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Carnival of Blogs on Golden Era of Hindi Film Music

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

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

We first pay our tributes to the artists who passed away recently:

Irfan Khan passed away on 29th April 2020. Irfan Khan’s Wife Sutapa Sikdar and sons Ayan and Babil released a statement about Irfan Khan’s untimely death.@ Our life was a masterclass in acting, learnt to see harmony in cacophony. Amitava Nag @ Irfan Khan – A Personal Tribute writes a heartfelt tribute. Anuradha Warrier feels the loss @ And Movies Will Never Be The Same.  Irrfan is a tribute from his follower.

Credit: Business As Usual by E P Unny, April 2020

In a tribute to Rishi Kapoor @ Amitabh is ‘destroyed’, Simi mourns her ‘darling’ & Lata holds on to memories of Chintu note Shubhangi Misra and Yimkumla Longkumer. Anuradha Warrier extends the Hyphen In Between the Rishi Kapoor’s tweeter tag line “Son of a famous father, father of a famous son. I’m the hyphen in between.” by stretching it a little further to note that he was also the hyphen between the superstardom of Rajesh Khanna and the juggernaut that was Amitabh Bachchan. Jai Arjun Singh @ Rishi Kapoor, in memoriam notes that looking back on his work during that time, it’s interesting to consider how often he seems to be a silent or passive presence, or how often we see the character he plays in relation to someone else

That passionate voice of music – Radio Ceylon host Gopal Sharma, known as ‘the first RJ of India passed away at the age of 88 on 22nd May. Sharma’s greeting “Awaaz ki duniya ke doston … ” became synonymous with him.

Deepa also has paid a very intimate tribute @ Gopal Sharma – A Boon Companion from the World of Voice

We can listen to his voice in this video clip:

We pick up other tributes and memories:

Should Phalke, 150, Be Forgotten?  – On May 3, 1913, Dadasaheb Phalke’s Raja Harishchandra was released commercially. May 3 was finalised as the day the National Film Awards would be given out every year. Ratnottama Sengupta wonders how the Government of the world’s largest filmmaking country had made no plans to mark Phalke’s 150th anniversary this year.

Kaagaz Ke Phool is Guru Dutt’s masterclass in filmmaking and heartbreak – Guru Dutt’s classic, tragic film is brought to life by subtle performances and dialogue, gorgeous camerawork and Kaifi Azmi’s haunting lyrics.

On the B.R. Chopra’s birth anniversary, The Print looks back @ Gumrah, BR Chopra’s tale of a woman’s desire that challenged conventions back in 1963 – Gumrah, said to be inspired by the love story of Dilip Kumar and Kamini Kaushal, was refreshingly bold and managed to stand apart from the many adaptations that followed.

Anokhi Raat – A Unique Look at the Bitter Truths – Asit Sen’s Anokhi Raat, true to its name was a unique film that told the story of an unusual stormy night – the storms being both within and outside. Sundeep Pahwa looks back at this film with some memories, observations and trivia. Monica Kar (in maroon font) ponders on the memorable songs of this film, which was the swan song of music director Roshan.

‘Hansraj Behl – A Forgotten composer’ is a look-back to his songs in Part 1 and Part 2.

Raat Aur Din, directed by Satyen Bose, was the perfect swansong for Nargis – Nargis Dutt’s performance as a woman with an identity disorder in this 1967 film won her the first National Award for Best Actress.

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, and Manna Dey’s Comedy Songs for Mehmood, we are on the first part of the last leg,

SoY too pays tribute to Manna Dey @ Remembering a special singer Manna Dey

May 2020  episode of Fading Memories, Unforgettable Songs takes up the less-heard songs of Manna Dey in the series Manna Dey – Chale Ja Rahein Hai…. – 1951 – 1953 . Till now we have his

We will now take up the articles on other subjects:

“Quarantine” or “Lockdown” Dances (in other words, more dances in people’s homes) – As the title suggests, this is a quick compilation of videos posted by the classical-home-performers while fighting the boredom of this lockdown period.

Jetha Ramdhanu Othe Heshe: The Smiling Rainbow of Talat Mahmood (Tapan Kumar’s) Bengali Songs – Among the many tributes and special features on the legendary singer Talat Mahmood, few, if any, talk about his remarkable repertoire of superhit Bengali songs he sang in the early part of his career. Under the name of Tapan Kumar, Talat Mahmood began his Calcutta sojourn with his first record of Bengali songs in 1944. Sounak Gupta chronicles that illustrious journey, remembering the velvet-voiced singer.

Remembering Talat Mahmood for his happy mood songs,

Songs and contra-songs lists songs of opposing truths. E.g. songs on एक/अनेक (one /many)

Howard Roark’s speech in the courtroom in The Fountainhead (1949)

Ek chidiya anek chidiya (animated short film) by Bhimsain

Madhulika Liddle lists  Ten of my favourite ‘multiple version’ songs – male/female solo versions and Ten of my favourite ‘multiple version songs: one voice, two solo versions

Sadma is an achingly beautiful story about a love that defies labels – Balu Mahendra’s Hindi remake of his Tamil classic, Moondram Pirai, was a milestone in his, Sridevi’s and Kamal Haasan’s careers.

