If we take sheer number of songs as THE criterion for selecting The Best Singer for The Year, then Amirbai Karanataki undoubtedly takes the shield. The songs that I could locate on YT, from the ones mentioned in HFGK, make a two-post long list. However, that is not the only crireion we need to judge her. She has three films where she is the lead singer and has all songs to her account. The list is strong enough to make the first part of her 1945 solo songs.She also has seven other films where she is one of the female singers (listed in the 2nd part, to be followed.)
Runak Jhunak Chapal Charan Nache More Man – Amrapali – Saraswatidevi
Ud Jaau Re… Main To TaroN Ki Duniya Mein – Amrapali – Saraswatidevi
Mujhe Naino Ke Bandhan Kas Gaya Re Koi Pardesi – Amrapali – Saraswatidevi
Piya Mere Saath Rahenge Aaj Ki Raat– – Amrapali – Saraswatidevi
Is Duniya Ki Pagdandi Par, Tumhi Ho Mere Saathi – Amrapali – Saraswatidevi
Aaj Apane Ghar Mein Lagi Aag Re, Naujawan Jaag Re – Amrapali – Saraswatidevi
Man Mein Basa Le Piya Ko – Chand Chakori – Bulo C Rani – Wali Sahab
Jogan Bana Ke Piya Chhod Gaya Galiyo Mein – Chand Chakori – Bulo C Rani – Pt. Indra
Hawa Tum Qassid Ban Kar Jaana – Chand Chakori – Bulo C Rani – Pt. Indra
Mohe Phool Ke Gajre Ne, AankhoN Ke Kajre Ne Poochha – Chand Chakori – Bulo C Rani – Pt. Indra
Saiya O Saiya To He Bulbul Kahoon – Chand Chakori – Bulo C Rani – Pt. Indra
Doobati Nao Ko Tinke Ka Sahara Na Mila – Chand Chakori – Bulo C Rani – Wali Sahab
Yaar Ki Galiya Hai Bade Pyar Ki Duniya – Chand Chakori – Bulo C Rani – Wali Sahab
Main Tujh Se Poochhati Hun ….Ro Ro Ke Suanti Hai Aakhein – Chand Tara – Gyan Dutt – Swami Ramamand
Dev Anand’s Musical Journey – tracking the music directors who embellished the evergreen hero Dev Anand’s films with timeless songs down the years, Peeyush Sharma looks at a mix of superhits and some lesser known films in a tribute to the icon on his birth anniversary.
On her 66th birthday, The Divas: Rekha recapitulates metamorphosis of Rekha from a dark gawky teenager with puppy fat – she was barely 15 when she debuted in Sawan Bhadon (1970) – to the svelte, polished, sophisticated ‘Rekha’ who straddled crass commercial cinema and artistic parallel cinema.
Rekha – The Essence of a Woman is not about perfection; it is about carrying your imperfections with grace and being unapologetic about it to herself. It is also about defying the definitions given to her by society. Living out of the shell and growing in abundance. Rekha certainly lived out of the shell all her life. Facing challenges right from her birth, the svelte diva went on to become the queen.
We will now take up the articles on other subjects:
Salt, pepper and foods presents the menu of some songs based on food items to celebrate the World Food Day (to commemorate the founding of the Food and Agricultura Organisation under UNO on 16 October 1945, and to wish the FAO all the best on its 75th Anniversary).
Returning to the Wonderful Vajifdar Sisters– The song Ye Barkah Bahar (Mayur Pankh, 1954 – Lata Mangehskar, Asha Bhosle- Shankar Jaikishan – Shailendra) has Roshan and Khurshid Vajifdar as performers on the screen and was choreographed by Shirin Vajifdar. Thus, bringing in all three sisters in one song.
Female Dance Duets – Part 1 and Part 2 are now followed by Part III, which has dance performed on the stage.
In continuation to out tradition of ending 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. Presently, we remember a few Mohammad Rafi – Asha Bhosle duets
Ho Sake To Dil Ke Badle Dil – Alladin Aur Jadui Chiraag (1952) – wth Shamshad Begum and Chitragupta – S N Tripathi – Pandit Chand
Mujhe Dekh Na Kudiya Mud Ke – Reporter Raju (1962) – S Mohinder – Anjaan
Pyar Ke Daman Se Lipte Ham Kahan Gaye Aaye – Char Darwesh (1964) – G S Kohli –
Dil To Pahele Hi Madhosh Hai, Matwala Hai – Baharein Phir Bhi Aayegi (1966) – O P Nayyara
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.
