforts of the organization into the pursuit of a common goal can be challenging…The sustenance of quality environment in the organization needs pervasive evidence of a continuous commitment and disciplined pursuit of quality excellence. A committed and disciplined organization begins with individual effort, and so too does it continue, sometimes through the pure willpower of those who understand the importance of achieving a substantive quality environment…Implementing a true quality environment which might go ‘against the grain’ can be daunting To do so takes courage and fortitude to be in pursuit of a quality movement. It takes sustained commitment and discipline, and these attributes come from within…To be a change advocate is to break from the past and maybe from organizational tradition. It requires an inner strength. It requires commitment and discipline…It (also) requires a team effort, beginning at the top, but mobilizing everyone. Every person is a stone of the organizations’ foundation.
  • Quality implementation requires ongoing support. – Unless there is an increased focus given to a collaborative team endeavor toward a common goal, a quality environment will not be achieved…Implementing quality means change, and change is difficult for many. It takes a special kind of management to lead, manage, and support the organization if there is to be substantive movement toward a quality environment…When applied to the organizational setting, discipline means requiring management to light the way and to stay on course…Positive, sustainable change can only happen if there is a special spirit in the way it is approached. Certainly, senior management plays a critical role in creating and sustaining a true quality environment. They provide the impetus, funding and ongoing support.

I look forward to receive your inputs / suggestions that can further enrich our discussions on the subject of Digitalization in the Quality Management

Note: The images depicted here above are through courtesy of respective websites who have the copyrights for the respective images

[1] What is Quality 4.0?

[2] Quality 4.0

[3] What Are the Four Things Quality Isn’t?

[4] Industrial Revolution 4.0 – The future is here!

[5]  Industry 4.0

[6] Industry 4.0: How to navigate digitization of the manufacturing sector

The Fourth Industrial Revolution – Industry 4.0 – An Overview

The Fourth Industrial Revolution[1] represents a fundamental change in the way we live, work and relate to one another. It is a new chapter in human development, enabled by extraordinary technology advances commensurate with those of the first, second and third industrial revolutions. These advances are merging the physical, digital and biological worlds in ways that create both huge promise and potential peril. The speed, breadth and depth of this revolution is forcing us to rethink how countries develop, how organisations create value and even what it means to be human. The Fourth Industrial Revolution is about more than just technology-driven change; it is an opportunity to help everyone, including leaders, policy-makers and people from all income groups and nations, to harness converging technologies in order to create an inclusive, human-centered future. The real opportunity is to look beyond technology and find ways to give the greatest number of people the ability to positively impact their families, organisations and communities.

The first three industrial revolutions[2]

Zvika Krieger, the head of technology policy and partnerships at WEF, states that there is a common theme among each of the industrial revolutions: the invention of a specific technology that changed society fundamentally.

The First Industrial Revolution started in Britain around 1760. It was powered by a major invention: the steam engine. The steam engine enabled new manufacturing processes, leading to the creation of factories.

The Second Industrial Revolution came roughly one century later and was characterized by mass production in new industries like steel, oil and electricity. The light bulb, telephone and internal combustion engine were some of the key inventions of this era.

The inventions of the semiconductor, personal computer and the internet marked the Third Industrial Revolution starting in the 1960s. This is also referred to as the “Digital Revolution.”

The Fourth Industrial Revolution[3] refers to how technologies like artificial intelligence, autonomous vehicles and the internet of things are merging with humans’ physical lives.

Krieger says that the Fourth Industrial Revolution is different from the third for two reasons: the gap between the digital, physical and biological worlds is shrinking, and technology is changing faster than ever.

According to Professor Klaus Schwab, Founder & Executive Chairman of the World Economic Forum, it is “blurring the lines between physical, digital and biological spheres.”

It’s important to appreciate that the Fourth Industrial Revolution involves a systemic change across many sectors and aspects of human life: the crosscutting impacts of emerging technologies are even more important than the exciting capabilities they represent…. The result of all this is societal transformation at a global scale… Furthermore, the sense that new technologies are being developed and implemented at an increasingly rapid pace has an impact on human identities, communities, and political structures.

