Carnival of Blogs on Golden Era of Hindi Film Music – January 2020

Welcome to January 2020 edition of Carnival of Blogs on Golden Era of Hindi Film Music.

The first post is about the end of the year –

Oh, what a world – As we get close to the end of the 2010s, it’s difficult to think about the state of the world. The post ends 2019 with four songs of 1940s/50s period of Indian Cinema. About different times, of course (with one even being about ancient times – supposedly), but also – needless to say – very relevant to our own.

Songs of Yore opened the New Year with some nostalgia of Americana @ Romancing the Route 66.

And, now the major event of January 2020 –

January 14, 2020 marked the 101st birth anniversary of poet and social activist Kaifi Azmi. Google Doodles has paid tribute to the legend who was one of the pioneers to bring Urdu poetry to mainstream Hindi films.

Google Doodle pays tribute to famous poet and songwriter Kaifi Azmi on 101st birthday

Google Doodle celebrates Kaifi Azmi’s 101st birth anniversary: Here are some of his best Bollywood songs

दिल को गहराई तक छूने वाले हैं कैफी आजमी के ये शेर

Remembering Kaifi Azmi’s dialogue in verse for the classic Hindi film ‘Heer Raanjha’ – The Progressive writer and film lyricist left his distinctive stamp on the 1970 adaptation of the Punjabi romance. – Chetan Anand’s Heer Raanjha was set in a rugged landscape and revolves around hearty village folk. Kaifi Azmi not only wrote the dialogues of lead charchters but also those of rest of ensemble cast as well.

We pick up other tributes and memories:

Mehfil celebrates ‘C Ramchandra’ Month! with the opening post on his songs that he himself sung, in the name of Chitalkar. This is followed up by –  C Ramchandra – The 1940sC Ramchandra – The 50s (Part I) and C Ramchandra – The 50s (Part II).

Utpal Dutt Today: How would the thespian have fared in the age of Netflix and Chill?Gautam Chintamani – It’s 26 years since Utpal Dutt passed on. Would he have achieved the same glory today with online platforms, where ‘content’ and ‘actor’ surpass the ‘star’, but have a much shorter screen life?

Flawed Genius – Sahir Ludhianvi was many things all at once – a failed romantic, a bitter cynic, a master egotist, a generous mentor, a firm friend. Above all, he was a stellar poet and master lyricist. This, then, is the man on whom the book – Akshay Manwani’s Sahir Ludhianvi: The People’s Poet (Harper Collins Publishers India; ISBN: 978-93-5029-733-9; Rs.399; 320 pages) – shines a spotlight.

The World of Javed Akhtar: 124 Rare Exhibits to Celebrate the Legend’s 75th Year  –  Silhouette Magazine goes backstage to speak to the curators, Pradeep Chandra and S M M Ausaja, and bring an exclusive preview.

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

In our Manna Dey birth centenary series, after Manna Dey and his contemporary lead actors, we took up Manna Dey’s Comedy Songs, starting with Manna Dey’s songs for Mehmood. The January 2020 episode explores Manna Dey- Mehmood bond from the beginning of Mehmood’s acting career, till blossoming into comedy songs in 1964 with Ziddi songs.

C.I.D. — when Bollywood musical met noir in signature Dev Anand styleSamira Sood -The 1956 classic also introduced one of Hindi cinema’s most loved actors – Waheeda Rehman. Ask anyone born after 1980 and they’ll tell you — if at all they’ve heard of C.I.D. — that the one thing about the movie that has immediate recall is the song Yeh Hai Bombay Meri Jaan.

RD Didn’t Get His Due, But He’ll Never Be Forgotten: Asha BhosleKhalid Mohamed – RD Burman passed away at the age of 54, on 4th January, 1994. And it was only posthumously – or should we say belatedly? – that he has been acknowledged as a music wizard.

January 2020  episode of Fading Memories, Unforgettable Songs takes up Jaidev: Brilliant, But Underrated, Composer:  1971, in continuation of the series on Jaidev. The first two articles related to Jaidev’s songs from  1955 to 1963 and from 1964 to 1970 .

Dr. Pradeep Sheety adds: Lata’s NFL Jayate Jayate Jayate … was originally a Kannada film song by Manna Dey, Amber Kumar and Krishna Kalle from the movie KALPAVRIKSHA,1969, with Jaidev’s music. Lyrics by Ku Ra Seetaram Shastri. A lovely song. Unlike the patriotic Hindi version, it is about the role of truthfulness and honesty in life.