Shamshad Begum’s quantitative presence in 1945 is limited 4 films and 4 music directors, , with only one film as the lead playback singer. However, her voice has very youthful vibrant note, that places her distinctively apart from the other vintage era singers this year.
Hum Kis Se Kare Shiqawa, Rona Hai Muqaddar Mein – Hamara Sansar – Pt. Govind Ram – Ramesh Gupta
Mere Preetam ki Paati Aai, Anand Se Bhool Gai Main – Hamara Sansar – Pt. Govind Ram – Ramesh Gupta
Main To OdhuN Gulabi Chunariya Aaj Re, Mere Bhiya Ne Pahana Aaj Taaj Re – Humayun – Ghulam Haider – Shams Lakhanavi
Husn Kahata Ja Raha Hai, Badshahi Kuchch Nahi – Humayun – Ghulam Haider – Vikar Ambalavi
Meri Duao Ka Asar Yaarab Dikha Dena – Humayun – Ghulam Haider – Shams Lakhanavi
Chand Chamka Andhere Mein Aaj Hai – Humayun – Ghulam Haider – Pt. Madur
Dono Hi Ko Bigadi Kismat Ne Diwana Banakar Chhod Diya – Humayun – Ghulam Haider – Arzoo Lakhanavi
Welcome to October 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
Beyond a simple agreement about it being linked to some kind of measurement of performance there is little consensus about how to define or use performance measures. [1]
Also, selection of inappropriate measures is also seen as a wide-spread phenomenon.
The three major reasons that seem particularly relevant in this context are:
The overconfidence bias
The availability heuristic
The status quo
To determine which statistics are useful, you must ask two basic questions
First, what is your objective?
Second, what factors will help you achieve that objective?
The most useful statistics are persistent (they show that the outcome of an action at one time will be similar to the outcome of the same action at another time) and predictive (they link cause and effect, predicting the outcome being measured). [2]
The great Coca-cola turnaround strategy rested on placing equal emphasis on Performance (what an enterprise does to deliver improved financial and operational results for its stakeholders) and Health (how effectively people work together to pursue a common goal),
Beyond Performance 2.0 lays down five frames of performance and health are collectively called the “5As”:
Aspire. Where do we want to go?
Assess. How ready are we to go there?
Architect. What must we do to get there?
Act. How do we manage the journey?
Advance. How do we continue to improve?
The following figure shows the specific steps within each of the five frames of performance and health, as well as the relevant masterstrokes – important lessons about human irrationality and how to work with it constructively.[3]
From the vast variety of literature available on the subject, the foregoing two articles possibly neatly picks up the essence of what a performance analysis for the sustained success ought to be. Here are few more additional readings on the subject:
In the series the Organizational Culture, we have taken up Organizational Culture Transformation – The whole journey of change covers both internal and external environments and the gradual sense of identity regarding who we are. “Vibrant cultures have high levels of performance because they create internal cohesion, attract talented people, and inspire employees to go the extra mile.”[4]
We now watch ASQ TV, wherein we look at a relevant video from the archive:
Dashboards as Management Tools – Dashboards are being used as management tools that harness data from an organization to predict trends and highlight actions that should be taken as a result.
Successful Quality Professionals Go Beyond Normal – As a matter of survival, people instinctively remember painful experiences more than pleasant memories. Performing a quality function is often a dirty job, but somebody has to do it! –
Choose different words to describe quality information in a different light – as initiatives, opportunities, or preventive actions.
Become bilingual to use terms with which other departments are more familiar.
Get over the myth that the greatest economic case for quality is resolving the issues of dissatisfied customers. Instead invest in attainment of customer delight, by focusing on better understanding, and fulfilling the needs of quiet customers who are not dissatisfied but merely satisfied.
Redefine yourself and your role as something more than an enforcer of specifications, standards, and regulations.
You might be surprised how the organization will react to the ‘new you.’ You might be amazed to discover managers approaching to ask for your input versus talking about a poor-quality issue.
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.
Culture change cannot be achieved through top-down mandate. It lives in the collective hearts and habits of people and their shared perception of “how things are done around here.”
The most significant change often comes through social movements,
We often think of movements as starting with a call to action. But movement research suggests that they actually start with emotion — a diffuse dissatisfaction with the status quo and a broad sense that the current institutions and power structures of the society will not address the problem.
The social movements typically start small. They begin with a group of passionate enthusiasts who deliver a few modest wins. While these wins are small, they are powerful in demonstrating efficacy to nonparticipants, and they help the movement gain steam. The movement really gathers force and scale once this group successfully co-opts existing networks and influencers.
