January 2021 – The world is too small? or Is it?

Carnival of Blogs on Golden Era of Hindi Film Music – January 2021

Welcome to January 2021 edition of IX^th Volume of Carnival of Blogs on Golden Era of Hindi Film Music.

The year 2021 opened on a very unusual note for Blog World of Hindi Film Music with a post Hans Akela: A song that stood tall amid the ruins on SoY. Rahul Bhagwanrao Muli presents the songs that are only the surviving link to the memory of the film. The song is then “Hans Akela“ which is still floating freely, liberated from the mortal debris of the film.

And of course, a post on 26^th January – Republic Day: Reading between the lyrics of five patriotic Hindi film songs – The better and more enduring ones of this gnre, however, make room for other sentiments – celebration with caution, pride tinged with anxiety, a love for the country that is firm but not blind.

We now move on to other tributes and memories:

Boss of Bombay Talkies: How Devika Rani fought innuendo and personal tragedy to get back on her feet – Kishwar Desai presents Edited excerpts from a biography – The Longest Kiss: The Life and Times of Devika Rani, Westland Books – of the movie star and pioneering studio owner.

Mahendra Kapoor: The playback singer who did not need a sound system – Ajay Mankotia – January 9, 2021 was the 86th birth anniversary of the singer who owned the bastion of patriotic and religious songs in Bollywood

Sajjad Husain, the ‘Unsung’ Maestro – Rajan NS – Sajjad Husain was a priceless asset to Hindi film music but could not get the recognition that was his due, despite his prodigious talent.

The Masters: Naushad Ali – After a few forays into working as an instrumentalist in films, Naushad got his first big break when music director Khemchand Prakash took him on as an assistant. It was 1940 before he got his first film as an independent composer – Prem Nagar, for which, Naushad says, he did a lot of research on the folk music of Kutch. Soon, other films followed, but it was with Rattan (1944) that Naushad first tasted success.

The Unlucky Genius N Datta: His songs for ‘other’ singers is a rounding-off article after Hans Jakhar ‘s articles on N Datta’s principal singers, Asha Bhosle and Rafi

The Masters: C Ramchandra – Ramchandra Narhar Chitalkar was born on January 12^th 1918 and died on January 5^th 1982. His debut in Hindi films, as an independent music director was in Jeevan (1942), on the strength of his bond with Master Bhagwan. While the film only did average business, the music was appreciated, and Ramchandra had his foot in the door in the Hindi film industry as well. Bhagwan and he would collaborate professionally on a further 15 films.

Rafi sings for Chitragupt – Part 1 is the solo songs whereas part II is his duets.

How Guru Dutt became the reluctant hero of his masterpiece ‘Pyaasa’ – Excerpted with permission from Guru Dutt – An Unfinished Story, Yasser Usman, Simon & Schuster India.

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

Ae Nargis e Mastana – Remembering Sadhana on her 5^th anniversary on 25^th December.

My favourite ‘Rafi-Suman Kalyanpur’ duets is a tribute to Suman Kalyanpur on her 84^th birthday. Here is one duet that I have picked up as my choice, and the other one is at then end of this episode –

Zara Thehro Ji Abdul Gafaar – Satta Bazaar (1959) – Kalyanji Anandji – Hasrat Jaipuri

January 2021 episode of Fading Memories, Unforgettable Songs takes up Jaidev: Brilliant, But Underrated, Composer: 1972-1973 that covers Jaidev’s music in films Bhavna, Maan Jaaiye (both in 1972) and Prem Parbat (1973). We have covered, the years –

In 2018, we listened to his songs from the most successful films phase of 1955 to 1963.
In 2019, we listened to his more remembered songs from his less remembered films for 1964 to 1970, and
in 2020, we listened to highly appreciated songs from the films that did not succeed in 1971

in the form of our commemorative annual series in the month of Jaidev’s death anniversary month.

We will now take up the articles on other subjects:

Film Songs Based on Classical Ragas (14) – The Melodious Trio: Bageshri, Rageshri and Malgunji – Subodh Agrawal – All three ragas are very sweet and pleasant – ideal for shringar rasa. Malgunji is perhaps the sweetest, while Rageshri has a touch of gravity.