We will now take up the articles on other subjects:

Smita Patil’s portrayal of a flawed, messy actor in Bhumika is fascinating and powerfulSamira Sood – Based on memoir of Marathi actor Hansa Wadkar, Smita Patil’s Bhumika, a film by Shyam Benegal, is a brutal & unflinching look at the life of a female movie star in Bombay. Not only Patil’s performance, but also the sensitive writing (Shyam Benegal and Girish Karnad, with Satyadev Dubey for dialogue) shine through.

Amol Palekar interview: ‘The challenge is always to try something else’Nandini Ramnath -One of Indian cinema’s best-loved actors is back with a new play after 25 years. What will it take to make him return to the movies?

Surrogate Songs – The purpose of such songs was really to focus on the lead actors who were quietly enjoying the song and dance, wishing in their hearts they could do it themselves. We will draw upon one song to understand the theme –

Bichhade huye milenge phir kismet ne gar mila diyaPost Box 999 (1958) – – Mohammad Rafi and Asha Bhosle – Kalyanji-Virji Shah – PL Santoshi

To which I have added my own submission –

Jaane Kahan Gayi – Dil Apana Aur Preet Parayai (1960) – Mohammad Rafi – Shankar Jaikishan – Shailendar

Night Songs By Shailendra, by Swapneel Sathe, is a night tour enjoying various flavors of emotions depicted from some selected night songs from the pen Shailendra.

Shabana Azmi is what Sarat Chandra Chattopadhyay thought of when he wrote SwamiMadhavi Pothukuchi – The 1977 film is an excellent tribute to Sarat Chandra Chattopadhyay’s book, which put the woman and her desires and angst in the forefront.

“Essayed Sisyphean roles with effortless ease” is a short review – for India Today – of a new book about Dilip Kumar – Dilip Kumar: Peerless Icon Inspiring Generations (by Trinetra Bajpai and Anshula Bajpai).

Chashme Buddoor, aka Saeed Jaffrey, and the art of making a small role fill the screenSamira Sood – The 1981 rom com and buddy film starring Saeed Jaffrey shows you don’t have to be centre stage or mainstream to have an impact.

Actor Saeed Jaffrey on the sets of Chashme Buddoor with Deepti Naval and Sai Paranjape | Twitter: @FilmHistoryPic

We end the post with a few songs of Mohammad Rafi, each one of which basically has a link with the topics discussed in the present post, we have picked up:

Apni Chhaya Mein Bhagwan Bitha Le Tu Mujhe – Insaniyat (1955) – C Ramchandra – Rajinder Krishna

Tum Jahan Jaaoge – Chor Darwaza (1965) – Roy Frank –  Kaifi Azmi

Kitana Rangeen Hai Ye Sama – Picnic (1966) – With Asha Bhosle – N Dutta – Sahir Ludhyanavi

Tere Kooche Mein Tera Deewana  – Heer Raanjha (1970) –  Madan Mohan – Kaifi Azmi

Chanpa Khili Daar – Faisla (1974 /1988) – with Asha Bhosle – R D Burman – Majrooh Sultanpuri

I look forward to your inputs to enrich the contents of Carnival of Blogs on 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 – January 2020

Welcome to January 2020 edition of Carnival of Quality Management Articles and Blogs.

The Carnival of Quality Management Articles and Blogs enters 8th year.

We have tested different formats to explore the world of quality profession. For 2020, we plan to focus on Revisiting Basic Quality Concepts. Our aim is to re-understand their inherent meaning and amplify their importance with reference to the sustained success of the organization.

We will pick up one topic every month. On this platform, we will remain quite brief and will take a quick peep at the reference material. Parallelly, I will, offline, prepare a more detailed briefing note, which shall be available for reading downloading at the click on a given hyperlink. For a complete reading of the relevant article / blogpost, one can continue to visit the blog as has been our past practice.

Our first call this month in this pursuit of Revisiting Basic Quality Concepts is History of Quality.

The History of Quality – Timeline

Civilizations that supported the arts and crafts allowed clients to choose goods meeting higher quality standards rather than normal goods. In societies where arts and crafts are the responsibility of master craftsmen or artists, these masters would lead their studios and train and supervise others.

