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

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

March was the month when India celebrated its traditional festival of Holi.

The month also celebrated International Women’s Day on March 8.. SoY has scripted Nayika Bhed in songs. The aesthetics classification of women has been an important part of aesthetics in our ancient literature and arts, such as poetry, drama, dance, music, painting and sculpture. The post has listed Hindi films songs on the basis of the eight types of Heroine, based on अवस्था – The state of her being -, are most commonly referred as Nayika Bhed, e.g. Solah singaar sajaaungi, main piya ko rijhaaungi, main waari waari jaaungi by Shanta Apte from Panihari (1946), music SN Tripathi w.r.t. वासकसज्जा (One dressed up for union).

Incidentally, this Shanta Apte song also gives an opportunity to connect to a full-fledged Shanta Apte tribute post – ‘The stormy petrel of the Indian screen’: Shanta Apte – on SoY last month.

Main Chup Nahin Rahoongi: Ten ‘Outspoken Woman’ Songs also is an article on the occasion of International Women’s Day. Lara lappa lara lappa (Ek Thi Ladki, 1949) has strongly advocated gender equality way back in 1949.

We pick up other tributes and memories:

As it happens, we have some excellent posts  covering the past epidemics in different parts of world, as captured in Hindi films-

Looking Back at My Old Review of Dr. Kotnis Ki Amar Kahani – This was a film about a doctor who goes to China to help cure a plague, which incidentally is now at the root of coronavirus pandemic.

‘No harm in asking him, is there?’ How Rajendra Kumar got Bertrand Russell to be in a Hindi movie  – Edited excerpts from the biography ‘Jubilee Kumar’ reveal the story behind the Nobel laureate philosopher’s cameo in the 1967 movie ‘Aman’.

Dharti ke Lal – Earliest Depiction of the Great Bengal Famine – The Great Bengal Famine, a holocaust that obliterated nearly 3 million Bengalis in a span of a year or so is mostly forgotten and undiscussed. The first film to illustrate the tragedy of the famine was Dharti Ke Lal (Children of the Earth, 1946) by Khwaja Ahmad Abbas. Amitava Nag looks back at this classic.

A scene from Dharti Ke Lal

A Norwegian folk song that is cathartic, sublime and upliftingShobha Mudgal – As we seal borders and lock ourselves in fearing for the survival of the human race, this is a voice (singing about Heiemo, a girl who sings with such a perfect voice that even the water-spirit Nykkjen falls in love with her) that I find cathartic, sublime and uplifting.

In the Musical Memory of Meena Kapoor is in fact a second part of comprehensive post on Meena Kapoor on her first death anniversary 23 November 2018 by Shalan Lal.

Nutan’s understated yet powerful performance in Bandini is a masterclass in acting – Set in pre-Independence India, Bandini tells the story of Kalyani (Nutan), a young woman who has been sentenced to life in prison after she murders the wife of her lover, Bikash (Ashok Kumar).

7 Films That Prove Shashi Kapoor Was Way Ahead of His Time – Looking back at a collection of the actor’s and producer’s way-ahead-of-the-times films, when it was still possible to fly over the cuckoo’s nest – Dharmaputra (1961), Sidhdhartha (1972), Satyam Shivam Sundaram (1977), Kalyug (1980), New Delhi Times (1984), Utsav (1984), Sammy and Rosie Got Laid (1994)

Shashi Kapoor in Junoon is a masterclass in how to humanise an unlikeable man – Shyam Benegal’s historical drama based on a Ruskin Bond story, The Flight of Pigeons,  brings together the very best of Hindi cinema.

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 have taken up Manna Dey’s Comedy Songs. covers Manna Dey- In the January 2020 episode we began from the beginning of Mehmood’s acting career, till Ziddi (1964), and in February, 2020 episode, the songs composed by Roshan, Hement Kumar and Chitragupta had been covered . In the present, March 2020 episode we take up Mehmood’s Manna Dey comedy songs composed by R D Burman

March 2020  episode of Fading Memories, Unforgettable Songs takes up S N Tripathi: Unremembered music director of remembered songs: 1961 – 1968Prior to this, we have covered S N Tripathi’s unremembered songs

from 1941 to 1950 in 2017,

from 1951 to 1956 in 2018, and,

from 1957 to 1960 in 2019.