This revolution is about much more than technology—it is an opportunity to unite global communities, to build sustainable economies, to adapt and modernize governance models, to reduce material and social inequalities, and to commit to values-based leadership of emerging technologies.

The Fourth Industrial revolution is driven by four disruptions: the astonishing rise in data volumes, computational power, and connectivity, especially new low-power wide-area networks; the emergence of analytics and business-intelligence capabilities; new forms of human-machine interaction such as touch interfaces and augmented-reality systems; and improvements in transferring digital instructions to the physical world.[4]

The Fourth Industrial Revolution is therefore not a prediction of the future but a call to action. It is a vision for developing, diffusing, and governing technologies in ways that foster a more empowering, collaborative, and sustainable foundation for social and economic development, built around shared values of the common good, human dignity, and intergenerational stewardship. Realizing this vision will be the core challenge and great responsibility of the next 50 years. [5]

Challenges and opportunities [6]

There are three reasons why today’s transformations represent not merely a prolongation of the Third Industrial Revolution but rather the arrival of a Fourth and distinct one: velocity, scope, and systems impact. The speed of current breakthroughs has no historical precedent. When compared with previous industrial revolutions, the Fourth is evolving at an exponential rather than a linear pace. Moreover, it is disrupting almost every industry in every country. And the breadth and depth of these changes herald the transformation of entire systems of production,
management, and governance.

In the future, technological innovation will also lead to a supply-side miracle, with long term gains in efficiency and productivity. Transportation and communication costs will drop, logistics and global supply chains will become more effective, and the cost of trade will diminish, all of which will open new markets and drive economic growth. At the same time, as the economists Erik Brynjolfsson and Andrew McAfee have pointed out, the revolution could yield greater inequality, particularly in its potential to disrupt labor markets.

There are four main effects that the Fourth Industrial Revolution has on business—on customer expectations, on product enhancement, on collaborative innovation, and on organizational forms. The governments will increasingly face pressure to change their current approach to public engagement and policymaking, as their central role of conducting policy diminishes owing to new sources of competition and the redistribution and decentralization of power that new
technologies make possible. Ultimately, the ability of government systems and public authorities to adapt will determine their survival.

The Fourth Industrial Revolution, finally, will change not only what we do but also who we are. It will affect our identity and all the issues associated with it: our sense of privacy, our notions of ownership, our consumption patterns, the time we devote to work and leisure, and how we develop our careers, cultivate our skills, meet people, and nurture relationships. It is already changing our health and leading to a “quantified” self, and sooner than we think it may lead to human augmentation. The list is endless because it is bound only by our imagination.

For example, in ‘Elon Musk’s vision for the future’, one of most prominent icons of Fourth Industrial Revolution, Elon Musk shares his predictions for artificial intelligence, renewable energy and space exploration.

As an another example, a special panel of highly scientific minds discusses what the future holds for tech innovation, education and entrepreneurship. Panelists include Google’s “captain of moonshots,” Astro Teller, Stanford bioengineer Christina Smolke, an associate professor at the university’s medical school, and DFJ General Partner Steve Jurvetson. Persis Drell, dean of the Stanford School of Engineering, moderates the discussion, with introductions by Stanford Professor Kathleen Eisenhardt.

4 myths about manufacturing in the Fourth Industrial Revolution[7]

#1 4IR technologies are too expensive

The beauty of the 4IR is that so much can be done without breaking the bank…While this does require a significant amount of upfront work to implement, it typically translates into optimized processes, shortened cycle times, increased quality, reduced energy losses, shorter downtimes due to maintenance, and improved overall equipment effectiveness.

# 2 4IR technologies will cause widespread unemployment

The investor and on the board of directors with SpaceX and Tesla, Steve Jurvetson’s visions for the future is that there will be no need for humans to have jobs for example. Even as slaves.[8]

There is no doubt that repetitive tasks will decline… In manufacturing, while we expect a decline of tasks for assembly and factory workers, material handlers, quality inspectors and maintenance technicians; this decline will be counterbalanced by an increase of roles in the fields of data analytics, artificial intelligence, software and application development and technologies. The challenge to be overcome, then, is how to re-skill the existing workforce.