Songs of Music (!) explores different facets of music or where music plays a very important role in the song and / or the movie. For example – Manbhaavan Sangeet Suhavan (Chandramukhi, 1960 – Manna Dey – S.N.Tripathi – Bharat Vyas) , a song based on Raag Basant Bahar, is a perfect tribute to music. It refers to the various gods and goddesses who espouse the cause of music,

Heroine introduces herself! follows up on Hero introduces himself!

In the Micro View of Songs of 1945 we have carried forward the micro view of solo songs of Female singers – now in the form of Naseem (Banu) | Naseem Akhtar | Munnavar Sultana, Other female singers – Part I and Part II and the Summing up post on Female Solo songs – My TOP female solo songs. We, then, commenced the Micro View of the Duets for the year 1945 with Duets (+) of Golden Era (Male +) Singers.

In continuation to our 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.

Sambhal Sambhal Kar Jaiyo O Banjare.. Dilhi Door Hai – Saajan (1947) – with Lalita Deulkar, Gereta Roy – C Ramchandra – Ram Murti Chaturvedi

Tum Ho Jaao Hamare, Hum Ho Jaaye Tumhare – Roop Lekha (1949) – with Surinder Kaur – Sajjad Hussain – Khumar Barabankvi

Chhin Ke Pher Li Aankhein Jaan Gaye Ham Jaan Gaye – Chandani Raat (1949) – with Shamsahd Begum – Naushad Ali – Shakel Badayuni

Ghata Mein Chhup Kar….Jo Dil Ki Baat Hai..Nazar Tak AAyee Jaati Hai – Baaz (1953) – with Geeta dutt – O P Nayyar – Majrooh Sultanpuri

Sambahl Ke Baitho Jhara, ChhaoN Mein BaharoN Ki,,,,Chand Hai Taare Bhi Aur Ye Tanhai Bhi – Roop Lekha (1962) – with Suman Kalyanpur – Nashad – Farooq Qaiser

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.

Songs of 1945 @ SoY :: Duets – Duets (+) of Golden Era (Male +) Singers

We now take up the third leg of Duets for the Micro View of Best Songs for the Year 1945, in the format set forth by ‘Best songs of 1945: And the winners are?’.

The trend at Memorable Songs of 1945 had indicate that number of duets for the year 1945 should be limited as far as number of songs are concerned. As such, we have grouped grouped Micro View of Duets for the year 1945 in three categories, rather then following our heretofore classification of MF Duets, MM. FF Duets and Triads, Triads+

Duets (+) of Golden Era (Male+) Singers
Duets (+) of Vintage Era (male+ ) Singers, and
Female- Female Duets (+)

Duets (+) of Golden Era (Male +) Singers

The songs covered here have a Golden Era Male Playback Singer as one of the singers- the other singer(s) can be either vintage era female singers – since all Golden Era Female Playback Singers have entered the arena post-1947) only- or Male-Female singers in a Triad, Triad+. Included herein are also MM duets Nd Duet +, i.e, Triads and Triads + songs.

For the sake of convenience of documentation, the Male Singer name is credited first. Also, the songs have been grouped male singer-wise.

Mohammad Rafi, Mohanatara – Dil Diye Chal, Dil Liye Chal, Ham Jiye Aise – Begum –H P Das – G S Nepali

Mohamamd Rafi, G M Durrani – Aji Dil Ho Kaabu Mein – Village Girl – Shyam Sundar – Wali Sahab

Mohammad Rafi, Zohrabai, Shamshad Begum – Chhoti Si Ek Banayenge Naiya – Hamara Sansar – Pt. Govind Ram – Ramesh Gupta

Mohammad Rafi, Amirbai Karanataki – Topiwale Babu Ne Dil Chheena Re, Mora Man Chheena– Kul Kalank – Alla Rakha – Roopbani

Manna Dey, Amirbai Karanataki – Ye Rang Birangi Dor Hai… – Mazdoor – H P Das – G S Nepali

Manna Dey, Rajkumari – Hai Gagan Mein Badal Thahare Hue – Vikramiditya – Shanar Rao Vyas – Ramesh Gupta

Mukesh, Khursheed, Hamida Bano – Badariya Baras Gayi Us Paar, Liye Khadi Hai Preet Gagariya – Moorti – Bulo C Rani – Pt. Indra

Mukesh, Naseem Akhtar – Paheli Nazar Ka Teer Re Laga, ….- Paheli Nazar – Anil Biswas – Dr. Safdar ‘Aah’

Mukesh, Naseem Akhtar – Jawani Ye Bharpoor Dilkash Adayein, BataoON TumhI Kaise Dil Ko BachayeIn – Paheli Nazar – Anil Biswas – Dr. Safdar ‘Aah’

Mukesh, Mohantara Talpade – Pardesi Dhola, Kahe Ko Jagai Saari Raat Re – Prabhu Ka Ghar – Khemchand Prakash / Bulo C Rani – Pt. Indra

We will take up Duets (+) of Vintage Era (male+) Singers for the year 1945 in our next episode.