We will now take up the articles on other subjects:

Humour and fantasy in Arvind Desai and Chhoti si Baat is about two scenes from Hindi films of the 1970s, about the use of soft weapons against privilege

Mr India may have been played by Anil Kapoor but Sridevi was the best thing about it – the movie’s most iconic line, said to perfection by a wonderfully creepy Amrish Puri, reportedly wasn’t even going to make the final cut, but Javed Akhtar, who had written the film with his long-time writing partner Salim Khan before they split, insisted on it. And thank god for that, because what even is Mr India without “Mogambo…khush hua”?

Sahir Ludhianvi biopic to be adapted for the screen = The treatment will be based on Akshay Manwani’s biography ‘Sahir Ludhianvi: The People’s Poet’.

Also read:

‘I have lit fires with songs of rebellion’: Memories of Sahir Ludhianvi’s college years

Remembering Nehru, Gandhi, Ghalib: Four poems by Sahir Ludhianvi

The unspoken passion of Sahir Ludhianvi and Amrita Pritam

Sahir Ludhianvi’s hard-hitting, haunting words make ‘Phir Subah Hogi’ relevant even today – The 1958 Raj Kapoor and Mala Sinha-starrer was all about criticising the government, talking about cruel realities and helping the disadvantaged. BJP leader L.K. Advani revealed that he and Atal Bihari Vajpayee, who would go on to be prime minister, had once sought comfort in this film after an election loss in 1958.

A podcast about Gol Maal and other Hindi-film comedies – It centres on Hrishikesh Mukherjee’s Gol Maal, and such other themes of masquerade and self-discovery,  the contributions of Utpal Dutt and Rahi Masoom Raza, and the spectrum of comedy in Hrishi-da’s films (from Deven Varma’s deadpan “shabd-phenk” to the broad slapstick Biwi aur Makaan).

Rajendra ‘Jubilee’ Kumar’s lonely years: ‘I helped all those I could. Where are they today?’– In Jubilee Kumar, Seema Sonik Alimchand writes about the life of one of Bollywood’s biggest superstars and the year he almost had no films.

Nasir Husain’s Hum Kisise Kum Naheen is all about the music = R.D. Burman, Majrooh Sultanpuri, Kishore Kumar, Asha Bhosle, Mohd Rafi — this 1977 superhit was powered by its all-star music team.

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:

Jis Pyar Mein Ye Haal Ho – Phir Subah Hogi (1958) – with Mukesh – Khayyam – Sahir Ludhyanavi

Jiyo To Aise Jiyo Jaise Sab Tumhara Hai – Bahu Beti (1965) – Ravi – Sahir Ludhyanavi

Kya Hua Tera Wada – Hum Kissi Se Kum Nahi (1977) – R D Burman – Majrooh Sultanpuri

Ishq Ne Sar Par Todi Quayamat – Junoon (1978) – Vanraj Bhatia – Jigar Morarabadi

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 – March 2020

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

For the year 2020, we have chosen the core subject of Revisiting Basic Quality Concepts w.r.t. the sustained success of the organization We picked up

We take up Organizational Context as our first core concept –

An organization’s context involves its “operating environment.” The context must be determined both within the organization and external to the organization. It is important to understand the unique context of an organization before starting the strategic planning.[1]

The organizational context can be viewed as situational opportunities and constraints that affect the occurrence and meaning of organizational behavior as well as functional relationships between variables. Context can serve as a main effect or interact with personal variables such as disposition to affect organizational behavior.