‘The pillory for selling bad fish [1382] – recorded @ “Chaucer’s World” Chapter I – London Life, pp. 22 -– Compiled by Edith Sickert, first published in 1948 –   is, perhaps, one of the earliest recorded case of redressal of a quality complaint by the aggrieved customer(s).

Craftsmen themselves often placed a second mark on the goods they produced. At first this mark was used to track the origin of faulty items. But over time the mark came to represent a craftsman’s good reputation. Inspection marks and master craftsmen marks served as proof of quality for customers throughout medieval Europe. This approach to manufacturing quality was dominant until the Industrial Revolution in the early 19th century.[1]

But by the 1920s, the focus had shifted from quantity to quality because of increases in demand. Emphasis was also added to ensuring quality was consistent from shipment to shipment. Throughout the century, it quickly became clear that working harder and for longer periods of time was not increasing efficiency. The realization demonstrated that working smarter and employing quality control measures was the way to ultimately yield the most profits.[2]

The Factory System and The Taylor System also remain documented as two major milestones in the history of quality.[3]

The beginning of the 20th century marked the inclusion of “processes” in quality practices. Walter Shewhart began to focus on controlling processes in the mid-1920s, making quality relevant not only for the finished product but for the processes that created it.[4]

Edwards Deming took this one step further. Management, he said, can lead by understanding what he called his “System of Profound Knowledge (SoPK)”.[5] Dr. Deming’s holistic approach to leadership and management ties together seminal theories in four interrelated areas: appreciation for a systemknowledge of variationtheory of knowledgeand psychology. The System of Profound Knowledge promotes transformation through an essential outside “lens” which can benefit anyone and any organization.[6] As well as his System of Profound Knowledge, Deming also presented 14 management principles that he believed could improve efficiency in business, encouraging a holistic approach that encompasses not only business ideas, but concepts centering on how humans operate as well.[7]

Quality management development stages, trends and its main focus and context changesJuozas Ruzevicius

The quality systems and approach to the quality have further matured during these first two decades of 21st century. We’re seeing a few big shifts:

    • Integration: Technology now makes it possible for companies to break down barriers between departments, which has long been a foundational principle of quality management.
    • Big Data: Today’s QMS captures more data than ever, allowing companies to leverage sophisticated reporting and business intelligence tools to build a competitive advantage.
    • Risk Management: Companies are realizing that risk management and quality are inseparably linked, as reflected in the risk-based approaches now being leveraged in recent iterations of ISO 9001.

We’ve come a long way in improving quality. Now the question is how to build on that success. [8]

To end, the present discussion we will take look at – Where is quality headed from here? – A Brief History of Quality – This webinar will provide quality practitioners with a chronological history of quality from its earliest beginnings in mass manufacturing and the need for standardization and efficiency to the present day and the proliferation of national and international quality standards.

[N.B. – Detailed note on History of Quality can be read / downloaded by clicking on the hyper link.]

We will now turn to our regular sections:

For the year 2020, we plan to look at the Organizational Culture, as one of the enablers of the sustained success. We will take up one aspect for quick study. Presently, we have taken up – The Organizational Culture – What Is It? – Organizational culture is a system of shared assumptions, values, and beliefs, which governs how people behave in organizations… At its worst, corporate culture can be a drag on productivity and performance. At its best, it is an emotional energizer…Organizational culture is like an iceberg, with most of its weight and bulk below the surface. Don’t leave the organizational iceberg unattended! ..And let’s forget that the culture of any organization is shaped by leadership.

We pause here for a moment  to take note of a series of articles, posted by Tanmay Vora @QAspire on Active Garage during 2009. that touches upon some of the most critical aspects of building a quality-centric organization culture.

We now watch ASQ TV, wherein we look at a few relevant videos:

  • ASQ TV Episode 2: Culture of Quality – This episode of ASQ TV explores the culture of quality. Brien Palmer, author of Making Change Work, gives us an overview of the components of a culture of quality and its importance. Monroe Clinics culture change leads to a leaner healthcare facility. And Kaizen plays an important role in a quality culture.

Jean Harvey article: http://asq.org/quality-progress/2012/05/change-management/make-the-leap.html

  • Culture Of Quality – The episode digs deeper into transforming the organizational culture into a culture of quality.