Practices for Leading a Cultural Movement
Leaders should not be too quick or simplistic in their translation of social movement dynamics into change management plans. That said, leaders can learn a lot from the practices of skillful movement makers.
Frame the issue. Successful leaders of movements are often the masters of framing situations in terms that stir emotion and incite action.Framing can also apply social pressure to conform. In terms of organizational culture change, a leader can do this by framing change within the organization’s purpose — the “why we exist” question.
Demonstrate quick wins. Movement makers are very good at recognizing the power of celebrating small wins. When it comes to organizational culture change, leaders too often fall into the trap of declaring the culture shifts they hope to see. Instead, they need to spotlight examplesof actions they hope to see more of within the culture. Sometimes, these examples already exist within the culture, but at a limited scale. Other times, they need to be created.
Harness networks. Effective movement makers are extremely good at building coalitions, bridging disparate groups to form a larger and more diverse network that shares a common purpose. And effective movement makers know how to activate existing networks for their purposes.
Create safe havens. Movement makers are experts at creating or identifying spaces within which movement members can craft strategy and discuss tactics. These are spaces where the rules of engagement and behaviors of activists are different from those of the dominant culture. They’re microcosms of what the movement hopes will become the future.
Embrace symbols. Movement makers are experts at constructing and deploying symbols and costumes that simultaneously create a feeling of solidarity and demarcate who they are and what they stand for to the outside world. Symbols and costumes of solidarity help define the boundary between “us” and “them” for movements.
The Challenge to Leadership
When it comes to culture change, authority of the position to order a mandate should be used sparingly. It is easy to overuse one’s authority in the hopes of accelerating transformation.
It is also easy for an enterprise leader to shy away from organizational friction. Harmony is generally a preferred state, after all. And the success of an organizational transition is often judged by its seamlessness.
In a movements-based approach to change, a moderate amount of friction is positive. A complete absence of friction probably means that little is actually changing. Look for the places where the movement faces resistance and experiences friction. They often indicate where the dominant organizational design and culture may need to evolve.
And remember that culture change only happens when people take action. So start there. While articulating a mission and changing company structures are important, it is often a more successful approach to tackle those sorts of issues after you’ve been able to show people the change you want to see.[1]
The following schematic model provides essentials of a culture transformation design model.
According to the Barrett Values Model, cultural transformation is evolutionary in nature. The whole journey of change covers both internal and external environments and the gradual sense of identity regarding who we are. “Vibrant cultures have high levels of performance because they create internal cohesion, attract talented people, and inspire employees to go the extra mile.”[2]
Shankar- (Jaikishan) and Shailendra’s Songs Fading From the Memory: 1954
Shankar (Singh Raghuvanshi) – B: 25 October 1922 | D: 26 April 1987 – is generally known to be less glamorous that his film music composition partner Jaikishan. However, barring some hiccups in the later part of their active association, their professional bond was so seamless that may knowledgeable musicologists of those days used find it difficult to recognize who has composed which song. It was said that Shankar would compose Shailendra’s songs and Jaikishan would compose Hasrat Jaipuri’s songs. The division of the songs was based on what would suit the situation. However, from the stage the song is being readied for recording, both would be seen working hands in gloves to ensure that the song is no less than their best.
Selection of only Shailendra’s songs in this series is, thus, the outcome of the then popular thumb rule of cross-paring of Shankar Jaikishan with Shailendra and Hasrat Jaipuri. We have commenced the present series of Shankar- (Jaikishan) and Shailendra’s Songs Fading From the Memory from October 2018 and have been covering their less familiar songs from the films released in chronological order of year.
Presently, we would listen to Shankar- (Jaikishan) and Shailendra’s Songs Fading From the Memory for the year 1954..
We have three films in 1954 – Badshah, Mayurpankh and Pooja. A cursory look at the list of Shankar- (Jaikishan) and Shailendra’s Songs shows that even as SJ – along with Shailendra and Hasrat Jaipuri as lyricists – had some outstanding successes under their bet, by 1954, they were still in the process of setting a wide base of banners, film subjects, even the actor-actresses for which the songs on the screen will be filmed etc. As such the songs for the year 1954 show a definitive stamp of SJ – Shailendra-Hasrat combination, we have relative larger share of songs (per album) that remained less familiar than the later years creations.
Gul Muskara Utha, Bul Bul Ye Ga Utha, Bago Mein Aayi Bahar – Lata Mangeshkar, chorus
We have here a very rarely heard song. The song composition has primarily mid-western culture influence. Prominence of male singers in the chorus also attracts listener’s attention.