The reasons to understand the context of the organization, essentially, are –

  • if we do not understand situations, we will not understand person situation interactions.
  • Context is also implicated in the poorly understood “missing linkages” (Goodman, 2000) that can explain how individual or team activity gets translated into larger organizational outcomes.
  • it helps us to better convey the applications of strategy at planning, implementation, review and improvement stages

The understanding of organizational context

  • Affects the observed range of organizational variables under consideration.
  • As a consequence of range restriction, context can have a profound effect on the base rates of key organizational variables across occupations or locations, or over time. In turn, such variations in base rates will have a marked impact on the imputed importance of these variables, their meaning to actors and observers, and the inferred significance of their correlates.
  • Can affect the cause and effect relationships
  • Can help understand the likely effect of the strategic directional change that may take place in response to the dynamics of the context
  • Helps in understanding the interacting and interrelated ripple effects of any trend or an isolated, black swan, event. The mechanics of context can be quite subtle, and small changes in context often matter greatly.
  • Can affect the validity of the organization’s purpose[2]

The following graphic is used to understand any and all organizations, no matter how simple or complex, large or small.  It is used to clarify the relationship between this way of understanding context and our way of understanding content – the actual collaborative action that drives the organization forward day in, day out.

The “roof” and the “foundation” can be understood as the organizational context – who we are, where we’re going, why we’re going there and how we’re going to treat each other along the way.  In the foundation, we find the organization’s “come from” – the solid purpose for being, the mission, the core values, the key standards, value propositions and roles and rules of engagement.  And in the roof, we find the “go to” – the vision pulling us toward the desired future, the goals, the objectives and priorities.

And the middle of the house represents the organizational content – the human beings who are collaborating and communicating and coordinating with each other… and are doing so in a way that’s guided by the foundation and in service to the roof.  [3]

It is vital to design processes in the context of all the dimensions of the organization (mapped out in our Eight Dimensions below).

It is useful to view organizations as webs of relationships and processes in order to understand, shape and effectively work with them. Remarkably, most organizations attempt to control, restrict, or manage information and knowledge (of such relationships). Controlling information flows may appear possible when organizations are viewed mechanistically, as linear causal chains. But when viewed as complex networks (like the Internet) the only conclusion to be reached is that information is uncontrollable and necessary for the health of the system.

When an organization shares information and knowledge about the challenges it faces, the people within the organization are able to hold meaningful dialogues about these challenges, increasing their understanding of themselves and their roles. This understanding can then become the basis of a shared culture that can effectively evolve in response to challenges.

Professor Bidhan Parmar gives business leaders useful tips for implementing change. He explains the importance of organizational context and the “ecosystem” in which these changes might take place.

Understating the organizational context is an on-going activity. The organizations who aspire sustained success embed this process establishes, maintains and continually improve this process, since the organizational context forms one of the vital inputs to its quest for sustained success.

[N.B. – Detailed note on The Organizational Context can be read / downloaded by clicking on the hyper link.]

We will now turn to our regular sections:

In the series the Organizational Culture, we have attempted to look at ‘Organizational Culture  and Organizational Leadership. We have briefly explored the subject, and in the process, laying foundation for linking it up with their relationship with the sustained success later in the series.

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

    • Change Management – Change is one thing organizations can count on. Learn how to lead, implement and sustain changes successfully.
    • Effective 21st Century Quality Leadership – Mike Turner, Managing Partner, Oakland Consulting, discusses the business challenges of the 21st century, and how quality professionals should respond in order to meet them.