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

  • Sustained Effort – Attention to details and focused follow up typically means the difference between success and failure….We need the confidence to envision bold goals, and the humility to get our hands dirty in order to reach them. We need to keep the big picture firmly in our minds, while giving our attention to all the little details that will get us there…We need clear direction to our efforts and give sustained effort to our visions…It is persistence that helps us succeed at what we strive to accomplish, and success seems to be largely a matter of hanging on after everyone else has let go…Vince Lombardi, the NFL football legend once said, “If you really want something, you can have it if you are willing to pay the price. And the price means that you have to work better and harder than the next guy.”
  • Quality is Secondary – Countless industries had worked for decades to create once awe-inspiring excellence. But faster cycle times and globalization have been able to replace that standard of excellence with a much lower quality and performance level…Partially to blame, as cited by several economists, is something that’s been called the Walmart Effect: driving prices as low as possible and then squeezing out a few more cents from suppliers every few months. .. To compete solely on price, it’s easier to embrace mediocrity…along with their competitors. However, these reduced prices don’t show up in the pockets of associates or customers. ,,, It seems you can find enough people, anyplace in the world, to buy anything—no matter how poor the quality as long as the price is right….Alas, so unfortunately….
  • Adapt – For those who lived through the 90’s there was a realization that decade was a time of rapid change. And for those who believed the 21st century would be no different, were definitely correct…One of the secrets to success and happiness in these changing times is the ability to be flexible – the power to adapt…The Alcoholics Anonymous “serenity” prayer says: Change what you can, accept what you can’t, and cultivate the wisdom to know the difference. To these profound words, one would suggest adding, “believe wholeheartedly in your ability to do both!”

I look forward to your views / comments / inputs to further enrich the subjects of Basics of Quality and Organizational Culture and their role in Creating and Maintaining Sustained Success.

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

[1] Quality in the Medieval Guilds of Europe

[2] A Brief History of Quality Control

[3] Quality Management in the Industrial Revolution

[4] Quality Management in the 20th Century

[5] History of Quality & the Evolution of the Modern Leader

[6] The Deming System of Profound Knowledge® (SoPK)

[7] W. Edwards Deming: From Profound Knowledge to 14 Points for Management – Dr. Joseph A DeFeo

[8] The History of Quality Management – by Rachel Beavins Tracy

Fading Memories….Unforgettable Songs: January 2020

Jaidev: Brilliant, But Underrated, Composer:  1971

In the centenary birth year, Jaidev (Varma) – B: 3 August 1919 – D : 6 January 1987 – is remembered more as a music director who could moulid classical or folk tune in his very unique style.He also boldly experimented using emerging singers like Dilraj Kaur, Bhupinder, Hariharan, Chhaya Ganguli, Pinaz Masani or Runa Laila and also classical singers like Parveen Sultana, Bhimsen Joshi or Laxmishankar.

Jaidev is the only Hindi film music director to have won three National Film Award for Best Music Direction, three times for Reshma Aur Shera (1972), Gaman (1979) and Ankahee (1985). But fame and money eluded him. So much so that, no prints of Prem Parbat (1973) – which has two great Lata Mangeshkar songs – are thought to have survived.

We have taken up this commemorative annual series on Jaidev on this platform w.e.f. 2018, wherein we had covered his songs from 1955 to 1963. Next year we followed by taking up Jaidev;s songs from 1964 to 1970. Presently, we will his known, and less known songs from three films for the year.1971. Of these, the two films– Do Boond Paani, and Reshma Aur Shera – are on rural background and the third one – Ek The Reeta – is urban comedy thriller.

Jaidev’s magic in flopped films

1971

Do Boond Paani

Written produced and directed by K A Abbas, Do Boon Paani is set against the backdrop of Rajasthan. The film focused on the scarcity of water, and the eventual building of a dam. Its cast included Simi Garewal, Jalal Agha and Madhu Chanda and was the debut film of actor Kiran Kumar. The film won the Nargis Dutt award for Best Feature film on National integration. The music by Jaidev was stated as a “magisterial score”, however, the film was not a commercial success and flopped at the box office

Banni Teri Bindiya Ki Le Loon Re Balainyyan – Lakshmi Shankar – Lyrics: Bal Kavi Bairagi

Jaidev weaves the song around a simple traditional song. Use of shehnai in the interlude is also in line with the tradional marriage ceremony set up where at two musicians would keep playing shehnai and nagadaa during the ceremony.

The audio version includes both stanzas of the song.