SoY initiates Best songs of 1945: And the winners are? , the 10th episode in the annual series Best songs of year. We will take up Micro View of Songs of 1945 from next month.

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:

Tera Jalwa Jisne Dekha Woh  Diwna Ho Gaya – Laila Majnu (1945)  – with S D Batish – Pt. Govindram – Tanveer Naqvi

(Mohammad Rafi has made maiden on-screen appearance @ 1.17in this song.)

Bulbul Mein Hai Naghmme Tere – Laila Majnu (1953) – with Khan Mastana – Ghulam Mohammad – Shakeel Badayuni

Yeh Duniya – Yahudi (1958) – Shankar Jaikishna – Shaiendra

Tum Jahan Jaoge Mujh Ko Wahin Paoge – Chor Darwja (19650 – Roy Frank – Koifi Azmi

Yeh Diwane Ki Jid Hai – Laila Majnu (1976) – Madan Mohan – Sahir Ludhyanavi

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.

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Carnival of Quality Management Articles and Blogs

Carnival of Quality Management Articles and Blogs – May 2020

Welcome to May 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 As of now we have visited

We take up Risk Based Approach as our core concept this month–

The most prevalent change that the advent of 21st century has witnessed is the extremely dynamic rate of change. If change was the constant of later part of 20th century, it is almost becoming beyond human comprehension rapid rate of change that is becoming the new-normal with passing of every year of the present century. This rapid change is making what w=is already ‘known’ now ‘known unknown’. The uncertainty that this rapid rate of change ushers in creates the world around extremely fluid.

For our present purpose of “Revisiting the Basic Quality Concepts’ we will briefly look at two articles published in HBR – one in 1994 and the one in 2012.

The first article, A Framework for Risk Management  by Kenneth A. Froot, David S. Scharfstein, Jeremy C. Stein  (November–December 1994 Issue of HBR) is based on finance specific perspective of Risk.

The risk-management paradigm rests on three basic premises:

      • making good investments.
      • to making good investments by generating enough cash internally to fund those investments.
      • maintaining adequate cash flow

A risk-management program, therefore, should have a single overarching goal: to ensure that a company has the cash available to make value-enhancing investments.

By recognizing and accepting this goal, managers will be better equipped to address the most basic questions of risk management.

If we paraphrase the message of this article for the organization as whole, we understand that basic aim of risk management practices is to ensure that while maintaining its near and medium term operating parameters the organization should sustainably manage its competitiveness in the areas of its core competence, as relevant to its present and future context.

The second article, Managing Risks: A New Framework by Robert S. Kaplan and Anette Mikes (June 2012 Issue of HBR), places the risk in a more broader perspective .

The article presents a new categorization of risk.

Category I: Preventable risks.

Category II: Strategy risks

Category III: External risks

The article goes onto examine the individual and organizational challenges inherent in generating open, constructive discussions about managing the risks related to strategic choices. The authors argue that companies need to anchor these discussions in their strategy formulation and implementation processes.

The authors caution the organizational leadership by bluntly stating that  managing risk is very different from managing strategy.

Active and cost-effective risk management requires managers to think systematically about the multiple categories of risks they face so that they can institute appropriate several and collectively interactive processes for each.

An approach based on adherence to minimum regulatory standards and avoidance of financial loss creates risk in itself. In a passive stance, companies cannot shape an optimal risk profile according to their business models nor adequately manage a fast-moving crisis.

In conclusion, the article looks at how organizations can identify and prepare for non-preventable risks that arise externally to their strategy and operations.

A thought provoking paper – Value and resilience through better risk management by Daniela Gius, Jean-Christophe Mieszala, Ernestos Panayiotou, and Thomas Poppensieker –  at Risk Insight studies by McKinsey and Compony provides a specific actionable perspective  –

More rigorous, debiased strategic decision making can enhance the longer-term resilience of a company’s business model, particularly in volatile markets or externally challenged industries..

Organizations need to manage their operations such that investments in product quality and safety/ environmental or societal expectations standards adopted by it can bring significant returns. And enable processes that are less prone to disruption when risks materialize.

To achieve standing among customers, employees, business partners, and the public, companies can apply ethical controls on corporate practices end to end.

Building robust, effective risk management is three-dimensional project: 1) the risk operating model, consisting of the main risk management processes; 2) a governance and accountability structure around these processes, leading from the business up to the board level; and 3) best-practice crisis preparedness, including a well-articulated response playbook if the worst case materializes..

Having accepted that uncertainty is a constant in business, robust risk management can help companies adapt and thrive. How risk management can turn a crisis into an opportunity is a re[presentative case study that demonstrates how using risk management processes and structures to identify and mitigate a wide variety of risks, even when what arises is not one of the feared scenarios, the business will be in a stronger position to respond to crisis and grow.

Risk Based Thinking and the risk management are very actively debated and documented topics in the management academics and the practice.

In a limited span of our present view, we recognize that by recommending these two additional readings –

To conclude, every organisation should see risk-based thinking as an opportunity and a step in the right direction of attaining the sustained success.