Carnival of Quality Management Articles and Blogs – January 2021

Welcome to January 2021 edition of the IX^thvolume of Carnival of Quality Management Articles and Blogs.

We ended the year 2020 on the subject of Future of Quality. The intention was to use that as the gateway for the 2021 theme – Future of… as the basis for Creating and Maintaining Sustained Success – for the IX^thvolume of our Carnival of Quality Management Articles and Blogs.

The primary objective of each monthly episode in this ‘Future of….’ is intended to be pinned around this quote by Thomas Alva Edison – “Keep on the lookout for novel ideas that others have used successfully. Your idea has to be original only in its adaptation to the problem you’re working on.”

To put this intention into actual practice, the plan is to pick up a topic a month, relevant to the field of quality management and then explore other relevant articles and blogs related to that topic.

Presented here under is an overview of possible sources for these types of topics:

From the playlists on TED.com:

The history of the future – A look back on how we looked forward over the decades.

What direction is the future headed? – Explore what may be in store for our collective future and how we can plan for the unpredictable, together.

What does the future look like? – Visions of the future of everything from cars to the internet to the human species.

From the themes, presented by the leading consulting or industry organizations or journals –

Is your organization prepared for the future? – McKinsey’s Organizing for the Future blog series can help organizations thrive in the years ahead.

Future of Work – As automation changes the world of work, governments, businesses, and members of the workforce can take action and adapt.

The Future of Production | McKinsey and the World Economic Forum – The McKinsey-WEF knowledge collaboration on the future of production and the fourth Industrial Revolutions seeks to shape advanced manufacturing through “lighthouse” factories.

The Future of Climate Risk | McKinsey and the World Economic Forum – The McKinsey-WEF knowledge collaboration on the future of climate risk focuses on natural capital and biodiversity as well as the sustainability of airlines.

Future shocks: 17 technology predictions for 2025 | World Economic …

New Nature Economy Report II: The Future Of Nature And Business …

Articles like –

The Future of the Past? Santosh Desai in City City Bang Bang, India, TOI

Or the predictions like –

Twenty for ‘20: the questions that will shape the next decade by EY Global

For the present episode, the lay the corner stone of our theme –

We will now turn to our regular sections:

We now watch ASQ TV, wherein we refresh our viewpoints about our 2021 theme –

The State of the Quality Profession – In this episode, a new ASQ research initiative gives us a current global state of quality: ASQ World Conference on Quality and Improvement attendees talk about the quality profession today, and what the future holds | Become reacquainted with control charts. | And, a Quality Progress character makes his first TV appearance.

To learn more about control charts and find a template, visit http://asq.org/learn-about-quality/data-collection-analysis-tools/overview/control-chart.html

New Roles for Quality Professionals – Peter-Elias Alouche, CEO of dqdt Inc., discusses how quality professionals can improve productivity, customer satisfaction, and profitability by expanding their skill-sets to include new professional roles.

We have taken up one article from Jim L. Smith’s Jim’s Gems this month, which was /is and will remain to be relevant for all quality professionals –

People, like businesses, need to be creative or stagnate – There have been numerous articles and books written on this topic. Two books pushing ‘out of box thinking’ were written by James M. Higgins. “101 Creative Problem-Solving Techniques” focuses on new ideas for businesses and “Escape from the Maze” describes Higgins’ nine steps to personal creativity. …..Aside from tools and techniques designed to stimulate creativity the following are six human conditions, which can allow creativity and ultimately innovation to flourish.

Solitude. The sense of spending time to focus on your thoughts and ideas.
Inactivity. Planned inactivity as a break in the busy routine.
Daydream. Focusing on out of box thinking for the purpose of stimulating (innovating) thinking.
Gullibility. The willingness to suspend your personal beliefs and accept what comes from inside without insisting on rationality or logic.
Alertness and discipline. A twist to the Thomas Edison success quote could be “creativity is 10% inspiration and 90% perspiration”.
Mental replay. Allowing yourself to revisit past creative efforts and resolution of past traumatic conflicts.