Mayur Pankh (1954)
The story and screenplay of the film revolve round the infatuation of Ranjit (Kishore Sahu) for an English novelist Joan (Odette Fergusson) and the tragic aspect of the love affair from both their points of view and that of Shanti (Sumitra Devi), Ranjit’s wife. The story moves around from jungle scenes to village melas against the backdrops of historic places, providing thereby the avenues for situations for the songs as well. Shankar Jaikishan have also accepted the challenge for providing music for such songs quite successfully.
Ye Barkha Bahar Sautaniya Ke Dwar – Lata Mangeshkar, Asha Bhosle
A signature mujra song, opening with note of Sarangi and a enticing alaap by the singers.
Aside Trivia: The song is rendered on the screen by the then famous Wajifdar sisters.
Atul’s Song A Day post on this song has addressed the details of the song at great length.
Main Chalu Paschim, Purab Chale Duniya – Lata Mangeshkar
This is a fast-paced dance song, performed on stage by Cuckoo.
Tandana….Mushkil Hai Pyar Chhupana Tandana… Preet Nayi Dard Purana – Lata Mangeshkar, Chorus
Hindi films have the knack of third-party singers sing songs that exactly reflect the feelings or thoughts of relevant protagonists! Shailendra has smartly rhymed the local phrase Tandanna, used normally to lend punch to the rhythm, with Chhupana, Purana etc.
Pooja (1954)
The film had Bharat Bhushan, along with Poornima in the lead. But this should be pre-Bharat Bhushan golden hand-shake period film. My first exposure to the songs happened during Multiple version songs series on SoY with two songs – Jo Ek Baar Keh Do (happy and sad versions). Other than these , all other songs belong to not-so-known territory. The film had 10 songs, of which 8 are penned by Shailendra.
Mori Bipada Aan Haro, Prabhu Kahe Der Karo – Lata Mangeshkar
Shankar Jaikishan comes up with a minimal orchestration ‘bhajan’ genre song. Use of dholak as the rhythm instrument.
Holi Ayi Pyari Pyari, Bhar Pichkari Rang De Chunariya Hamari – Mohammad Rafi, Lata Mangeshkar
A holi genre song, with SJ improvising with the use of chorus as second interlude to change the song delivery in the second stanza, with song becoming a softly-higher-scale Rafi, chorus song.
Rang Khelo Rasiya Suratiya Pahechan – Mohammad Rafi, Lata Mangeshkar, chorus
This is the second part of the preceding song.
Main Muralidhar Ki Murali Lai, Murlidhar Ne Lai Meri Mala – Lata Mangeshkar
Shankar Jaikishan present this dance song with their trademark large sized orchestration support in the song composition.
Soch Na Manwa.. Teri Taqdeer Bananewala Sochega – Mohammad Rafi
The prelude opens with a stroke of violin ensemble, followed a solo violin piece supported piano expanse as Mohammad Rafi opens the first line with a higher note. Interlude pieces comprise of violin ensemble with flute support.
Room Jhoom Ke Bajao Bansuri Murari – Mohammad Rafi, Krishnarao Chonkar
We have a classical based MM duet. Shankar Jaikishan has roped in services of Krishnarao Chonkar to lend authenticity to the song.
Chal Chal Re Musafir Chal Tu Us Duniya Mein Chal – Mohammad Rafi
The orchestration id predominantly flute based, with a very subtle obbligato support. Short violin ensemble, more as counter melody support to the interlude music is perhaps the only tell-tale indicator of a Shankar Jaikishan composition, However, even this is presented in much different form than what we normally associate with SJ orchestration.
Shailendra is at his usual poetic mood when he thinks about the ‘the other’ world and links up his egalitarian view of ‘that’ world with these lyrics –
jaha pyaar kaa rasta koyi naa roke, koyi naa kahe sambhal
As was observed in the Memorable Songs of 1945 overview, female solo songs are likely to outnumber male solo songs by a very wide margin, this year too. In comparison ro Male Solos, we canexpect more number of female singers and (by and large) more solo songs per singer. This is also the year that will not see many Golden Era Female Singers, like Geeta Roy (Dutt) or Lata Mangeshkar is in the role of playback We can also expect that most od the songs that we get to listen to may be totally unfamiliar ones,
Solo Songs of Suraiya
For the year 1945, Suraiya has 9 solo songs spread over 4 films and 4 different music music directors.