[N.B. – Detailed note on Risk Based Approach 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 taken up  Organizational culture’s relationship with organization’s strategic direction. The critical message is that hat whatever form the relationship between organization’s culture and organization’s strategic direction shapes, in order to attain the sustained success, the culture and strategy should seamless aligned. .

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

  • Quality as Strategy – Greg Watson, ASQ past chair and ESTIEM professor, asks viewers if they believe there is, “a difference in having quality strategy or Quality as strategy?”

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

  • Growth – It is natural to focus on our strengths and pretend our weaknesses don’t exist. To grow, however, requires that we admit where we’re weak and then work to strengthen those aspects of our life – personal and professional…Choose to embrace and engage those opportunities now while placed in front of us. Embrace these opportunities even though they may seem a little uncomfortable….And as we grow, the positive possibilities will grow even more superlative in our world.

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.

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Organizational culture

Organizational culture’s relationship with organization’s strategic direction

Strategy is organization’s overall plan to win in its marketplace. Culture is the sum of the beliefs and behaviours organization’s employees bring to work every day. Operations are simply how things get done at the organization.

The most frequent mention of the relationship between organization’s culture and organization’s strategic direction can be seen in Peter Drucker famously statement, “Culture eats strategy for breakfast.” This is often interpreted as culture being more important than strategy.

It should be noted that strategy is not what the organization is trying to do (those are organization’s  goals), but rather it is how the organization plans to do it, and the organization’s culture determines how it actually works. The culture is how the strategy is executed To make it work, the organization has to ensure the availability of resources, including the time and commitment of the top management. It’s not enough to have a great strategy or a great culture; they have to be one and the same.[1]

Ken Wilcox, Chairman of the Silicon Valley Bank gave a compelling talk on the topic here. A few excerpts:

I believe that the most important things that a company can focus on are its strategy and its culture.  I also think that if you had to pick between the two, that culture trumps strategy every time. 

I think that because if you have a great culture, your people will develop a strategy that will win.  But if you don’t have a good culture, even a winning strategy will not be useful.[2]

Strategy, culture, and operations and inter-dependent, are  simultaneously impact each other.

Developing an effective strategy and culture is fundamentally about asking the right questions:[3]

One can find a wide array of literature that establishes the relationship between organization’s culture and the organization’s strategic direction, across a wide spectrum of parameters, including the context of the organization and the needs and expectations of the organization’s interested parties.

One more inference that can be drawn is that whatever form the relationship between organization’s culture and organization’s strategic direction shapes, in order to attain the sustained success, the culture and strategy should seamless aligned.

    • Strategy drives focus and direction while culture is the emotional, organic habitat in which a company’s strategy lives or dies
    • Strategy is about intent and ingenuity and culture determines and measures desire, engagement, and execution
    • Strategy lays down the rules for playing the game, and culture fuels the spirit for how the game will be played
    • Strategy is imperative for differentiation, but a vibrant culture delivers the strategic advantage
    • When culture embraces strategy, execution is scalable, repeatable and sustainable

Organizational culture is eating what it kills, when it is misaligned  – such as strategy, change management, innovation, operational efficiency, lean process and even including vision and mission. Culture trumps strategy every time![4]

There are seven ways organization’s strategy, culture, and operations can align with each other

One can think about which alignment sounds most like your organization:

Alignment 1 – Strategy Rules! – The culture and operations should be integral parts of company’s strategic plan development.

Alignment 2 – We Decide, You Do! – Brainstorm why some of the company’s initiatives underperform?

Alignment 3 – The Dream! – The dream – or even the vision -has not been translated into an executable game plan.

Alignment 4 – Silo / Turf War! results when your culture and operations are in alignment, but there is no common overall strategy. Each unit / department creates and act on the strategies they individually create.

Alignment 5 – Culture is King!– . No one knows how operations fit into the big  picture of the strategic outcome? An overall balance is needed.

Alignment 6 – Everyone’s on Board, I Hope It Works! results when the culture and strategy are in alignment, but with the operations, it is like rolling a dice, thinking it should work.

Alignment 7 – Sustained Results! When the strategy, culture, and operations are aligned, five things are crystal clear:

  • You know who you are.
  • You know where you are going.
  • You know how you will get there.
  • You know when you will get there.
  • You know you will have sustainable, scalable results.[5]

Here are a few videos that capture these discussions in the form of live discussions-

Culture vs. Strategy provides the basics.

Culture Eats Strategy for Breakfast – Bob Faw discusses how to align your strategy with your culture for successful change efforts. Increase passion and profits with these ideas.

Strategy and Culture – The Secret Ingredient for Successful Enterprise Strategy – Regina Perkins, @ Cascade’s Engage Conference 2019 – Portland Oregon, discusses the five key conversations to building successful strategies and how culture underpins all of it. These are: the current state of the organization, the environmental constraints that act against them, what is at stake for the organization if the status quo persists, the desired future state, and the strategy that will move the organization from the current to future state.