We add one more regular feature to our Quality Blog festival – ‘From the Editor (of Quality Magazine) – by Darryl Sealand

The Wave as a Metaphor – One of the most powerful images from nature has also become a powerful metaphor—the wave. Waves are relentless. The water crashes on the beach, ebbs back toward the ocean, only to be followed by another wave of crashing water. It never stops……Waves can be powerful. People caught in one are taught to relax and ride the wave to safety. The most powerful ships attempting to ride against and past a wave will—at the least—find themselves making no forward progress.

I look forward to your views / comments / inputs to further enrich the theme of Future of… as the basis for 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.

Songs of 1945 @ SoY :: Female Solo Songs – MY Top Female Solo Songs

I have not any rational back up analysis for selecting one solo song for a given female singers for the year 1945, since al most all the songs I got to listen for the first time during the present Micro Review. As such, the song that appealed me most is the one that is presented her.

So, here are the songs that would call for TOP slot from the emale solo songs for 1945, in the orderin which the singer has appeared in the detailed Micro View earlier.:

Suraiya – Suno More Raja Najariya Milay Ke Bada Dukh Doge Naino Se Door Jayake – Main Kya KaruN – Ninu Mazumdar – D N Madhok

Shamshad Begum – Mere Preetam ki Paati Aai, Anand Se Bhool Gai Main – Hamara Sansar – Pt. Govind Ram – Ramesh Gupta

Amirbai Karnataki – More Balamwa More Sajanwa – Preet – Bulo C Rani – D N Madhok

Zohrabai Ambalewali – Uth Soye Hue Husn Mujhe Ishq Jagaye – Ragni – Pt. Amarnath –

Rajkumari – Unhein Yaad Aaye….Guzara Jamana – Naseeb – Pt. Govind Ram – Ishwar Chandra Kapoor

Hamida Banu – Saawan Aaya Saajan Nahi Aaya Re Daiya-Daiya – Moorti – Bulo C Rani – Pt. Indra

Zeenat Begum – Aankh Mila Ke Koi Re Apana Bane Koi Re– Dhamki – Pt. Amarnath – D N Madhok

Noor Jehan – Aa Intezar Hai Tera, Dil Beqarar Hai Mera – Badi Maa – Datta Koregaonkar -Zia Sarhadi

Khursheed – Nadi Kinare Saanjh Sakare, Milate Rahiyo Pardesi – Prabhu Ka Ghar – Khemchand Prakash – Pt. Indra

Kanan Devi – Main Sharmayi Kyun Sharmayi Jab Paas The Wah Main Door Rahi – Raj Laxmi – Dhiren Mitra – Suresh Chaudhari

Naseem Akhtar – Unka Ishara Jaan Se Pyara, De Gaya Mere Dil Ko Sahara – Paheli Nazar – Anil Biswas – Dr. Safdar ‘Aah’

Munnavar Sultana – BekasoN Ki Bebasi Ko Dekhta Koi Nahi – Albeli – G A CHisti

Praul Ghosh – Bhool Gaye Bhool Gaye Tum Pyas Bujhana Bhul Gaye – Pratima – Arun Kumar – Narendra Sharma

Snehprabaha Pradhan – Mori Galiyo Ki Pipal Nishani – Preet – Bulo C Rani – D N Madhok

Binita Bose – Jigar Ke Daag Naye Gul Khilate Jaate Hai – Humrahi – R C Boral – Munshi Zakir Hussain

Shanta Patel – Mast Jawani Aayee, Ayee Anagadai To Main sharamayee – Ji Haab – Shreenath Tripathi – Pt. Indra

Begum Akhtar – Main Raja Ke Apne Riza Ke Rahungi – Panna Dai – Gyan Dutt – D N Madhok

Nirmala Devi – Ga Ga Re Manwa Gaa, Geet Khushi Ke Gaa – Piya Mialn – Firoz Nizami B A -M Naseem

SoY has concluded Best songs of 1945: Wrap Up 2 to adjudge Noorjehan – for her Baithi hun teri yaad ka leker ke sahara (Village Girl – Shyam Sundar – Wali Shab) – as the best singer. Amirbai Karnataki is honoured as a Distinguished Female singer of 1945.