Jim L. Smith’s Jim’s Gems posting for February 2020 –

    • Predictability – If you want to know what’s in store for your future, consider your current thoughts…What do you consistently think about? What do your thoughts dwell on and visualize for your future? What do you expect to happen? What do you believe you can cause to happen?.. The point is that it is your present thoughts that, to a reasonable extent, determine your future…The point is that although you can’t always control what happens in the outside world, you can control your inner world – your thoughts…When you do that, you unleash significant energy which translates into a tremendous drive. All that’s required is to start thinking positively. Henry Ford’s quote, “Whether you think you can, or you think you can’t, you’re right” still holds true.
    • Build Better Customer Relationships – A good experience is key to customer advocacy – Customers can tell you what they value about your core products and the surrounding support services. Combining external measures from your customers with internal quality metrics has the potential to improve business performance and continuously outpace your competitors…To be successful, companies must commit to turn satisfied customers into loyal customers and turn loyal customers into advocates…Even before prospects (stage 1) become customers (stage 2), you need to start addressing their expectations. Once they become customers, your goal is to deliver what you promised and ensure that they’re satisfied (stage 3). Beyond satisfaction, you must strive to ensure that you deliver consistently positive experiences and build a strong relationship that develops loyal customers (stage 4) and, ultimately, advocates (stage 5)… It means delivering a positive experience each time the customer interacts with your organizations. On the rare occasions where customer experiences don’t go as planned, your organization must do whatever it takes to quickly make it right. ..Delivering positive customer experiences involves everybody in the organization. It’s the reason your business exists.

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] Organization and its context

[2] The Essential Impact Of Context On Organizational Behaviour – Gary Johns,

[3] Context vs. Content, Part 3 of 3

The Organizational Culture and The Organizational Leadership

[One would find very detailed commentaries on the subject of correlating the organizational leadership with the organizational culture.  In order to remain within the scope of our present series, I have picked up three representative articles here to briefly touch the subject, and in the process, laying foundation for linking it up with their relationship with the sustained success later in the series.]

Leaders play a significant role in shaping and maintenance of the culture in an organization. It is in the leadership process that the effect of culture becomes most perceptible. If it is the leadership that mobilizes attention towards a new vision, it is the corporate culture that confers legitimacy on that vision. Thus, it can be said that leadership and organizational culture are strongly intertwined and share a symbiotic relationship.[1]

Strategy and culture are among the primary levers at top leaders’ disposal in their never-ending quest to maintain organizational viability and effectiveness. Strategy offers a formal logic for the company’s goals and orients people around them. Culture expresses goals through values and beliefs and guides activity through shared assumptions and group norms. Of the two, culture, however, is a more elusive lever, because much of it is anchored in unspoken behaviors, mindsets, and social patterns.

Leaders may lay out detailed, thoughtful plans for strategy and execution, but because they don’t understand culture’s power and dynamics, their plans go off the rails. It doesn’t have to be that way. Culture can, in fact, be managed. The first and most important step leaders can take to maximize its value and minimize its risks is to become fully aware of how it works.[2]

Attributes of organizational culture

In order to understand the organizational culture, one approach is to understand four generally accepted attributes:

    • Shared – Culture is a group phenomenon. It cannot exist solely within a single person, nor is it simply the average of individual characteristics. It resides in shared behaviors, values, and assumptions and is commonly experienced through the unwritten norms and expectations of a group.
    • Pervasive – Culture permeates multiple levels and applies very broadly in an organization; sometimes it is even conflated with the organization itself. It is manifest in collective behaviors, physical environments, group rituals, visible symbols, stories, and legends. Other aspects of culture are unseen, such as mindsets, motivations, unspoken assumptions, and what David Rooke and William Torbert refer to as “action logics” (mental models of how to interpret and respond to the world around you).
    • Enduring – Culture can direct the thoughts and actions of group members over the long term. It develops through critical events in the collective life and learning of a group. Its endurance is explained in part by the attraction-selection-attrition model first introduced by Benjamin Schneider: People are drawn to organizations with characteristics similar to their own; organizations are more likely to select individuals who seem to “fit in”; and over time those who don’t fit in tend to leave. Thus, culture becomes a self-reinforcing social pattern that grows increasingly resistant to change and outside influences.
    • Implicit – An important and often overlooked aspect of culture is that despite its subliminal nature, people are effectively hardwired to recognize and respond to it instinctively. It acts as a kind of silent language. Shalom Schwartz and E.O. Wilson have shown through their research how evolutionary processes shaped human capacity; because the ability to sense and respond to culture is universal, certain themes should be expected to recur across the many models, definitions, and studies in the field.