However, the alignment of those five conversations is not enough. With a shared perspective to the desired future state and the strategy to achieve their objectives, leaders must intentionally account for culture and introduce and enact their strategy within that context. Defined as the line that separates the behaviors that are tolerated from the behaviors that are not tolerated within an organization, culture is the biggest off-balance sheet asset an organization has. Culture dictates what plans, strategies, and ideas get enacted. Strategy without the consideration for culture will fail to realize its full potential, to create impact and stimulate meaningful change.

Drawing upon deep experience helping organizations develop and implement successful strategies, this talk explores how culture underpins any successful strategy implementation.

Despite the critical importance of culture, strategy and infrastructure, what eats them all starts with whether or not you have a “healthy organization.” If you want to understand what is meant by healthy organization, watch the short video of Patrick Lencioni, author of some of leadership books including The Advantage..[6]

[1] Strategy Is CultureLuke Kanies

[2] Why culture trumps strategy

[3] Strategy / Culture Bicycle

[4] What is the relationship between corporate culture and strategyTorben Rick

[5] 7 Ways a Winning Strategy, Culture, and Operations Deliver ResultsWayne WashingtonGrowCompanyProfits.com

[6] Culture vs. Strategy vs. Infrastructure? Which Wins in Health Care?

Categories
The Books I read

The Survival For The Sickest – A Different Perspective to The Origin, Spread and Extinction of Any Disease

The Survival of the Sickest 

A Medical Maverick Discovers Why We Need Disease

(Rechristened as The Surprising Connections Between Disease and Longevity in the later editions)

By

Dr. Sharon Moalem with Jonathan Prince

Publisher — Harper Collins, New York, NY 10022
© 2007 Sharon Moalem

The first reading of the title would make it reread it, for we think our eyes have erred in falsely reading The Survival of The Fittest as The Survival of The Sickest. Even though the book is indeed a work of non-fiction, it is written in the style that is even racier than a thriller fiction. So the authors want to ensure that your attention remains riveted to the contents of the book, from cover to cover.

The book is as much about medicine as it is about myth. Dr. Sharon Moalem, the author, posits the book that wonders why, by simultaneously asking why not. The book is presented as ‘magical medical mystery tour’ that seeks to explore how we got here, where we are heading to and can we do anything about it.

Dr. Sharon Moalem challenges to fundamentally change the way we think about our bodies, our health, and our relationship to just about every other living thing on earth. In a fresh and engaging examination of our evolutionary history, spread over around 208  pages, through the three section of the book – Introduction, Eight Chapters and The Conclusion, Dr. Moalem reveals how many of the conditions that are diseases today, have actually given our ancestors a chance in the survival sweepstakes. But the book also seeks to demonstrate just how little modern medicine really understands about human health. Through The Introduction, forcefully offers us a new way of thinking that can help all of us live longer, healthier lives.

The eight chapters, each dealing with a separate disease or a hereditary disorder, examine in detail the basic proposition of the book – ‘Evolution likes genetic traits that help us survive and reproduce -it doesn’t like traits that weaken us or threaten our health. That preference for genes that gives us a survival or reproductive advantage is called natural selection’. In other words, ‘if a gene produces a trait that makes an organism less likely to survive and reproduce, that gene won’t get passed on, at least not for very long.

However, this detailed tour comes with a few covenants that requires us to discard a few preconceptions –

  1. We are not alone. We are always in the constant company of thousands of bacteria, insects, fungi and what not.
  2. Evolution does not occur in its own. Every single living organism is heard-wired to survive and reproduce. Evolution occurs when the organisms try to improve the odds to survive and to reproduce. Some times evolution in one organism may mean death to other organism – like the spread of COVID at the expense of it carrier human beings. This can unleash a chain of cascading wave of evolution in hundreds or thousands of other species.
  • An organism’s interaction with another organism is not the only influence on their evolution; their interaction with the planet also plays equally important role.

A briefest review of the contents of the eight chapters in a book review by a layman, for the laymen, would be not only be incongruous but also will be inadequate. So here is a list of  each of the chapter titles and the topics covered in the chapter –

  • Chapter 1: Ironing it out – Hemochromatosis, bloodletting, and human iron consumption
  • Chapter 2: A spoonful of sugar helps the temperature go down – Diabetes, climate change, and brown fat
  • Chapter 3: The cholesterol also rises – Sunlight, vitamin D, cholesterol, and the physiological makeup of race
  • Chapter 4: Hey, Bud, can you do ma a Fava – Vegetables, fava beans, and the spread of malaria
  • Chapter 5: Of microbes and man – The virulence of bacteria, Guinea worms, and parasitic diseases
  • Chapter 6: Jump into the gene pool – Mutating DNA and “jumping” genes
  • Chapter 7: Methyl madness : road to the final phenotype -Genetic suppression and childhood obesity
  • Chapter 8: That’s life: Why you and your iPod must die  – Cancer cells and childbirth

While Concluding, the authors expect that we shall have appreciated three things –

  1. The life is in a constant state of creation. Evolution never stops, it keeps changing with passage of time.
  2. Nothing in this world exists in isolation. All types of living organisms on the planet keep evolving together.
  3. Our relationship with the disease is far more complex than we have ever realized.