All the episodes of The Songs of 1945 – Female solo songs can be read / downloaded from one file, by clicking on the hyper link.

We will take up Micro View of Duets for the Year 1945 in the next episode.

Hemant Kumar’s Hindi Song Compositions: Male songs – [2] – Kishore Kumar | Manna Dey

Kishore Kumar and Manna Dey were the other two mainstream Hindi playback singers for whom Hemant Kumar composed songs when it seemed to the THE choice that was available.

Kishore Kumar

The songs that Hemant Kumar has composed in Kishore Kumar’s voice have two have two essential variants – one is the songs for the films wherein Kishore Kumar was also acting, and the other is where Kishore Kumar has been playback singer to some other actor on the screen.

Here are a few representative songs, each representing a different mood, each one representing three different phases of Hemant Kumar’s career in Hindi films as music director.

Ek Roz Hamari Bhi Daal Galegi – Bandi (1957) – Lyrics: Rajinder Krishna

The opening lines follow a parody form of popular folk lyrics, Kishore Kumar freely improvising his frustrating progress with cooking the food. The couplet ends with Kishore Kumar’s signature style of parodying of some of the classics, K L Saigal’s Panchhi Kahe Hot Udaas in the present case. The song then moves in, providing enough space to Kishore Kumar’s antics.

Aaj Rona Pada Toh Samjhe, Hasane Ka Mol Kya Hai – Girl Friend (1961) – Lyrics: Sahir Ludhyanvi

The song ranks as one the Kishore Kumar classics. Composed with minimal orchestration support, the composition fully brings into play the beauty of Kishore Kumar’s vocal cords.

Gaana Na Aaya Bajana Na Aaya, Dilbar Ko Ana Bana Na Aaya – Miss Mary (1957) – Lyrics: Rajinder Krishna

Here is a song that has all the trappings of Kishore Kumar’s natural mischievous mannerisms. The net effect is that he indeed sounds so out of tune.

Hawaaon Pe Likh Do Hawaaon Ke Naam – Do Dooni Chaar (1968) – Lyrics: Gulzar

The prelude to the song, mainly in the form of base-tone humming and slightly-higher-scale short alaaps by Kishore Kumar sets the pensive mood of the song.

Aside trivia: The child artist in the frame @0.57, subsequently shown strolling with goat cub, accompanying Kishor Kumar in the whole song is Baby Neetu Singh.

Woh Shaam Kuchh Ajeeb Thi – Khamoshi (1969) – Lyrics: Gulzar

This is one song that is enshrined in the roll of honors in the Kishore Kumar’s filmography. In fact, it may not be exaggeration to say that the song helps to lift the mood of the situation – ruefully reminiscing those moments when the protagonist was with his beloved in the present.

Vaidh Ke Palle Pade , Kaise Vaid Ke Palle Pade, Marta Mar Jaaye Rog Se Rogi, Vaidh Se Kaun Lade – Raahgeer (1969) – Lyrics : Gulzar

This comedy songs is to the tune of the famous prayer Om Jai Jagdeesh Hare.

Manna Dey

Even as Hemant Kumar has used Manna Dey very sparingly, he has fully exploited the flexibility and range of Manna Dey’s singing prowess.

Ek Bade Baap Ki Beti Kal Ghar Ke Munsi Sang Dekha Gul Mil Batiya Karte – Bandi (1957) – Lyrics: Rajinder Krishna

The ‘common men’ are enjoying behind-the-back jibes at ‘bade log’ and their lifestyles. The song is filmed as a street nautanki performance, and Hemant Kumar too also has composed it as such and then let Manna Dey do the rest of the job.

Rehne Ko Ghar Do – Biwi Aur Makaan (1966) – Lyrics: Gulzar

The song seems to be tailor made for Mehmood’s signature theatrics on the screen.

Dost Kahan Koi Tumsa, Tumsa Nahi Koi Mister – Khamoshi (1969) – Lyrics: Gulzar

This is a typical mandatory song that must be assigned to a comedian in the film. In most the cases, music directors, lyricists and singers have turned such occasions into presenting a song that, at the minimum, ensures that the public in the cinema hall remains seated during the song.

In the third and concluding part, we will take up Hemant Kumar;s Male Songs in the voices of Other Singers.

Originally published on SoY as Hemant Kumar’s Male Playback Singers. This is the edited and improved-on-the-inputs-of-discussions-thereupon version.