# 3 Businesses must forgo profits to achieve sustainability

It is the mindset – that one must choose between what is right for the bottom line and what is sustainable – that must shift…To do this, we need to first change the way we think and define sustainability. Today, it is far more than planting trees or putting a few solar panels on the roof – although these are still good things to do. Instead, we need to think about sustainability in terms of sustained success, and in the broader context of contributing positively to the workforce, society at large, and the environment.

#4 4IR is only for large multinational companies in developed markets

This is not always the case, according to a recent World Economic Forum white paper “Fourth Industrial Revolution: Beacons of Technology and Innovation in Manufacturing”, which details 16 of the world’s most advanced 4IR factories.


There is no field where some or other form of digital technology has entered. Which technologies would deliver the biggest return on investment for a company, given its unique circumstances? To sort through the choices, manufacturing leaders can use a “digital compass” created by McKinsey & Company. The compass consists of eight basic value drivers and 26 practical Industry 4.0 levers. Cross-functional discussions that will help companies find the levers that are best suited to solve their problems.[10]

The digital power of Fourth Industrial Revolution is as much a threat as it is an opportunity, depending on whether the business enterprise can transform and extend their business models after, or before, the change becomes THE reality.

How ready are we?

[1] 4th Industrial Revolution

[2]  Everything you need to know about the Fourth Industrial Revolution

[3] What is fourth industrial revolution?

[4] Manufacturing’s next act

[5] Fourth Industrial revolutionKlaus Schwab

[6] The Fourth Industrial Revolution What It Means, How To Respond

[7] 4 myths about manufacturing in the Fourth Industrial Revolution

[8]  In the future there will be no jobs

[9]  The Plastics Blog – Don Loepp @ August 30, 2018

[10] Digital in industry: From buzzword to value creation

Fading Memories…. Unforgettable Songs: March, 2019

S N Tripathi: Unremembered music director of remembered songs :1957 – 1960

S N Tripathi (a.k.a. Sri Nath Tripathi) – B: 14-3-1913 / D: 28-3-1988 – after having toiled in the initial years, broke the glass ceiling in 1957 by taking up the Top Post in Binaca Geetmala in 1957. The song was Zara Samne To Aa Challiye, Chhup Chhup Chhalane Mein Kya Raz Hai (Janam Janam Ke Phere). If it sounds not so astounding, look at what was the coemption like: Naya Daur, Hum Sab Chor Hain (OP Nayyar), Pyaasa, Nau Do Gyaarah, Funtoosh, Paying Guest (SD Burman), Miss Mary, Champakali (Hemant Kumar), Chori Chori, Begunah, Basant Bahar, New Delhi (Shankar-Jaikishen) and Asha (C Ramchandra).

The roaring success of songs from a mythlogical film Hatimtai (1956) – Pavardiagr-e – Alam Tera Hi Hai Sahara and Jhoomati Hai Nazar Jhuumata Hai Pyar, followed by Janam Janam Ke Phere did not really lift the position of S N Tripathi to the A-grade elites.  In an industry that thrives on its mercurial values, talent has never been a password for opening the vault of success, this has been the rule of averages that ruled the roost.

We have been following the career of S N Tripathi, on this platform, every March since 2017. We have covered S N Tripathi’s unremembered songs from 1941 to 1950 in 2017 and then, from 1951 to 1956 in 2018.  In this episode we will listen to S N Tripathi’s unremembered songs from the films that we may or may not remember for the years 1957 to 1960.


S N Tripathi created music for all C – grade films, Khuda Ka Banda, Paristan, Ram Hanuman Yudhdh and Janam Janam Ke Phere in 1957. Of these, Janam Janam Ke Phere got fame because of Zara Samane To Aao Chaaliye (a Mohammad Rafi and Lata Mangeshkar duet)and Ye Hai Janam Janam Ke Phere.(a Mohammad Rafi and chorus title song).