Life of every organism is a miraculous whole, so much greater than the sum of its parts. Also, the nature is so inherently bent towards creating a disorder that seeing a small figment of our life in order should treated as a miracle. That miracle id the miracle of evolution. Under such circumstances rather than taking our health for granted, it is time that we appreciate it with reverence that it deserves. It needs to be appreciated that diseases do not exist in isolation. The origin, spread and extinction of any disease is a function of interconnectedness of life, in any and all forms, on the earth.

May be such an appreciation may lead us to search for ways to direct the evolution of infectious agents away from virulence, towards harmlessness – instead of waging an antibiotic war that we may never be able to win.

The bottom line is that while evolution is amazing, it is, inherently, not perfect, and every adaptation comes with a compromise. The riveting reading of ‘The Survival for The Sickest’ should help you to change your perspective on disease and the role genetics plays in our lives.

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Other books by Dr. Sharon Moalem:

  1. How Sex Works: Why We Look, Smell, Taste, Feel, and Act the Way We Do (published: April 2008)
  2. Inheritance: How Our Genes Change Our Lives—And Our Lives Change Our Genes (Published: April 2014)
  3. The Better Half: On the Genetic Superiority of Women (Published: April, 2020)

+         +        +

Acknowledgement: Dr. Dileep Andhare sends a monthly knowledge enhancing e-mail broadcast to his all the DNVGL Business Assurance India, Sri Lanka and Bangladesh Region professional colleagues. The subject of each e-mail is his current experience relating to the field of occupational health and safety. His April 2020 e-mail MHG broadcast had referred to this book ‘The Survival for the Sickest’ as he was addressing the lessons that OHS professional should take home in these times of pandemic. I am grateful for the motivation that e-mail provided me to immediately reach for this book and read it.  Dr. Dileep Andhare is a practicing occupational and environmental health specialist.

Categories
Fading Memories….Unforgettable Songs

Fading Memories…. Unforgettable Songs: May 2020

Manna Dey – Chale Ja Rahein Hai…. – 1951 – 1953

Manna Dey, a.k.a. Prabodh Chandra Dey, (1 May, 1919 – 24 October, 2013) could have been said to have not succeeded in the mundane meaning of the word. But it is also an equally undeniable fact that he can never be considered as an ‘also ran’ competitor. If he was acknowledged as No. 1 in the classical raag based songs genre, several of his solos and duets remain all-time classics across all other types of Hindi Film genres. If his Bengali film songs and NFS have yielded him a place of high respect in Bengali, his foray into several other languages like Bhojpuri, Awadhi, Punjabi, Assamese, Oriya, Gujarati, Konkani, Marathi, Kannad, Malayali, Sindhi etc. remains well-respected in the respective languages. In so far as Hindi songs are concerned, it is not only the quality outcomes in terms of parameters like clarity of voice, purity of diction, fidelity of expressions and emotions that is accorded very high respect, it is also the quantity outputs, in terms of parameters like number of songs, number of active singing years, number of music directors and playback singers he worked with, number of awards bestowed on him remain well-respected. In fact, one will definitely find at least one Manna Dey song in each genre that is considered to be THE benchmark song.

We commenced an annual series – Chale Ja Rahen Hai, from 2018 wherein we focused on remembering his relatively less heard songs on this platform. As has been our practice, we commenced our journey from the beginning of his singing career and have been progressing forwards in the chronological order. Till now we have his

Starting from May 2019, till May 2020, we also took up a once-a-month series under the title Remembering Manna Dey to commemorate his centenary birth year. In this series we covered Manna Dey’s Songs for contemporary lead actors, Manna Dey’s comedy songs for Mehmood and Manna Dey’s comedy songs for other actors and comedians. As result, in our present series, we will not e include the songs that we have covered in these earlier series. As it so happens, that, still,  gives  us a very wide range of Manna Dey’s less heard songs to choose from.

Presently, we will recall here Manna Dey’s less heard songs for the years 1951 to 1953.

1951

1951 had Awara, which gave Manna Dey entry into RK Films. He got to sing, one song along with Lata Mangeshkar and chorus – Tere Bina Aag Ye Chandani  -wherein he voices the deep anguish of Raj Kapoor’s character. However, except for that, he still remains confined to religious films.

Bhole Nath Re Naiya Paar Laganewale – Shri Ganesh Janma (1951) – with Geeta Dutt – Khemchand Prakash / Manna Dey – Bharat Vyas

It seems that Manna Dey has been assisting Khmechnad Prakash in this film. Is that why the song seems to have been based on Bengal’s folk Baul singing style.

We also have a Ganesh Stotra  Jai Ganesh Deva (with Sulochana Kadam and chorus) from the film, which is said to be based on Raag Asavari Sarang, wherein Manna Dey sings only the opening mantra.

Jao Jao Aa Gaya Bulawa Jung Ka – Rajput (1951) – with Madhubala Jhaveri, Talat Mahmood – Hans Rah Behl – Bharat Vyas

The first part of the songs is a dialogue between the recently married couple, Wife, in the voice of Madhubala Jhaveri, encourages her husband to go for the war and the husband, in the voice of Talat Mahmood, keeps vacillating. Manna Dey comes in as the narrator – @2.06- who takes over the tale to inform us what has happened after this dialogue ended.