Jaa Ri Pawaniyaa Piyaa Ke Des Jaa – Asha Bhosle – Lyrics: Kaifi Azmi

Kafi Azmi is at his poetic best in conveying message of

tan-man pyaasaa, pyaasi najariyaa
pyaasi pyaasi gaagariyaa
tan-man pyaasaa, pyaasi najariyaa
pyaasi pyaasi gaagariyaa
ambar pyaasaa, dharti pyaasi
pyaasi saari nagariyaa

(Body and soul are thirsty, thirsty is the gaze; thirsty is even water-carrying vessel. Thirsty are even sky, land and the town too.)

Jaidev has used the Asha Bhosle’s voice in a scale that fully reflects the feeling of the thirst of the wait. Visuals in the interlude integrate the building of the dam along with rural domestic ecosystem.

Peetal Ki Meri Gagari Diladee Se Mol Mangayi Re – Parveen Sultana. Minno Puroshottam – Lyrics: Kaifi Azmi

Jaidev so effortlessly weaves in Rajashatn rural backdrop visuals with this wonderfully melodious Rajastahni Maand tune based song. Use of Parveen Sultana and Minoo Purushottam also provides a very unique earthen touch to the emotions of the song.

The audio version of the song has much better audio notes and has one more stanza as a bonus.

The song has poignant version, too, as a Parveen Sultana solo.

Apne Watan Mein Aaj Do Boond Paani Nahi = Mukesh, Noor Jahan – Lyrics – Kaifi Azmi

The lyrics and the visuals of the song narrate the tale of exodus of the people from their native village in search of new water resources.

Reshama Aur Shera

Reshma Aur Shera was produced and directed by Sunil Dutt. It was well-acclaimed by the critics internationally. The film was shot in and around Jaisalmer. It is a romeo-Juliet story embeded in the realm of feuding Rajput clans.  Like film’s cinematography, music by Jaidev also adds to the true ethnic tone the film.The film won music director Jaidev, his first National Film Award for Best Music Direction in 1972, for the two Lata Mangeshkar so;o songs Tu Chanda Main Chandani (Lyrics: Balkavi Bairagi) and Ek Meethi Si Chubhan (Lyrics: Udhav Kumar).

Trivia: Amitabh Bachchan’s semi-cameo role as speech-impaired younger brother is considered as his one of the unsung role, before he hit pay dirt in Zanzeer.

Jab Se Lagan Lagayee… Umar Bhar Neend Na Aayi – Asha Bhosle – Lyrics: Neeraj

The song is a sweet compliant for the after-effects of falling in a love-relationship. Asha Bhosle easily recreates the mood of the song.

Tauba Tauba Meri Tauba… Ek To Ye Bharpur Jawani…Us Par Yeh Tanhayee – Asha Bhosle – Lyrics; Rajinder Krishna

This is a full-fledged mujra song, filmed on Padma Khanna.

Zalim Meri Sharaba Mein Ye Kya Mila Diya – Manna Dey and chorus – Lyrics: Rajinder Krishna

A full-some qawaali wherein Sanjay Dut, a young boy of 12 then, makes a cameo debut.

Ek Thi Reeta

Ek Thi Reeta is an action comedy thriller, produced and directed by Roop K. Shorey. The film was an adaptation of Shorey’s earlier success Ek Thi Ladki (1949), which had highly successful music score by Vinod. (Remember Lara Lappa Lara Lappa Lai Lakda). The earlier success formula did not work this time, and Ejk Thi Reeta was a commercial flop. The films starred Vinod Mehra, Tanuja and I. S. Johar in lead roles with Lolita Chatterjee, Rehman, Faryal and Manmohan Krishna forming the ensemble cast .

As much as the earlier two films are known, this film and all of its 10 songs are totally unknown, so we have selected here a few representative ones.

Ho Balama Beimaan Na Mane – Manna Dey and Sarala Kapoor – Lyrics: Vikal Saaketi

The song is influenced in Bhojpuri singing style. Jai Dev has introduced a new female voice of Sarala Kapoor in this duet.

Baaton Baaton Mein Baat Badhati Hai…Ye HaiN Pyar Ke Nazare – Asha Bhosle Jagjit Singh – Lyrics: Prem Jalandhari

The song is a teasing song, probably sung in a picnic situation. Jagjit Singh gets introduced in the last stanza of the song. This said to be his first recorded son, wherein we find him in a rare different mood.