We will listen to Tann Ke Tamboore Mein Do Saanson Ke Taar Bole Jay Radheshyam – Janam Janam Ke Phere, (1957)  – Manna Dey – Lyrics :Bharat Vyas

S N Tripathi has chosen Manna Dey for this bhajan-styled song. The song is set to a not-easy-to-sing tune, but Manna Dey easily does full justice.

Falak Bola Khuda Ke Noor Ka Mai Aashiyaana Hoon – Khuda Ka Banda (1957) – Mohammad Rafi – Lyrics: Shewan Rizvi

This is also a prayer song, so it is set to a qawwalli style tune. Qawwalli, in essence, is Sufi Islamic devotional songs.

Aside: The song seems to have been strongly influenced by a Nashad composition Badi Mushkil Se Dil Ki Beqaraari Ko Qaraar Aaya (Naghma, 1953, Shamshad Begum, Lyrics: Naqshab Jharavchi). This song has gone onto become one of Shamshad Begum’s all-time-great, whereas Khuda Ka Banda song has sunk into a bottomless pit, along with the film.


S N Tripathi did not compose music for any film in 1958.


S N Tripathi composed music for Jagaa Daku, Pakshiraj, Kavi Kalidas and Rani Rupmati in the year 1959.

Kavi Kalidas had 10 songs. Of these, Unpar Kaun Kare Jee Vishwaas (Mohammad Rafi, Lata Mangeshkar duet) and Shaam Bhayi Ghanshayam Na Aaye (Lata Mangeshkar solot) had become very popular. S N Tripathi has also directed this film. We will listen to Naye Naye Rango Se Likhati Dharati Nayi Kahani (Manna Dey- Lyrics: Bharat Vyas) from this film.

The song is filmed as the poet recounts the lyrics of his poem form the dream-like sequence running in his mind. The pensive depth and dreamy softness of Manna Dey’s voice fully convey the mood of the song.

The year 1959 had another period film, Rani Rupmati. AA Laut Ke Aa Ja Mere Meet (Mukesh and Lata Mangeshkar’s solo twin versions), Baat Chalat Nayi Chnari Rang Dari (Mohammad Rafi, Pt. Krishnarao Chonkar classical duet), Ud Jaa Bhanwar Maayaa Ka Pinjara Tod Ke (A Manna Dey Claasic solo) are remembered as hugely popular songs. We have picked up Aankhon Mein Surma Dal Kar Jab Aayegi Dulhaniya (Usha Mangeshkar, Lyrics: Bharat Vyas), for which an audio version is available.

There is a very short video version too, which confirms that song has been filmed in a mujra style in the film.


The year 1960 also has mixed bag in so far as popularity of the songs is concerned. S N Tripathi composed music for Chandramukhi, Do Aadami, Laal Quilla, Rani Chandravati (UR),  Sinahldeep Ki Sundari. And Veer Durgadas.

Mukesh solo Nain Ka Chain Chura Kar Le Gayi (Chandramukhi), two of Mohammad Rafi’s all-time-great solos, Lagata Nahin Hai Dil Mera Ujade  Dayaar Mein and Na Kisi Ka Aankha Ka Noot Hoon (Laal Quilla) and A Rajasthani folk-styled Lata Mangeshkar – Mukesh duet Thaane Kaajaraiyo Bana Loon (Veer Durgadas) remain very high landmarks of S N Tripathi’s career.

Chaandni Jhilmil Kare Taaron Bhari Ye Raat Hai – Chandramukhi (1960) – Sudha Malhotra, Lata Mangeshkar – Lyrics-Bharat Vyas

The suet song has been creatively used to manifest two opposing moods. Sudha Malhotra sings to an ebullient dancing mood to which Lata Mangeshkar reflects in a mood of pathos/

Piye Jaa Jaam e Ulfat Zindagi Mushqil Se Milti Hai -Veer Durgadas(1960) – Sudha Malhotra, Mubarak Begam – Lyrics-Bharat Vyas

This is a traditional courtesan dance wherein two courtesans try to please the king.