Vande Mataram – Andolan (1951) – with Sudha Malhotra, Parul Ghosh – Pannalal Ghosh – Bankim Chandra Chattopadhyay

The court room gets converted into an open defiance platform as the accused commences to the song.

Subah Ki Pahali Kiran Tak Zindagi Mushkil Mein Hai – Andolan (1951) – with Kishore Kumar – Pannalal Ghosh – Niaz Haider

Kishore Kumar is o raw here, both as actor and as singer. Manna Dey comes in @1.30 to sing for another character- the actor not identified by me- who is already in jail.

Asides: There was one more film by the same name, released in 1975, for which music was composed by Jadev.

1952

This should be one of the leanest years in the career of Manna Dey.

Jiyo Jiyo Mere Lal, Teri Tedhi Tedhi Chal – Maa (1952) – with Kishore Kumar, Arun Kumar – SK Pal – Bharat Vyas

The songs also is interesting as we get to see very young Bharat Bhushan (Kishore Kumar sings for him) , Sudesh Kumar, Asit Sen, and very lean, almost boyish Mehmood.. The song is set to a very hilarious situation. However, here too Manna Dey to o gets song his lines in the style of bhajan-singing @ 2.30

Asides: There were two more films with same name, one in 1960, for which Chitragupta composed the music and the other in 1976, for which Laxmikant Pyarelal have composed the music.

1953

1953 was to see two films – Boot Polish and   Do Bigha Zameen – that gave Manna Dey his ail time best, and even popular songs. The irony of fate was also lurking behind this success, in that the fame of these songs now cast Manna Dey in tow more types of songs – rural or downtrodden people songs and comedy songs.

1953 also gave Manna Dey songs to playback all the songs for main lead actor. And as irony of fate would have had, the hero of that film – Hamdard – Shekhar did not hit commercial success. The two part season specific raag medley based duet Ritu Aaye Ritu Jaaye Sakhi and Pee Bin Suna Ree  (Hamdard, 1953, – with Lata Mangeshkar – Anil Bishwas – Prem Dhawan) is still remembered.

Tera Haath Haath Mein Aa Gaya….Ke Chiraag Rah Mein Jal Gaya – Hamdard (1953) – Anil Biswas – Majrooh Sultanpuri

This is one is a song of pensive mood. The song is set o very complex tune.

Mere Man Ke Dhadkan Mein Koi Nache – Hamdard (1953) – Anil Biswas – Prem Dhawan –

The song is filmed as a stage song. The support activity on the stage is a dance, so the song essentially exudes feelings of happiness.

O Ghayal Karate Hai Khud Hi,Badal Gaya Rang Mehfil Ka – Hamdard (1953) – Anil Biswas – Prem Dhawan

The song is positioned as song rendered by artists in hotels etc. for the entertainment of the guests.

Naina Bhaye Anath Hamare…Jab Aankhe Hi Na Di Malik Ne To Dil Bhi Na Diya Hota – Hamdard (1953) – Anil Biswas – Prem Dhawan

The song is set to a qawwali style song, since it is filmed as fund raising stage show for charity organization.

Daata Tu Jaga Ka Tu Palanhar– Mahatma – Vasant Pawar – Ram Wadhavkar

Some authorities have recorded this song under ‘Other Male Singer’ category. A comment at the videoclip mentions ‘Prakash’ as the singer. However, since  http://www.mannadey.in/  and https://mannadey.weebly.com/ have included this as Manna Dey song, I have gone along with that.

Aas Ne Kitane Diye Jalaye ….Phir Bhi Ram Nazar Na Aaya – Mehmaan (1953) – Anil Bishwas – P N Rangeen

Flute is prominent in the prelude as well as interlude orchestration. It was considered customary that most of the major flute recitals in Anil Biswas songs were played by Pt.  Pannalal Ghosh,

Asides: There was a film by the same name prior to this, in 1942, for which music was composed by another stalwart, Khemchand Prakash and one film afterwards, in 1974, for which Ravi had composed the music.

Chali Radhe Raani, Akhiyon Me Paani – Parineeta (1953)– Arun Kumar Mukherjee – Bharat Vyas

Here is one more song that did get very wide acceptance then, and even now. This is Bengali folk style – baul – singing. The clip here has included both the versions of the song. Manna Dey’s clarity in expressing the emotions of the situations come out very clearly in these two versions. First one is a happier version, with Manna Dey playfully navigating the lyrics. The second one is of not-so-happy times, with Manna Dey so delicately caressing the feelings that lyrics express.

Asides: ‘Parneeta’ was filmed afresh in 2005. For which music was composed by Shanatnu Moitra

Sahi Ki Zanjire Todate Chalo – Shaneshah (1953) – S D Burman – Sahir Lughyanavi

After hiatus of three years, S D Burman has called up services of Manna Dey’s voice for this march-tune based song that seems to entice throwing off the shackles of authoritarianism and the high-handedness of the tormenting ruling class..