Understanding the organizational culture

Two primary dimensions that apply regardless of organization type, size, industry, or geography: people interactions and response to change. Understanding a company’s culture requires determining where it falls along these two dimensions.

  • People interactions – An organization’s orientation toward people interactions and coordination will fall on a spectrum from highly independent to highly interdependent.
  • Response to change – Whereas some cultures emphasize stability—prioritizing consistency, predictability, and maintenance of the status quo—others emphasize flexibility, adaptability, and receptiveness to change.

Culture styles

By applying this fundamental insight about the dimensions of people interactions and response to change, eight styles that apply to both organizational cultures and individual leaders can be identified.

Caring focuses on relationships and mutual trust. Work environments are warm, collaborative, and welcoming places where people help and support one another. Employees are united by loyalty; leaders emphasize sincerity, teamwork, and positive relationships.

Purpose is exemplified by idealism and altruism. Work environments are tolerant, compassionate places where people try to do good for the long-term future of the world. Employees are united by a focus on sustainability and global communities; leaders emphasize shared ideals and contributing to a greater cause.

Learning is characterized by exploration, expansiveness, and creativity. Work environments are inventive and open-minded places where people spark new ideas and explore alternatives. Employees are united by curiosity; leaders emphasize innovation, knowledge, and adventure.

Enjoyment is expressed through fun and excitement. Work environments are light-hearted places where people tend to do what makes them happy. Employees are united by playfulness and stimulation; leaders emphasize spontaneity and a sense of humour.

Results is characterized by achievement and winning. Work environments are outcome-oriented and merit-based places where people aspire to achieve top performance. Employees are united by a drive for capability and success; leaders emphasize goal accomplishment.

Authority is defined by strength, decisiveness, and boldness. Work environments are competitive places where people strive to gain personal advantage. Employees are united by strong control; leaders emphasize confidence and dominance.

Safety is defined by planning, caution, and preparedness. Work environments are predictable places where people are risk-conscious and think things through carefully. Employees are united by a desire to feel protected and anticipate change; leaders emphasize being realistic and planning ahead.

Order is focused on respect, structure, and shared norms. Work environments are methodical places where people tend to play by the rules and want to fit in. Employees are united by cooperation; leaders emphasize shared procedures and time-honored customs.

An organizational culture can be defined by the absolute and relative strengths of each of the eight styles and by the degree of employee agreement about which styles characterize the organization. A powerful feature of framework, depicted in the above diagram, integrates organizational culture attributes with culture styles. What differentiates it from other models, is that it can also be used to define individuals’ styles and the values of leaders and employees.

The eight styles can, thus, be used to diagnose and describe highly complex and diverse behavioral patterns in a culture and to model how likely an individual leader is to align with and shape that culture.

The following sketch, adapted from the article, Turnaround the Corporate Culture – Business Operations Performance Management, very vividly shows the ‘rad to do’ and easy to do’ areas of an organizational leader’s role.

The current literature that differentiates leaders from managers would place ‘hard to do’ areas into the leader domain and easy to-do’ areas in a manager domain.

In a changing society, new leadership styles are emerging. Professor Joseph E Trimble, in this TEDxWWU talk – Culture and leadership – calls out the old dominating styles and brings to light more inclusive, diverse and effective options.

In order to build a winning culture, the top teams must be seen by the organization as living the values and walking the talk.

Organizations are shadows of their leaders ….. that’s the good news and the bad news

The culture of any organization is shaped by the worst behavior the leader is willing to tolerate.

Organizations can’t change if leaders can’t change with them[3]

To sum up., the organizational culture is a very powerful tool in the hands of the leader to accomplish sustained competitive advantage. However, to use the culture as a powerful tool, leader needs to ensure that strategy that is laid out to sustain the success, is consistent with changing context of the organization and is aligned with e organizational culture.