Songs of 1945 @ SoY :: Female Solo Songs – Other Female Singers [2]

As I started search for the Micro View of the Solo Songs of Other Female Singers in HFGK, it was evidently apparent that this will be last episode in so far as the Micro View of Solo Songs of Female Singers for the year 1945.

Renuka Devi

Chhayi Ghata Ghanghor Gagan Mein, CharoN Taraf Andhiyari – Gulami – S K Pal – Bharat Vyas

Rekha Mallik

Gae Ja Tu Apana Geet, Chhod De AuroN Ka Sangeet – Humrahi – R C Boral – Munshi Zakir Hussain

Binota Bose

Hansi Chand Ki Nirali, Man Ko Bhulanewali – Humrahi – R C Boral – Munshi Zakir Hussain

Jigar Ke Daag Naye Gul Khilate Jaate Hai – Humrahi – R C Boral – Munshi Zakir Hussain

Din Hai Bahar Ke Aaye, Ek Naya Sandesha Laaye – Humrahi – R C Boral – Munshi Zakir Hussain

Shanta Patel

Mast Jawani Aayee, Ayee Anagadai To Main sharamayee – Ji Haab – Shreenath Tripathi – Pt. Indra

Mori Atariya Pe Chamake Bijuriya, Chamake Bihuriya – Ji Haab – Shreenath Tripathi – Pt. Indra

Koi Bol Raha Hai Kaya Man Mein… Ek Saloni Chhabi Muskai – Ji Haab – Shreenath Tripathi – Pt. Indra

Binapani Mukherjee

Abad Dil Ki Duniya Barbaad Hui Hai – Mazdoor – H P Das – G S Nepali

Begum Akhtar

Main Raja Ke Apne Riza Ke Rahungi – Panna Dai – Gyan Dutt – D N Madhok

Fasl-e-Gul Aayee, Hamien Yaad Teri Aayee Nahin – Panna Dai – Gyan Dutt – D N Madhok

This is part II of Fasl-e-Gul Aayi, Hamein Yaad Teri Satane Lagi – Panna Dai – Gyan Dutt – D N Madhok

Meenaxi

Mand Mand Chale Hawa Mera Dil Naach Raha – Panna Dai – Gyan Dutt – D N Madhok’

Nirmala Devi

Kisane Diya Hai Ham Ko Sahara – Piya Milan – Firoz Nizami B A -M Naseem

Ga Ga Re Manwa Gaa, Geet Khushi Ke Gaa – Piya Mialn – Firoz Nizami B A -M Naseem

Suna Do Muhabbat Ke Nagame Suna Do – Piya Mialn – Firoz Nizami B A – Tanveer Naqvi

Ro Raha Hai Aaj Koi Muskarane Ke Liye – Piya Mialn – Firoz Nizami B A – Tanveer Naqvi

Uidentified Singer

This is the song for which HFGK does not identify the singer, but YT clip does have the singer identified.

Yeh Ranj Judai Ke Uthaye Nahi Jaate Hain – Gazal – Naseem Akhtar – Gyan Dutt –

In our next episode I plan to sum up My Top Female Solo Songs for 1945.

Fading Memories…. Unforgettable Songs : January 2021

Jaidev: Brilliant, But Underrated, Composer : 1972-1973

Jaidev (Varma) – B: 3 August 1919 – D : 6 January 1987 – is remembered more as a music director who could mold classical or folk tune in his very unique style. However, seen from a little different perspective, it was this talent that probably provided him the key to survive against the twin onslaught of unfavorable luck and the protectionist hegemony of the protective competitive strategies that were (apparently) successfully put in the practice by ‘successful’ music-directors to protect their individual production banners turfs.

In terms of basic nature of films that Jaidev got during his active career

from 1955 to 1985, we can see four distinct phases – initial struggle (1955-1959- films like, Joru Ka Gulam, Samudari Daku, Anjai, Raat ke Rahi),

1^st peak of success – 1961 to , films like Hum Dono, Kinare Kinare, Mujhe Jeene Do),

confinement to small budget films (1964 to 1971, films like Naihar Chhootal Jaye, Hamare Gam Se Mat Khelo, Jiyo Aur Jeene Do, Sapna, Ek Bulboola Paani Ka, Shaadi Kar Lo, Doo Boond Pani),

revival phase (1971 to 1973, films like Reshma Aur Shera on one end, with low-budget films like Ek Thi Reeta, Bhavna, Maan Jaaiye, Prem Parbat sandwiched and Prem Parbat on the other end) and then

1974 till the end – a period of crowning glory with films like Gaman and Ankahee, the two national award winners for Jaidev and then the gradual tapering off.