Krodh Kapat Ke Andhiyare Ne – Armaan (1953) – S D Burman -Sahir Ludhyanavi

S D Burman again chooses Manna Dey’s voice for this background songs.

Raat Ke Raahi Thak Mata Jaana Manzil Teri Ab Door Nahi – Babla (1953) S D Burman – Sahir Ludhyanvi

One more inspirational song comes to the fold of Manna Dey. The song did become very widely accepted so unintentionally hardening up his type-cast mold.

The songs has a Lata Mangeshkar twin version as well.

Sonewale Jaag Jara, Kyun Samay Suhana Khota Hai – Surang  (1953) – with Sulochana Kadam – Shvram Krishna – Shewan Rizvi

The film relates to a period where some of the casts, essentially the poor ones, had to stay away from the main town. These people normally would get together in  the evening and .would entertain themselves with songs or dance that would also give people a message for good living.

Chal Dil-e-Majbur, Is Zulm Ki Duniya Se Door – Surang  (1953) – with Sulochana Kadam – Shvram Krishna = Shewan Rizvi

This is song of pathos, but we get to listen Manna Dey in a quite different style, even though it is actually filmed on a community elder on the screen.  The singer so effectively voices the feelings of the hero that hero (Vinod Kumar) gets attracted to the congregation where the the elder of the community is singing the song.

Apart from these, we also can listen to some more songs in the audio clip form @ https://mannadey.weebly.com/  a site created by S P Chatterjee-  This site seems to be following the http://www.mannadey.in/    site, and has made available digital audio versions of as many songs as could have been located. The songs for which such audio digital link is not seen here, I have not mentioned in this post.

Our journey into the Hindi film Songs career of Manna Dey will move to the next milestone in the net (year) episode.

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.

Categories
Centenary Celebrations I Liked Music from films

Manna Dey’s Comedy Songs for Other Actors [1]

We have noted that Manna Dey’s formal association with comedy songs with the text-book comedians of the cinema roots in Manzil (1960) song Hato Kahe Ko Jhoothi Banao BatiyaN.. This certainly blazed a trail that distinguished the career of Manna Dey as well as Mehmood.  As can be expected many other music directors subsequently used Manna Dey’s voice for comedy songs with other comedians as well.

Before we fully explore this dimension, it is certainly worth its while to note that Manna Dey has recorded quite a few comedy songs for what is broadly termed as Hero in the cinemas. We begin our present, and last for the time being, leg of Manna Dey’s career journey.

Manna Dey’s Comedy Songs for Lead Actors.

We have had a multi-part series journey of Manna Dey’s Songs for the Lead Actors. Barring a few songs, we had refrained discussing Manna Dey’s Comedy Songs with Lead Actors there..

Manna Dey’s Comedy Songs for THE Kapoor Brothers

The active singing careers of some of the playback singers like Mohammad Rafi, or Kishore Kumar or Manna Dey have spread over several decades and were so potently dominant in their own times that each one having rendered playback voices for the Kapoor Brothers Trio has not attracted any attention. Manna Dey singing a comedy song for each of the three Kapoor brothers, there for does require a special mention.

Manna Dey and Raj Kapoor

Manna Dey had emerged as the principal alternative playback voice for Raj Kapoor from the very first film – Awara (1951) – of their association. It was therefore very obvious that he would get to sing special situation songs like, a sad song Tere Bina Aag Ye Chandani or sheer romantic duet Pyar Hua Ikrar Hua or very light-station dance number Mud Mud Ke Na Dekh or a song bordering to a classical comedy song Dil Ka Haal Sune Dilwala.

However, the first truly comedy song that Manna Dey sang for Raj Kapoor for the first time came up in Paravarish (1958)

Mama Oh Mama Oh Pyare Mama.. Gharwale Khaye Chakkar… – Paravarish (1958) – with Mohammad Rafi – Dattaram – Hasrat Jaipuri

Manna Dey was used as (almost) a default playback for Raj Kapoor in this film. So it was very natural that Manna Dey would playback to Raj Kapoor and Mohammad Rafi to Mehmood.

Next big comedy song that Manna Dey sang for Raj Kapoor came up in Dil Hi To Hai (1963)

Laaga Chunari Mein Daag Chuupaun Kaise – Dil Hi To Hai (1963) – Roshan – Sahir Ludhyanavi

It was Mukesh who was the default playback singer for Raj Kapoor in this film. However, for so strong classical rag-based comedy song, Roshan easily seems to have preferred Manna Dey

Manna Dey And Shammi Kapoor

Manna Dey had had an occasional chance to playback for Shammi Kapoor – Ab Kahan Jaye Hum – in Ujala  and a few other films, which we have covered in details in our Manna Dey – Shammi Kapoor piece earlier.

Meri Bhains Ko Dand Kyun Mara – Pagla Kahin Ka (1969) – Shankar Jaikishan – Hasrat Jaipuri

It was Shankar Jaikishan who again recalled Manna Dey for a full-fledged comedy song, filmed on Shammi Kapoor, when Mohammad Rafi had become THE ShammI Kapoor Playback voice.