Additional reference:

Organizational Culture and Leadership, 5th Edition – Edgar H. Schein, Peter A. Schein (With)

[1] Examining the Relationship between Organisational Culture and Leadership Styles

[2] The Leader’s Guide to Corporate Culture

[3] The organizational shadow impact

A Cartoonist’s Perspective of the Financial Year End

Traditionally, in India, the books of accounts would close on the close of the Vikram calendar year, typically a no-moon (night) day. Opening of the new books of accounts would be carried out with an elaborate adoration ritual. With the English rule, the limited companies started following the end of March as the financial year end, so as to synchronize reporting of their profits and loss with the Income Tax Act accounting year.

Therefore, over the years, fiscal year end on 31st March has acquired an aura of its own. People differently connected with that event have developed their own routine drills. We look at some of such representative activities from a cartoonist’s perspective.

Binay Sinha captures the mood so vividly.

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One of the first possible activities is making sure that financial targets are met – the gods, too, included.

Obviously, those connected with the operations also have to brace up for meeting targets –

By Aishwarya Krishnan

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One major activity is ensuring that budgets are used up, so that the allocations for the next period can be maintained.

by fedzcomic

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Last minute tax saving investments have a risk of end up going into unsuitable avenues. Preeti Motiani does advise to avoid taking a last minute calls.

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Frank and Ernest represent people who seem to realize that trying to meet the end meet when you reach one end, essentially, works out to be a futile exercise. The efforts better be judiciously spread all round.

Frank and Ernest by Bob Thaves Tom Thaves (2007-10-26) Image #19154

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Be it budget numbers or the results number, there is never a dearth of people who doubt the accuracy of the numbers. Trust Dilbert to have The solution!

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There would, perhaps, be universal agreement that the financial numbers make quite dreaded reading.

By Andy Anderson

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Do not be surprised if you listen to these types of dialogues around you –

One solution is this –

But when all efforts to make the numbers present a decent enough picture, one tends to lean to the option of ‘creative accounting. Well, if you do not know the how to, there are classes being run to train you up!

By Marty Bucella

One performance indicator presents this picture –

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Before we go back to the our share of tasks for the March-end, here are two differing views-


From the people of world of accounts

Created by psayer

And the all the rest of us –

Created by Zach2602825

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What have you to say?

Oh, too busy with March-end now!!

OK, would not then bother you with that.

But, do take to time to share your viewpoint, preferably from a cartoonist’s point of view…whether you have been enjoying your toil for the March-end pile pf activities or, would like to laugh off the stress……

Thanks, till then.

Fading Memories…. Unforgettable Songs: March 2020

S N Tripathi: Unremembered music director of remembered songs: 1961 – 1968

S N Tripathi (a.k.a. Sri Nath Tripathi) – B: 14-3-1913 / D: 28-3-1988 – though primarily concentrated on music direction, he has several films to his credits as actor, director and scriptwriter. His active career spanned over five decades, form 1930s to ‘80s. Thus, he remained witness to changes in the tastes of the public and corresponding changes in the various elements of film making. His music always remained based on blend of classical and (Rajasthani) folk music styles. In spite of sky-soaring successes of his music, many of the B grade mythological films hit the box-office collection records. However, those successes were not enough to place him in the league of big-banner A grade films. His assistants Chitragupt and Datta Davjekar went on to become music composers as well.

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,

from 1951 to 1956 in 2018, and,

from 1957 to 1960 in 2019.

Presently, we would focus on selecting the songs from the films that he also directed, during the years 1961 to 1976. Even as we have cast our net wide enough to catch as many singers as possible, the songs of Mohammad Rafi are placed together, towards the end of the post.

Chhum Chhanana Chuum Chhanana Payaliya Boli – Amrit Manthan (1961) – Asha Bhosle – Lyrics: B D Mishra

S N Tripathi has used Asha Bhosle for this fast-paced dance song.

Gham Chhodo.. Ye Sare Jamane Ka – Piya Milan Ki Aas (1961) – Mubarak Begum – Lyrics: Bharat Vyas

Set to a flowing rhythm, Mubarak Begum comes up very sweetly in the mujra song.