Of these phases, we have covered, the years –

In 2018, we listened to his songs from the most successful films phase of 1955 to 1963.
In 2019, we listened to his more remembered songs from his less remembered films for 1964 to 1970, and
in 2020, we listened to highly appreciated songs from the films that did not succeed in 1971

in the form of our commemorative annual series in the month of Jaidev’s death anniversary month.

Presently, we will cover Jaidev’s music in films Bhavna, Maan Jaaiye (both in 1972) and Prem Parbat (1973). Bhavana, Maan Jaaiye again belong to those low-budget films, produced primarily for a selected class of filmgoers. The films did not have too many songs, and since the films inevitably flopped, the music also sank along with them. So, we have chosen to present each song for which a YT clip is available. Prem Parbat is case which is patently different. Its songs had gained a fairly large following then, are membered even today, even as the film failed at the box office. But each of the song has its own charm, so book a place here on the strength of that charm of Jaidev’s music which seems to have been fading from memory.

Bhavna (1972)

The star cast of the film was Dev Kumar, Soniya Sahni, Padma Khanna, etc,

Phir Milegi Kahan Aisi Tanhaiyan – Mukesh, Asha Bhosle – Lyrics: Naqsh Lyallpuri

Asha Bhosle joins Mukesh to render this loveable, slow paced exchange between two hearts in love , alone by themselves. He poses the question – “Kya Iraada Hai”. And one can expect a touch of mischief the way She throws up the same question. For a Jaidev song, it is a not complex tune, but inherently a joy to listen to.

Meri Ilttija Hai Saqui, Bas Ilttija Hai Saquiya Tu Bhi Aa – Asha Bhosle – Lyrics: Naqsh Lyallpuri

Here is a tune that seems to be Jaidev’s signature style these days – light orchestration, but a complex tune, song based on folk or traditional style. In the present case also Jaidev has deftly handled a Tawaiif song in the non-traditional way, so much so that the mandatory harmonium come in a unique presentation in the first interlude and also in the second interlude.

Main Teri Daasi Tu Mera Daata – Suman Kalyanpur – Lyrics: Naqsh Lyallpuri

As can be made out from the lyrics, this a bhajan genre song. However, Jaidev renders in a complex enough tune.

Ye Duniya Woh Duniya Hain JahaN Insan Ki Koi Kimat NahiN – Mohammad Rafi – Lyrics: Naqsh Lyallpuri

In all the likelihood, this one may be a background song.

I have not been able to locate digital link to a FF duet, Hum Hai WahaN Tassavur Bhi Tera Jahan Na Pahuche – Asha Bhosle, Usha Mangeshkar.

Maan Jaaiye (1972)

This was a film directed by B R Ishara and had Rakesh Pandey, Rehana Sultan in the lead, with Jalal Agha too in the main cast.

O Mitwaa…Badara Chhaye Re Kaare Kajarare – Lata Mangeshkar – Lyrics: Naqsh Lyallpuri

The song opens with a soft prelude call to Mitwa, the beloved. The song moves on with complex to sing, but melodious to listen to tune.

Le Chalo, Le Chalo, Ab Kahin Le Chalo….Soch Lo, Soch Lo, Ek Tarah Soch Lo – Mukesh , Vani Jayram – Lyrics: Naqsh Lyallpuri

Jaidev continues with experiments – this time teaming up Vani Jairam with Mukesh.

Ye Wohi Geet Hai Jisko Maine Dhadkano Mein Basaya Hai – Kishore Kumar – Lyrics: Naqsh Lyallpuri

The song is wonderful rendition of mono-act by Jalal Agha, which Jaidev has set o a waltz tune.

Prem Parbat (1973)

The film is directed by Ved Raahi, who has earlier directed films with experimental streak, like Oonche Log and Paraya Dhan and also films like Sanyasi and Beimman with a commercial angle. The storyline of the film is that of an orphan girl (Rehana Sultan), whose loyalties are divided between her aged husband (Nana Palsikar) and a young forest officer (Satish Kaul), she has fallen in love with. Being the wife of the old Choudhari, she is conflicted about her love for another man. The film had run into severe cash flow problems, resulting in the prints being seized by the financier. Jaidev too suffered by this unfortunate run of the luck, as he, otherwise, can be seen to have hit his melodious pulse well in the film.