Aankh Milake Balma Mat Aankh Chura, HaN Chhod Na Jana…– Main Kya KaruN – Ninu Mazumdara – D N Madhok
Suno More Raja Najariya Milay Ke Bada Dukh Doge Naino Se Door Jayake – Main Kya KaruN – Ninu Mazumdara – D N Madhok
Aaj Aaj Hans Ke Do Do Baaten Ki Hai Sanam Ne Hamare – Main Kya KaruN – Ninu Mazumdara – D N Madhok
My uncle – Janardan Pranlal Vaishnav [B: 09-06-1932 | D: 23-09-2020]- was the youngest of the three sons of Pranlal Vaghji Vaishnav. The eldest one was Kamalkant Vaishnav and the younger to him was Mahesh Vaishnav, my father.
I was only 19 when Kamalkantbhai passed away in 1970. My relationship with him was that of a very loving uncle. Whatever little I have known of his personality is either from his soliloquy during that fateful bus journey to Bhuj for the ensuing marriage ceremonies of his eldest son, Divyakumar, or subsequent hearsay from different people at different occasions. My father, Maheshbhai, always treated me as junior friend ever since I passed my SSC examinations. When I joined my professional life, he groomed me in the role of as friend-cum-independent family member. After he passed away in 1983, I graduated to the level of Janardanbhai Vaishnav’s principal assistant in the family matters.
The age difference between each brother was such that they would have got almost similar upbringing during their respective childhoods. However, their developments as youths and then as head of their own micro-families, took different paths. As a result, even if their in-practice approach towards their core values apparently seemed different, they shared a strong family bond of common basic values of life. My position, or competence, expressly disbar me to express any views about them as individuals. Therefore, what follows is what I have perceived as what a next-gen family member would view on the basis of his personal experiences of the associations with the immediately preceding generation family members.
In terms of the Hindu philosophy, 10th to 12th days after the death are considered as the days of beginning of disassociation of the soul from the mortal life relationships. 13th day is the considered to be the day when the journey of the soul commences towards his ultimate destination of attaining the eternal peace. As such, from now on Janardanbhai will live with us in our memories. Standing at that point in my life, I have attempted to recall my reminiscences of him as head of the family. The instances that I present here are solely my own, personal, experiences. Therefore, the interpretations have my personal view point..
The first learning experience with Janardanbhai that I can recall dates to sometime in 1956. We were travelling by train from Bhuj to Sirohi / Abu to spend holidays with grandparents. In those days, the transhipment halt at Palanpur would last two /three hours. During that time, there were many trains, which terminated or started from Palanpur or required a change in engines, came on to the platform. That either, necessitating (as they were in vogue those days) a steam engine to be decoupled or coupled with the rest of the coaches. I was witnessing these activities first time and hence had tremendous childlike curiosity to watch it from the close quarters. However, in the very first instance, the shrill, loud whistle, accompanied by a large boisterous release of steam by the engine was enough to shake me up the bones. I was so afraid that next time I ran away farthest away from the engine being coupled. Janardanbhai, with all the care and tenderness that a force can accommodate, took me right up to the engine and firmly held me there during the whole process. I kept crying all the while, but he simply held me there. He repeated the process each of the four or five instances in those two / three hours. That was his way of imparting me the lesson of driving away fear from my mind, on my own.
In fact, I now can understand that even Kamalkantbhai or Maheshbhai also adopted more or less a similar method to make us understand that even as they would be thee to back us up, we have to learn to fight our battles on our own terms.
Kamalkantbhai would thrust a lighted, giant-sized cracker in our hands such that it would have just enough time before it explodes. We had to learn to handle it safely. My father had got an unexpected chance to instil confidence in me to navigate a unknown terrain. We had just shifted from Rajkot to Ahmadabad on his on the-job regular transfer. I had to reappear for one subject for my VIIth class annual examination, back at Rajkot. Maheshbhai had made all back-end arrangements for my pick-up and stay at Rajkot, but actual bus journey from Ahmadabad to Rajkot, and back had to be performed by me alone. Few years later, I had to be on such projects all alone, but I had had an excellent lesson of being able to stand up on my own feet in my armour by then.