Sakhi Kaise Dharun Main Dheer – Sangeet Samrat Tansen (1962) – Lata Mangeshkar – Lyrics: Shailendra

The composition remains truly melodious even though set to not-so-easy style.

A good many of songs, like Jhoomti Chali Hawa (Mukesh), Sapt Suran Teen Gram (Manna Dey) Sudh Bisar Gayi Aaj fromm the film (Sangeet Samrat Tansen had successfully reached masses and were approved by critics.

Badli Badli Duniya Hai Meri – Sangeet Samrat Tansen (1962) – Mahendra Kapoor, Lata Mangeshkar – Lyrics: Shailendra

This should rank as one of the front ranking Mahendra Kapoor song, wherein Mahendra Kappor starts on a high scale, but then slips into a lower scale with humming that follows. Each stanza also begins on higher notes, signifying the tinge of pain of separation and then song reverses to a pensive romantic mood.

The video clip includes second version of the song too.

Dirna Dirna .. Tan Di Dirana .. More Naina Laage Re Laaage Kisi Se Nain – Shiv Parvati (1962)- Geeta Dutt, Asha Bhosle – Lyrics: Shailendra

S N Tripathi has used damru, the preferred music instrument of Lord Shiv, and matched the scale of base rhythm instrument Tabla, to the same sound level in this fast-paced dance song.

Piya Milan Ko Janewali, Sambhal Sambhal Ke Chal – Dev Kanya (1963) – Amirbai Karnataki – Lyrics: B D Mishra

S N Tripath has suddenly conjured up Amirbai Karantaki’s vintage voice here.

Maane Na Maane Na Mora Bichhua Bole – Maharaja Vikram (1965) – Suman Kalyanpur – Lyrics: B D Mishra

Probably, in deference to the budget limitations of such B grade mythological film, S N Tripathi has chosen Suman Kalyanpur., without compromising any bit melody of the song.

Pyar Ke Pal Chhin Bite Hue Din, Ham To Na Bhule Tum Bhule Gaye – Kunwari (1966) – Talat Mahmood – Lyrics: Shailendra

Simple reading of the lyrics may not sound bells of recognition, but the moment one listens to the song, core Talat fans will easily recall the song. The second part of the clip has a twin Lata Mangeshkar version, presented as piano – party genre song.

Chandi Ka Gol Gol Chanda – Piya Milan Ki Aas (1961) – Mohammad Rafi, Lata Mangeshkar – Lyrics: Bharat Vyas

If the song would have been filmed in a well-placed film, the song may have been far more popular then it probably became at that time.

Haay Chhal Kiya Tune Chhal Kiya – Piya Milan Ki Aas (1961) – Mohammad Rafi, Lata Mangeshkar – Lyrics: Bharat Vyas

Here is another duet, set to very signature SN Tripathi style, that does not deserve to be consigned to a forgotten song category.

Deepak Jalao Jyoti Jagao – Sangeet Samrat Tansen (1962) – Mohammad Rafi – Lyrics: Shailendra

The song comes in for a very direct compassion with one of the most iconic K L Saigal songs, Diya Jalao Jagamag Jagmag (Tansen, 1943; Music director – Khemchand Prakash)

Muhammad Shah Rangeeley Re – Nadirshah (1968) Singers-Suman Kalyanpur, Mohammad Rafi, Lyrics- Majrooh Sultanpuri

S N Tripathi creates the majesty of a dance song played in the courts of Mughal Emperor.

Knowledgeable blog writers note that the song is credited to Lata Mangeshkar and Mohammad Rafi in HFGK. As such the song must have been recorded afresh for the records.

S N Tripathi still has some more films like Lahu Pukarega (1968),  Sati Sulochana (1969), Naag Champa (1976) as director. He also continued to compose songs for films like Sati Sulochana (1969), Koi Ghulaam Nahin (1970), Shri Krishn Leela (1970), Veer Chhatrasaal (1971), Maha Shivratri (1972) , Naag Champa (1976). He remained active enough, in his mythological genre typecast till 1987, with a stray film here or there.