Paani Mein Jo Ham Doobey, To Dub Gaye Hairani Mein….Wah Wah Re Lachchi Tera Pallu Latake – Asha Bhosle, Sarala Kapoor – Lyrics: Sarshar Shailani

The song is of mischievous playful young girls got together a river or a talab like waterbody. Jaidev deftly handles the rustic joyous mood of the song.

Non Film Songs

Before we come back to the two songs of Mohammad Rafi from Ek Thi Reeta, to end our episode in our traditional style, we need takenote of two NFS of Jaidev which were recorded in 1971.

Carvan Guzra Kiya Ham Rahguzar Dekha Kiye – Asha Bhosle – Lyrics: Faani Badayuni (Original Name – Shaukat Ali Khan)

Jaidev creates sublime mood with Asha Bhosle’s voice.

Jayate Jayate Jayate Satyamev Jayate – Lata Mangeshkar – Idhav Kumar

Jaidev very creatively weaves chorus with Lata’s leading voice to create the spirit of Truth always prevails.

Back to Ek Thi Reeta, with two Mohammad Rafi songs, to end our present episode –

Jo Mere Pyar Pe Ho Shaq To Kar Lo Dil Saaf Beshaq…..Dareech-e-Shaq, Dareen-e-Shaq…Kisi Ko Ho Bhala Kyun Shaq –Ek Thi Reeta 91971) – Asha Bhosle, Mohammad Rafi – Lyrics: Prem Jallandhari

Both the young players openly confess that now there is hardly any room to create any doubt about the bond of our love.

Ye Shor Hai Gali Gali …Ke Woh Jawan Ho Chali – Mohammad Rafi – Lyrics: Sarshar Shailani

Jaidev creates a playfully throw-of-love youthful joy in Mohammad Rafi’s voice. The song is et to quite a difficult to tune to sing, but Rafi remains very comfortable in the course all the ups and downs and turns of the song.

We end today’s episode on a happy note to record that Jaidev has so effectively used Mohammad Rafi, even in 1971. Our journey of Jaidev’s Hindi Film Music career continues…..

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 Organizational culture : What it is?

About this series:

The organizational culture is the oft-discussed topic in managerial and non-managerial parlance, and yet, it remains as much misunderstood or un-understood phrase. There are many imaginary concepts, beliefs, mysteries and tardyons intertwined with it, too.

In our present series, we aim to understand its true meaning, its different facets so that we can apply it to attain, and maintain, the competitive edge, required to achieve the sustained success. We will also see how such organizational cultures are built or destroyed.

Every company has its own unique personality, just like people do. The unique personality of an organization is referred to as its culture. Organizational culture is a system of shared assumptions, values, and beliefs, which governs how people behave in organizations.[1]

It encompasses values and behaviors that contribute to the unique social and psychological environment of a business The organizational culture influences the way people interact, the context within which knowledge is created, the resistance they will have towards certain changes, and ultimately the way they share (or the way they do not share) knowledge. Organizational culture represents the collective values, beliefs and principles of organizational members. It may also be influenced by factors such as history, type of product, market, technology, strategy, type of employees, management style, and national culture. Culture includes the organization’s vision, values, norms, systems, symbols, language, assumptions, environment, location, beliefs and habits.[2]

In simple terms, to the extent that people can share common wishes, desires and aspirations, they can commit themselves to work together. It is a matter of being able to care about the same things, and it applies to nations as well as to associations and organizations within nations.

Organizational culture can be looked at as a system. Inputs include feedback from, e.g., society, professions, laws, stories, heroes, values on competition or service, etc. The process is based on our assumptions, values and norms, e.g., our values on money, time, facilities, space and people. Outputs or effects of our culture are, e.g., organizational behaviors, technologies, strategies, image, products, services, appearance, etc.[3]

Anyone can copy a company’s strategy, but nobody can copy their culture. At its worst, corporate culture can be a drag on productivity and performance. At its best, it is an emotional energizer…Organizational culture is like an iceberg, with most of its weight and bulk below the surface. Don’t leave the organizational iceberg unattended! ..And let’s forget that the culture of any organization is shaped by leadership.[4]

Seven elements make up an organizational culture:

    1. Structural stability. All cultures are held together quite rigidly by their own values and beliefs. It’s what identifies the group and resists any changes to the members.
    2. Breadth. Culture is pervasive and touches every part of the organization. Even if someone doesn’t fully adhere or agree with the culture, they are subject to it anyway since it’s what is generally accepted.
    3. Depth. Do not underestimate how ingrained and unconscious culture is present in any group. It’s how people act and not have to explain their actions to their peers.
    4. Patterning or integration. When the members of the group exhibit the same behavior over a period of time, it means that culture makes their beliefs coherent.
    5. Visible artifacts. The office is a great example of an artifact important to organizational culture theory. But mostly these are things that are very apparent on the surface of the group such as hierarchy, interaction and attitudes during meetings.
    6. Espoused beliefs, values, rules and behavioral norms. When you look up at the company corkboard or its website and you see the mission and visions then you’ve seen these element.
    7. Underlying, taken-for-granted assumption. There are tacit, basic things that explain the artifacts and beliefs.[5]

P.S. Please see the full size  @: What is organizational culture – The dynamics of organizational culture – Why leaders should care about organizational culture

[1] What is Organizational Culture? – Definition & Characteristics

[2] Organizational culture

[3] What is Organizational Culture?

[4] What is organizational culture

[5] Organizational Culture Theory: Things to Know and How to Use it in the Workplace

Manna Dey’s Comedy Songs – Mehmood [1]

Manna Dey, with his unique style and unforgettable voice, was marked out among his great peers – what was then known as male playback quartet of Mohammad Rafi, Talat Mahmood, Mukesh and Kishore Kumar. His versatility was unparalleled; his singing could convey the vast gamut of human emotions and he could effortlessly switch from serious songs to musical comedy. His many such songs of ‘50s are still remembered with same passion as they were liked then.

In our previous series of ‘Manna Dey and the contemporary lead actors several shades of Manna Dey’s singing style. With the passage of time, as the share of romantic songs showed a shrinking trend, we see Manna Dey slowly shifting to singing songs that were extremely challenging, but now for the character actors.

Steeped in the tradition of classical music, Manna Dey easily straddled over a diverse range of genres, from khayal and thumris to popular Hindi music with a Western tilt to traditional folk songs and Vaishnav kirtans and even Rabindra sangeet. But it was in his rendition of popular songs with a classical tinge that Manna Dey stood unmatched. It was this very distinctive style that made him an ideal choice for comedy songs on the pattern of classical music.

That also was the time when career of Mehmood, was taking the firm shape of a comedian actor. So it was more natural that Mehmood would gravitate to Manna Dey as his playback voice for creating his own different identity as a THE comedian.

Mehmood

Mehmood (Ali – B: 29-9-1932 – D: 23-7-2004), the eldest of sons the dancing star of ‘40s, Mumtaz Ali, was a very versatile artist who could act, dance or sing. However, he is best known as an actor who took the role of a comedian at par with the leading hero of the film. When he didn’t overstep the mark into the cheap antics or drippy sentimentalism, Mehmood could delight the viewer with pure physical comedy with his mimes and on-the-dot comic timing.

The very early footprints of Mehmood’s career can be seen by minutely observing films Do Bigha Zameen, 1953 (a peanut seller), Nastik, 1954 (a henchman), Pyaasa, 1957, ( hero’s negative shaded brother), C I D, 1960 (a cameraman), Kagaz Ke Phool 1959 etc. His first major break as a comedian was in Paravarish, (1958) and then in Chhoti Behan (1959), where he got nominated as Best Supporting Actor for Filmfare award.

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Here is the first Manna Dey connection song of Mehmood’s beginning of the career –

Chhod Ayodhya Ke Mahal – Sati Pariksha (1957) – Sanmukh Babu – Saraswati Kumar Deepak

The main lead actor for this mythological film was Daljeet. Mehmood seems to have some side role, but his name does appear in the credits.

Mehmood also started getting roles as the main lead actor at the early stage of his career.

We have one more duet, wherein the song is filmed on Mehmood –

Pyar Bhari Ye Ghatayein Raag Milan Ke Sunaye – Qaidi No. 911 (1959) – with Lata Mangeshkar – Dattaram – Hasrat Jaipuri

Mehmood is paired with Nanda in the lead role in the film.

Mehmood was again in the lead role in Pyase Panchhi (1961).

Babu Bol Ke Kaisa Roka Hamne Dhundha Kaisa Mauka – Pyase Panchhi (1961) – with Geeta Dutt – Kalayanji Anandji – Qamar Jalalabadi

The song is duet, classified under ‘teasing songs’. Here Ameeta teases her beloved Mehmood for making him stop where she likes – she conclusively closes the debate at the end of the song. Mehmood facial expressions narrate his innocence of a ‘gentleman’ hero.