We had spent several summer vacations wherever Janardanbhai would have been posted in his job. To us these were the happy moments of merry abundance. However, when I recall those joyful days now, I realize how finely Janardanbhai was able to maintain the personal-work life balance. Obviously, he was adept, even then, to bear with equanimity the work-personal life pressures and pulls. My first-hand explicit experience of his forbearance of extreme pressure was when my father, Maheshbahi, passed away in 1983. Janrdanbhai had to bear the responsibility of bring along his mother and a family of wife and two young children during that arduous six-hour Rajkot- Ahmadabad journey,, while ensuring that none of them would get a faintest clue that when they will reach Ahmadabad, they will ne pitched-forked into the last rites of Maheshbhai. As the autorickshaw came to a halt in front our home, the situation was abundantly clear. As we were witness to the traumatic effects of deaths of my grandfather and Kamalkantbhai have had on my grandmother, we were quite aware of what the state of physical and mental condition of our grandmother would be during the journey. We had also planned for receiving her when they reached our home. So, obviously had Jandardanbahi. He did not waste a moment to help my grandmother’s sagging body frame to alight from the auto and then almost carrying her all the way up three stories on the staircase. In front of the deeply silently resting body of Maheshbhai, he eased my grandmother into the sitting position while continuing his firm grip over her body, till he felt that that critical moment had passed away. He, then, quietly gestured us to immediately quicken up the rest of the proceedings. With so much of comings and goings of relatives in next few days, he probably could not physically comfort my grandmother, but his vigilant gaze was always on high alert to detect any signs of worry on that count.
As it happened, this was his second such experience. He had to carried out this once before in 1970 too, when they had to travel from Bhuj to Surat, when Kamalakntbhai had passed away, then also without any forewarning. Only the travel at that time was far more arduous on account of severe floods in the rivers of central Gujarat to Tapti at Surat.
After the death of my grandfather, all the brothers took extra care of my grandmother. Sudden death of my grandfather had thoroughly shaken my grandmother. As part of the Hindu tradition, family members and acquaintances would come in person to express their grief to the kay relative of the deceased. Most of these relatives lived in Bhuj and had to travel to Surat for this purpose, As a result, there would always be two or three new grieving people in front of my grandmother. This had aggravated the situation of to such an extent that her own health was now the cause of worry. Kamalkantbhai himself was not in position to take direct initiative since tmy grandmother would always be surrounded by the ladies. So, he used us to create a ‘remote’ protection shield. He would instruct us with new tricks every time a new grieving party would arrive, so that their grieving drama would not last more than few minutes.
My grandmother, by her core nature, was very emotionally sensitive. But she would keep all her pains to herself. That did not work well with her overall health after my grandfather’s death. On top of that, in the spirit of being a devoted wife, she shunned evening meals. It was after great deal of persuasion by her sons that she had agreed to take a glass of milk and just one serving spoonful cooked vegetables as her evening meals. Over the years, that had rendered her physically very weak.
Her weakened body took its toll when, once she accidently sat down too heavily, resulting in a hair-line crack in the last bone of coccyx. That gradually reduced my grandmother to be bedridden. The bedridden stage acted as the proverbial last straw on the already weakened body of grandmother. She required very delicate and meticulous care for an extended duration. Even if we consider that all the care that Janrdanbhai and his family members took of her as natural affection and sense of duty, more striking was the unwavering faith that Janardanbhai held in the remotest possible chance that she would survive. At the very last, when treating doctors declared that her kidney has totally stopped functioning and medically speaking the end may now be a matter of sometime only, and that he may call me to remain present. But he seemed not keen to accept that finality. Probably, nature also needed extra efforts to overcome the positive force of his the then thought process. Grandmother medically breathed last only after about 60 hours. After so much of traumatic last couple of days, visibly from outside and emotionally from within Janrdanbhai was like a true saint, fully at peace with himself. At the end of the traditional mourning period of 12 days, he assembled the whole of larger Vaishnav family, to read out the formal will that my grandfather had written, along with an informally written testament of my grandmother’s last wishes. He ensured that all that was directed therein is complied with in letter and in spirit, with the least possible delay of implementation
The disposal of THE FAMILY HOME at Bhuj, the only immovable ancestral property, took some more time, and had quite a few glitches. But Janardanbhai ensured that whole process ends to its logical conclusion. Since then, till the END, In a family where the next generations were also quite now grown up, more and more differences of the outlook to different issues would come to fore. Janardanbhai was always explicit and clear about his own approach, but he was practical enough not to insist that his view, as the head of the family, only should prevail. His pragmatic approach indeed worked well in keeping the broader family tied up as loose federation.
After, Janardanbhai’s wife (Purnimakaki) passed away, he seemed to be even more balanced and liberal (!) in his approach with the (greater) family issues. He ensured that marriage of Kamalkantbhai granddaughter, which was held in just three /four months after the death of his wife, or that of Maheshbhai’s grandson, in the same year, had the faintest shadow his personal loss. After a few years, in another such family occasion, I believed that respect due to his position may not be accorded, and hence I was ambivalent about his presence in the function. He simply brushed aside my objections and ensured that all of us attended the function. To him, duty associated with his position was far more important than the status of that position.