To explore the depth of variety in S N Tripathi’s compositions we have picked up two more songs from not-so-known films of 1960:

Bheegi Bheegi Mehki Mehki Raat Hai – Do Aadmi (1960)  – Geeta Dutt – Lyrics-Prem Dhawan

The song is set to a playful Mid-west-Asian tune. S N Tripathi has used five different female playback singers for five songs in the film. This song has Geeta Dutt, possibly because this  a song of seduction.

Ho Beenwaale Teen Sur Tere Been Ke Le Gaye Dil Mera Chheen Ke – Sinhaldweep ki Sundari (1960) – Lata Mangeshkar, Mukesh – Lyrics: Bharat Vyas

What would have been the context in which this song which has a pungi / been and a beenwala in the center is not known, but the song does have a distinct folk effect in the composition.

We have picked one more song from the year 1957 and two from 1960 that fits into our tradition of ending each of the episode with Mohammad Rafi Song.

Dunia Mein Sab Kuch Paisa Hai Sab Paise Hi Ka Jalwa Hai – Khuda Ka Banda (1957) – with Amirbai Karnataki – Lyrics: Shewan Jarvchi

The official records do not positively confirm that singers are Mohammad Rafi and Amirbai, so I have relied on the information available with the uploaded version.

Nadi Kinare Koi Pukare … Pas Hamare Aa – Chandramukhi (1960) – with Geeta Dutt – Lyrics: Nharat Vyas

This is a beautiful folk-tune based duet, which I have heard for the first time.

San Sanan San San Sanan Chale Pawan, Jan Janana Jan Janana Zoome Pawan – Chandramukhi (1960)  – with Suman Kalyanpur– Lyrics: Bharat Vyas

I remember the song from my radio-listening days.

We will end our present episode here, to continue with listening to some more of unremembered songs of S N Tripathi next this month.

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.

Business Sutra |10.1| Destiny vs. Desire

Business Sutra |10| Finale : The Indian Way of Doing Business

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

The final episode explores Indianness. Somewhere along the line, Indians have lost faith in themselves that there is wisdom in India and there is much to learn from Indian beliefs and customs. Somewhere along the line, we have allowed ourselves to become either defensive or apologetic. Devdutt Pattanaik believes that Indian ideas need to be seen through a fresh post-post-modern lens. The modern lens is very judgmental and looks at traditional thought in terms of right and wrong. The post-modern lens looks at all thoughts are being perspectives and does not respect any thought, be it traditional or otherwise. The post-post-modern lens looks at things in context appreciating the subjective realities of Indians and recognizing it as being different from those of other people. It is of value in some situations but not in all.

Business Sutra |10.1| Destiny vs. Desire

Colin’s dictionary definesIndianness’ as ‘perception or feeling of ‘being an Indian’ socially, culturally and spiritually.’

As we try to scan through the available literature on the net, we find that ‘Indianness’ is discussed in social, cultural or spiritual terms. These aspects do play a key role in building up the individual and collective beliefs, which, in turn, shape the behavior that leads to business-related decisions and actions. However, studying those material will not help us much in terms what the mythology has to say about ‘Indianness’ that would help us to understand the way Indians do business

So, we will straightway Segment 1 – Destiny v/s Desire – of the episode 10, Finale, The Indian Way of Doing Business to see what Devdutt Pattanaik brings up to the discussion table. .

The famous Indian head shake – not Yes, not No but May Be….

Always looking for a way out…

Scant regard for rules or structures…..fatalistic, maybe even laid-back – a sheltered attitude and a jugaadu approach.

So who are we?

Who are we? If we are people who believe in multiple life theories, if we are people who believe in destiny because of our multiple lives and our actions of previous lives lays out for us what is to come in the next life, then are we also people who are fatalistic and therefore accepting on the good side but very laid back on the bad side?  Why are we not as driven as the West?

For this I have to tell you two stories.