This should go as a rare song wherein Kalyanji Anandji have chosen voice of Geeta Dutt !

In 1961, Mehmood also produced his maiden film – Chhote Nawab, where he gave opportunity to R D Burman to take up an independent music direction assignment. All male songs of the film, filmed on Mehmood, were played back by Mohammad Rafi.

Mehmood produced a comic-horror film Bhoot Bangla in 1965. He assigned music direction to R D burman again. R D Burman, now, dared to experiment with voices of Manna Dey and Kishore Kumar,, for the songs on the lead male character.

Aao Twist Karein Jaag Utha Hai Mausam — Bhoot Bungla (1965) – R D Burman – Hasrat Jaipuri

The song, an inspired version of Chubby Checker’s 1961 hit, ‘Let’s Twist Again‘. The song has been sequenced immediately after O Mere Pyar Aaja, a classically oriented song, performed by Tanjua on the screen, as a mockery of the choice for a youth festival competition song. (Does it also ring the warning to the older generation music directors? )

On its own, Aao Twist Karein now stands as a benchmark icon for a ‘western song’ genre in the Hindi Films.

Manna Dey is so heartfully carefree in the delivery of the song, and seems to draw quite a tough competitive line while sinning “J..a…a…g Utha Hai Mausam”,  to Kishore Kumar in the other two songs in the film – Jaago Sonewalo Suno Meri Kahani and Ek Sawal Hai Tum Se Yeh Mera.

Pyar Karta Ja Dil Kaheta Hai, Katon Mein Bhi Phool Khila – Bhoot Bangla (91650  – R D Burman – Hasrat Jaipuri

Manna Dey is once again in his carefree elements in this ‘young’ crowd picnic song. Mark the way plays the prelude alaap or the end the line Payr Karata Jaa, with his own version of yodeling.

Mehmood finds it convenient to give play to his inner comedian streak to deliver the expressions of carefree mood of the song.

On a parallel track he also was getting lucrative, and increasingly successful assignments as a comedian in films like, Sasural (1962), Raakhi (1963), Dil Tera Diwana (1963) etc. The songs filmed on him were either played back by Mukesh (In Sasural) and Mohammad Rafi. Mehmood’s comedian track went on a winning spree, so Mehmood seems to have concentrated on that path of his career.

Manna Dey – Mehmood association took up the shade of comedy song in a classical moulid with Manzil (1960).

Hato Kahe Ko Jhoothi Banao BatiyaN – Manzil (1960) – S D Burman – Majrooh Sultanpuri

S D Burman has conceived this parody of originally Faiyaaz Khan Saheb’s Bhairavi Thumri Are Batiyan Banao Chalo Kahe Ko Jhoothi in all sincere classical mode, and Manna Dey was an ideal choice for the rendition of the song. Mehmood adds his own colors by his facial mannerisms on the screen,

S D Burman maintained this tempo in their next project together as well.

Pyar Ki Aag Mein Tan Badan Jal Gaya – Ziddi (1964) – S D Burman – Hasrat Jaipuri

The practice of sugar-coating a comedy song in classical style moulid seems to have reached perfection now.

Main Tere Pyar Mein Kya Kay Na Bana – Ziddi (1964) – with Geeta Dutt – S D Burman – Hasrat Jaipuri

S D Burman now gives us a pure comedy song, all earnestness.

Use of Geeta Dutt, after such a long time is welcome on one hand but being deployed for a comedy song is not so welcome.

Before we take a short break in our journey of Manna Dey’s comedy songs for Mehmood, we need to take a painful pinch of salt of falling standards of such songs as well. We will take up an out-of-turn song from Naya Zamana (1971), since this was an S D Burman song – the last in Manna Dey – Mehmood – S D Burman comedy song saga.

Aaya MaiN Laya Chalta Firta Hotel – Naya Zamana (1971) – S D Burman – Anand Bakshi

As we will see in our next episode too, the music directors who were instrumental in setting very high standards of Manna Dey’s comedy songs have also been instrumental in creating such abysmal lows in the genre.

For the time being, we will leave this discordant note for break and continue our journey of Manna Dey – Mehmood comedy songs in our next episode too.