Whether it was duty to the family, or to their profession, or whether it was maintaining a commitment, or whether it acting according to the spirit of what they considered or understood as ethically right, was always one of the many dimensions of honesty for all the brothers. Another very important dimension of honesty was always do what you say and think, while maintaining total transparency. That is why they perhaps never feared or hid their considered views. Kamalkantbhai never seemed to hesitate to call a spade a spade. Maheshbhai’s expression of his view was always soft. If he thought that his views will not be acceptable, he may even choose to remain silent. Of course, under those circumstances, his unspoken word was louder and more forthright. Janardanbhai would spell out his views once, and then if these were not heeded to, he would never broach that subject again. In the process, it was abundantly clear to the other party that he did not agree to what they say or approve what they do. For him, the matter ended there with a full stop.
Someone who is so honest in such subtle matters, it was not surprising that financial impropriety of smallest degree was a cardinal sin, for all the brothers. Only one illustration should sufficient to impart clarity to what I have to say. When I was shifting to Mundra on a job transfer, I could persuade Janardanbhai to accept a small imprest amount towards any minor maintenance expenses of our house. He religiously documented any expenses incurred and the outstanding balance in a letter to me every six months, even when we talked with each other over phone at least once a week.
Money (material wealth), for all three brothers, was simply a medium for conducting the ways of life and not the means or an end to the happiness.
Outwardly, the death of his wife (Purnimakaki) seemed to have had no effect on the conduct of Janardanbhai’s life. But from within, he seemed to have decided to retire from the active executive responsibilities of the principal player of the household. He started grooming his daughter-in-law (Ami) to take over the economic and financial management sides of the household. While he provided the back-end support for maintaining the meticulous documentation of the financial affairs, he did ensure that Ami did inculcate a similar habit for maintaining the documentation with accuracy and timeliness.
One can also observe that major prostrate problem, before five years or so, was another gamechanger in his life. He now seemed to plot the chess board of his for the end game. Death of his son-in-law (Dushyant Rindani) was destiny’s unexpected change in the rules of the game. But, Janardanbhai mentally had so advanced in this process of renunciation that could take even that in stride and seemed to have felt that his endgame plan can proceed as planned. With that state of his mental approach, his advancing physical age gradually had started affecting his general health. In the retrospect now, it seems that his illness in last fortnight, he had probably seen the inevitable. As a result, he seemed to participate, with only barest minimum passive support, in all the nursing efforts that his immediate family had undertaken with missionary passion.
Janadanbhai used to state that he had lived his life fully, in the same spirit as the heart-touching statement ‘Life is so beautiful’ by Don’ Corleone, of Mario Puzo’s epic novel “The Godfather’. Janrdanbhai had so cleanly closed all the accounts of the books of his life, that his eternal journey will be one of the most peaceful journeys.
We are so fortunate that we are born, and have lived, in the family of such exemplary human beings. I would only wish that I can draw some lessons from these lives to live the rest of my life with similar balance and fortitude….
We now move over to the ‘Long Tail’ of the skewed distribution of Hemant Kumar’s female songs. Hemant Kumar has used the ‘other’ known Hindi female playback singers more as an exception only. Raj Kumari had one dance number in Anand Math (1952). Shamshad Begum has two solos and two FF duets, Sudha Malhotra has one solo, one FF duet and one (an iconic) MF duet – that we will take up discussion separately- and Suman Kalyanpur has two FF duets, and Usha Mangeshkar has one solo and two FF duets. We also have a very rare Mubarak Begum, Sulochana Kadam FF duet and a song by a classic trained singer Lakshmi Shankar, as well
Rajkumari
Dil Ka Paimana Hai, Ulfat Ka Hath Hai – Anand Math (1952) – Lyrics: Hasrat Jaipuri
Sheila Ramani is so gracious as lead dancer in this court dance song.
Hemant Kumar has used a classic trained singer for Mujra Song. From the initial dialogue in the clip, it seems that the song is seen by the daughter (Geeta Bali) as her mother has to perform for such mehfils
The song is in two parts. The second part has Geeta Bali singing the song on the screen. The feeling of pathos is very clearly felt in the way song is rendered in this part. The context of this change would be clear only when one has seen the film.
Usha Mangeshkar
Kaisi Lagi…..Jiya Jaye To Jiya Jaye – Ek Hi Rasta (1956) – with Asha Bhosle – Lyrics: Majrooh Sultanpuri
The song is a duet dance song, so typically planned to celebrate special occasions.