Let us begin first with the story of a lady called Gautami. Gautami is a widow and she has only one son. One day the son goes into the forest and he is bitten by a snake. He dies and the snake is caught by hunter Arjunaka. The hunter comes to Gautami and says I have caught the snake, would you kill it yourself or do I punish the snake? Gautami says, no, let it go. Punishing it will not bring my son back.  It is not the snake that killed my son, it is the destiny, the karma, which killed my son.  My son had a karmic baggage which determined the time of his death and the circumstances of his death. The snake was but an instrument, so there is no point being angry with the snake. This is classical fatalism, surrendering to the truth of the moment. This is belief in destiny or karma.

On the other side we have another story. This is the story of Savitri, who is a princess who chooses to marry a woodcutter destined to die a year. She says I want to marry this man even though the astrologers say that he is going to die in a year’s time. I love him and still would marry him. She marries him. On the day one year later, when he dies she follows the god of death as the god of death, Yam, is taking her husband’s soul to the land of the dead. She follows Yam. So, Yam is irritated and says that why are you following me? Better take care of the body of your husband. To which she replies that body is but a vessel, the real thing which matters is in your hand I want it back. Yam then says that according to the rule books your husband’s time was over, so surrender to the reality and go back. She refuses to surrender and keeps following him to the point when he gets exasperated and says, fine, I will give you three wishes, you may ask anything but the life of your husband. Savitri says her first wish is to let my father-in-law’s fortunes be restored. The second wish is that my father’s get an heir to his throne, since I am the only child, but being a daughter, I have married, so there is nobody in his life to take his care. The third wish she requests is  let her bear Satyvan’s son. Yama says so be it to all three wishes and moves on to the land of the dead. After some time he finds Savitri still following him. So he says, I promised you three things and I have given you those three things, so you must go back now. Savitri says, I agree and thank you very much for that, but the last wish was I should be the mother of my husband’s son. How can I bear his sons when he’s dead? Yama bursts out laughing and says oh you clever lady. You are not only determined but you are also clever and you are also generous because first you gave a wish to your father-in-law, then to your father and only then to yourself. So you deserve you the life of your husband back.

In mythology, you have the character of a woman who overturns the most ultimate fatalistic thing, which is death, and brings her husband back from the dead. The impossible happens. Where does it come from? It comes from what is called her desire. So, desire is another force or will or Kama. So karma on one side and karma on the other side. Savitri’s story on one side and Gautami’a story on the other. These two are the two extremes of Indian thought.

So, are we more like Guatami or are we more like Savithri?

This, again has to be explained in the form of a story. In the Upanishads, there is a very famous sage, Yagnavalkya. When he is asked the same question – what is life? Who are we? Is it about destiny or is it about desire? He says visualize yourself traveling on a chariot, which has two wheels. One is destiny, the karma and the other is desire, or the Kama. If you depend too much on one wheel, you will go around in circles. Depending on the situation, we depend, or surrender to the destiny, or, succumb to your desire as you make your journey through life.

That means we need to believe in one or the other based on the context, on the situation.

Like the times, like the incarnation – जैसा युग वैसा अवतार. As is situation so should be action.

How does this reflect in our business practices?

Just talk to people who do business with Indians. You will notice how exasperated they are! Typically the people from Europe and America who are binary thinkers, want a yes or no as an answer. Indians love saying May Be, Mostly, Probably..

शायद (perhaps)

Indians tend to say that because they are always thinking that there is perhaps a better way out. This is the power of the Indians and the weakness of the Indian at the same time. We are constantly thinking contextually. We do not believe in standardized answers, we want everything customized.

There is a beautiful word that describes this exact philosophy in business.

What is that?


This segment essentially states that, in order to keep moving ahead, depending on the circumstances, life needs to be balanced between desire and the destiny. However, for the Indians, this opens up a way to keep pondering over -which one is better than the other, in the given context?  More often than not, he would keep improvising, in his Jugaadu ways.

In our continuing journey of Devdutt Pattanaik’s TV serial Business Sutra, we will move on to the 2nd segment, ‘Jugaad, Good or Bad?’ of 10th Episode, the Finale, 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.