Manna Dey and Shashi Kapoor

Manna Dey also had his share of Shashi Kapoor songs. It was in Pyar Kiye Ja (1966) that he gets a very light song to sing for Shashi Kapoor

Sun Le Pyar Ki Dushman Duniya – Pyar Kiye Ja (1966) – with Kishore Kumar, Lata Mangeshkar, Asha Bhosle – Laxmikant Pyarelal – Rajendra Krishna

This is a cry against the tyranny of the world towards the young people in love, but presented in a lighter tone.

Manna Dey’s Comedy Songs with Other Lead Actors

We have had a detailed look at Ashok Kumar – Manna Dey Comedy Song Jaa Re Beiman Tujhe Jaan Liya (Private Secretary, 1962; Music Director – Dilip Dholakia; Lyrics – Prem Dhawan), in Ashok Kumar – Manna Dey piece @ Manna Dey and Lead Actors. So, we will be satisfied here with taking a note of that one excellent comedy songs of Manna Dey. Of course, no discussion of Manna Dey’s comedy sngs for Ashok Kumar can ever be complete without mention of Babu Samajo Ishare, Horn Pukare (Chalti Ka Naam Gaadi, 1958; Music – S D Burman; Lyrics: Majrooh Sultanpuri)

One of the rarest find while working for this entire series is Manna Dey’s Comedy Song for Vijay Ananad.

O Mister, O Mister Suno Ek Baat – Agra Road (1957) – with Geeta Dutt – Roshan –  Prem Dhawan

Vijay Anand was considered to be one of the most competent drifters of the films. Picturization of the songs was his forte. He would suddenly briefly appear, in Alfred Hitchcock’s signature style, in some in  the films he directed,  His attempts to act, and that too as lead actors, have been considered to be equally rare, and by and large not very successful.

Agra Road was his first maiden such effort. The film direction was in th every able thriller film directors, (Nagina -1951– fame) Ravindra Dave.

Here Vijay Anand is seen lip-synching Manaa Dey in a very light situation dance sequence. Of course, he himself wi very seriously dressed in a full suit, a tie, shoes and all.

Manna Dey’s Comedy Songs with Other Comedians

After Hato Kahe Banao Jhoothi Batiyan (Manzil, 1960) for Mehmood, we get to listen Manna Dey’s comedy songs for full-fledged comedians in 1962 for Johnny Walker.

Manna Dey’s comedy songs for Johnny Walker

The default playback voice for Johnny Walker has always been Mohammad Rafi. Mohammad Rafi had in fact so much developed a style of throw of words that synched perfectly with Johnny Walker’s theatrics that just by listening  to a song one would know this is Johnny Walker song..

Arre Kisne Chilman Se Maara – Baat Ek Raat Ki – S D Burman – Majrooh Sultanpuri

It is probably no coincidence that it is S D Burman who has chosen to use Manna Dey for Johnny Walker, taking on a contrarian step of not using Mohammad Rafi.. In fact SDB has already used Mohamad Rafi for Johnny Walker, right in this film – Aaj Ka Din Bhi Pheeka Pheeka. However, for this classical styled mujra, S D Burman has opted for Manna Dey. S D Burman has maintained spaces for Johhny Walker’s signature theatrics, while creating one of the most iconic comedy song in the annals of Hindi film history.

We have next three songs, all composed by Kalyanji Anadji.

Mere Mehboob Mujhko – Haseena Man Jayegi (1968)  – with Asha Bhosle –  Kalyanji Ananadji – Qamar Jalalabadi

This is a masala comedy song involving a sulking ‘the other half’ with our ‘comedian’ displaying all the theatrics available in his arsenal to win her over.

Ek Anar Do Bimar – Baazi 1968   -Kalayanji Anandji – Shakeel Badayuni

The templates are so rigidly cast, that even a new combination of music director – lyricist also is not able to inject any noteworthy variation.

Haye Re Raama Raam Qasam Kaisa Aaya Ye Zamaana  – Ek Haseena Do Deewaane (1972)  -Kalyanji Anandji –  Qamar Jalalabadi,

If a film has a comedian, and that too of the order of Johnny Walker, or Mehmood, he has to be allotted one song. By now there are some standard templates typecast. Any one of that template style will be lifted up and a song will be worked out by crafting some variation here or some variation there.

We would once again to end an episode in this series by ruefully noting the sudden drop in the quality of compositions that Manna Dey had to sing as the years pass, starting always from an iconic song to end with most certainly the forgettable song.

We have one song that can help us move away from that gloom –

Munh Se Mat Laga Ye Cheez Hai Buri – Johnny Walker (9157) – with Mohammad Rafi – O P Nayyar – Hasrat Jaipuri

This is an all-Johnny Walker- Mohammad Rafi song. Manna Dey has played back for some unknown ‘on-screen’ friends. But that has not made a shade of difference to Manna Dey – he matches a note-to-note with Mohammad Rafi.

That is the beauty of a really ‘class’ composition!!

We still have one more episode-worth material for Manna Dey’s comedy songs for Other Comedians. We would take that up in our next episode.