Pyasi Hai Mamata Meri Aaja Dheere Dheere Aa – Maa Beta (1962) – Lyrics: Prem Dhawan
Hemant Kumar has so melodiously weaved lathos of mother being away from her offspring in this lullaby.
Shamshad Begum
Hemant Kumar has used Shamshad Begum for four songs, of which a duet, with Ravi, from ‘Daku Ki Ladki” (1954) do not seem to be traceable on the internet
Meri Itni Araj Hai Huzur Se, Pyar Karna Magar Door Door Se – Hamara Watan (1956) – Lyrics: S H Bihari
Hum Kisi Se Na Kahenge Chup Chup Se Rahenge– Yahudi Ki Ladki (1957) – with Geeta Dutt – Lyrics: S H Bihari
The song is set to what has now become familiar Arabic dance tunes (thanks to n-number of films based on stories from that milieu) to the listeners of Hindi film songs. Both the singers have been accorded freedom to sing in their natural range.
Pyar Jata Ke Lalchaye Mora Balama –- Hum Bhi Insaan Hai (1959) – Lyrics: Shailendra
This seems to a mujra-styled dance song. Shamshad Begum is her at vintage best, even in 1959.
Hemant Kumar has so easily been able to present a signature mujra song – with prominent tabla thaaps (beats), beginning of the stanza without the support of any instruments and of course the use of most ubiquitous instrument of a mujra music – the sarangi.
Suman Kalyanpur
Suman Kalyanpur is present in only two FF duets. Both the duets are perfectly composed FF duets, but have differently blended the inherent vocal qualities of different singers in the respective songs.
Kabhi Aaj Kabhi Kal, Kabhi Paraso – Chand (1959) – with Lata Mangeshkar – Lyrics: Shailendra
The song appears to be public dance stage show. As such, both the performers are expected to move and sing in perfect synchronisation. Hemant Kumar has achieved this synchronization in the vocal part of the songs by perfectly blending almost similar sounding voices of Lata Mangeshkar and Suman Kalyanpur.
Phulwa Band Maheke Dekho Dali Dali – Ham Bhi Insaan Hai (1959) – with Geeta Dutt – Lyrics: Shailendra
Shailendra has captured the two points of views of friends in the song, who seem to be visiting the flower garden – both see different hues in the same settings in which both are present together. Hemant Kumar has enlivened this effect by using two naturally different voices – those of Geeta Dutt and Suman Kalyanpur.
Aside Trivia:
The song seems to have been inspired from Meghla Bhanga Rod Utheche (The Sun Rises in the Clouded Sky) – Tar Aar Par Nei. – Pratima Badopadyay – composed by Nachiketa Ghish, lyrics: Pulak Banerjee
Mubarak Begum, Sulochana Kadam
Bharat Ke Lok Geet (Fashion, 1959) is collection of folk songs from different regions.
Other than these, he has also chosen to experiment with Bengali female playback singers, like Ratna Gupta, Pratima Banerjee, Aarti Mukherjee, his wife Bela Mukherjee and his daughter Ranu Mukhrtjee, Bula Gupta etc.
We will take up Hemant Kumar’s songs of ‘Other’ (Bengali Female Singers in the next episode.
For the year 1945, three male singers, who can be considered to be belonging to the Golden Era, and 10 male singers, who can be considered to be belonging to Vintage Era, had only one song each of the songs, Jagmohan’s O Varsha Ke Pahale Badal (Meghdoot, music – Kamal Dasgupta) is very well known. Similarly, Mohammad Rafi’s Aye Dil Nakaam Tamanna, Ab Jeene Ki Tamanna Chhod De ( Hamara Sansar – Music: Pt. Govind Ram) , Mukesh’s Dil Jalata Hai To Jalne De (Paheli Nazar – Music: Anil Biswas) and K L Saigal’s Janam Janam Ka Dukhiya Prani, Aaya Sharan Tihari (Tadbir – Music: Lal Muhammad( also are also always known. Therefore, they are being the automatic choice ‘for being liked’ I have not included them in the discussion here. In other words, I have attempted to choose My Top Male Solo Songs from the ones that I have either very rarely heard before or have heard them for the first time in the present Micro Analysis of Songs of 1945.
So, here are My Top Male Solo Songs for the year 1945, in no particular order:
The song is essentially a vintage era style composition, wherein Mohammad Rafi also sings in vintage era style. However, the emerging ‘Golden Era’ Rafi can also be felt by Golden Era listeners like me.
The world is too small? or Is it? 