However, we would call here curtains to our memories of the unremembered music director of very remembered song.

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.

P.S. : S N Tripathi’s Unremembered Songs from 1941 to 1968 can be viewed / downloaded from one file by clicking on the hyperlink.

Manna Dey’s Comedy Songs – Mehmood [3]

In the first part of this Manna Dey’s songs for Mehmood, we saw Mehmood’s career graph on the rising mode. The second part can be said to be the period when his career had peaked. The present, third part takes off from the year 1966 where we had ended second part. As we progress through this part, we come across a stage whereat we feel the beginning of the end of Mehmood’s career. As we have set a limit of end of ‘60s as our period of interest in so far as our core of focus in so far as Manna Dey’s sinigang career in Hindi Films, we are relieved form not being forced to witness the final decline of Mehmood’s career. However, we may, still, will have to bear some pain of listening to some not-so comparable Manna Dey songs for Mehmood

Allah Jane Main Hoon Kaun – Pati Patni (1666) – R D Burman – Anand Baxi

Pati Patni was produced by Mehmood. This was the fifth film of R D Burman’s career. The song is tailor-made for Mehmood’s typical theatrics, but Manna Dey is able to make tolerable.

Meri Patni Mujhe Satati Hai – Pati Patni 1966 – with Surendra and Johnny Walker – R D Burman – Anand Baxi

In a rare situation, Om Prakash, Mahmood and Johnny Walker, three comedians of different styles and essentially of different periods have come together, in a song. Surendra sings for Om Prakash and Johnny Walker for himself – another rare incidence.

Kaise Dekha Hai Mujhe Ji O Ta Ta Thiyo Ta Ta Thiyo – Pati Patni (1966) – with Asha Bhosle – R D Burman – Anand Bakshi

This eve-teasing song, which, in Hindi films, invariably succeeds in sealing up the relationship of mutual love, is also tinged with a touch of comedy.

Nir Ta Ta – Chandan Ka Palna ((1967) – With Mohamad Rafi – R D Burman – Anand Baxi

This song is also a parody of classical singing. Rafi plays the role of Guru (Dhumal) to which the disciple, Manna Dey (Mehmood) plays pranks.

Baat Karate Ho Baat Karana Nahin Aata – Chandan Ka Palna ((1967) – With Asha Bhosle – R D Burman – Anand Baxi

Asha Bhosle (Mumtaz)  sings in the ‘modern’ style to Manna Dey’s (Mehmood) old-fashioned Bangla style, but that does not seem to have any adverse effect on their romantic feelings.

Aao Aao Aao Sanawariya – Padosan (1968) – R D Burman- Majrooh Sultanpuri

Padosan was the film wherein what is typically termed as supporting roles, play more dominant roles than the official lead pair. The song carries on the Mehmood’s parodying of south Indian (Tamil_ accented Hindi

Ek Chatur Naar — Padosan (1968) – with Kishore Kumar – R D Burman – Majrooh Sultanpuri

The song is said to be inspired from  Saraswati Devi‘ s composition [Jhoola(1941), Singer – Ashok Kumar,  Lyrics –  Kavi Pradeep. Manna Dey losing to Kishore Kumar in this song   is also said to be his quiet repentence of having won against Bhimsen Joshi in Ketaki Gulab Champak Ban Phoole [Basant Bahar, 1956, Shankar Jaikishan, Shailendra)

Muthu Kodi Kawari Hada – Do Phool (1973) – with Asha Bhosle and MehmoodR.D. Burman – Majrooh Sultanpuri

The song is a direct lift from a Tamil film. The first two words mean – Give me a kiss.

Mehmood, by now, seems to resort more and more to some loud theatrics for his comedy acts. Music director(s) and Manna Dey battle to maintain the classical or regional styles.

We end this episode here by taking up Manna Dey – Mehmood Songs composed by R D Burman only. In the next and concluding episode of Manna Dey – Mehmood combination we will continue our journey form 1966, but through the songs of other music director