Yeh Dil Aur Unki NaigahoN Ke Saaye.. Mujhe Gher Lete Hain BaahoN Ke Saaye – Lata Mangeshkar – Lyrics: Jan Nisaar Akhtar

Set to Raag Pahadi, the song had hit the popularity charts in those days on one hand was highly acclaimed by the critics on the other hand. Santoor and Flute in the song are played by Shiv Kumar Sharma and Hariprasad Chaurasiyaa respectively, which goes on to show Jaidev’s meticulous adherence to the quality of the works.

Ye Neer Kahan Se Barse Hai,,, Ye Badri Kahan Se Aayi Hai – Lata Mangeshkar – Lyrics: Padma Sachdev

Padma Sachdev (1940) is the modern Dogri poetess. She also wrote the lyrics of two songs of the 1978 Hindi film “Aankhin Dekhi” (music: J.P. Kaushik) including the famous duet “Sona re, tujhe kaise miloo” (Mohd Rafi and Sulakshana Pandit). She also wrote the lyrics along with Yogesh, for the film Saahas (1979, music: by Ameen Sangeet)

The song is an excellent blend of a folk and classical styles that so successfully creates the nature described in the song come live in our mind as we listen to the song or soak our mind with feelings narrated.

Mera Chhota Sa Gharbar…Mere Anagana Mein, Mera Chhota Sa Gharbar – Lata Mangeshkar – Lyrics: Padma Sachdev

The lyrics recreate the dream of the household that protagonist envisions. Jaidev supports the imagination with seemingly nontraditional tune, which is nonetheless quite melodious.

Raat Piya Ke Sang Jaagi Re Sakhi…Chain Pada Jo Ang Laagi Re Sakhi – Minoo Purushottam – Lyrics: Jan Nisaar Akhtar

Minu Purushottam is a name not very well known to many today. Confined to play second fiddle in B ad C grade films, her easily remembered rendition remains ‘Huzure wala, Jo Ho Izazat..’ – with Asha Bhosle, ’Ye Raat Phir Na Aayegi, 1960; Music: O P Nayyar).

Jaidev has so effectively used her voice to render the folk style description of the protagonist’s encounter with her beloved after a long separation.

I am not able to resist the temptation of capturing the lyrics her:

SaiyaN Ji Ne Jadoo Phera
BaahoN Ka Daala Ghera
Anchara Jo Khincha Mera
God Piya Ki Tang Laagi Re Sakhi

SaiyaN Je Daaka Daalaa
Uljha Jo LatoN Mein Bala
Bikhari Gale Ki Maala
Bhadki Badan Ki Jwaala
Devdhanush Laagi Re Sakhi

Gajaraa Suhana Toota
Kajara NayoN Ka Chootaa
Sab Tan Bhaya Re Jhoothaa
Jitana Sataya Loota
Aur Bhi Baanke Ang Lagi Re Sakhi

We pause here in our journey of rekindling the memories of Jaidev’s unforgettable songs, receding from our memory, before we move on to the next phase of his active film music career.

We will continue remembering Unforgettable Songs that seem to Fading away from our Memories every second Sunday of the month next year too……..

Disclaimer: All images are sourced from net. All copyrights of the respective image remain with the original owner of the image.

Songs of 1945 @ SoY :: Female Solo Songs – Other Female Singers [1]

We follow the practive of maintaining more or less similar format and the order across all the years in thie present series. when it comes to Micro Viewing songs of a given singer. As a result some othe singers need to be covered under this omnibus totle of ‘Other’ Female playback singers every year.

Parul Ghosh

Wehsat Mein Apne HathoN Mushkil Dhundhate Hai – Chhamia – Gyan Dutt

Aa Aa Salone Sipaiya Bedardi Piya Kahan Chhipe Ho – Parinde – Pt. Govindram – Rammurti

HFGK records singer for the song as Mrs. Ghosh

Kabhi To Jago O Sonewalo, Woh Kis Ada Se Jaga Raha Hai – Parinde – Pt. Govindram – Rammurti

HFGK records singer for the song as Mrs. Ghosh

Aata Hai LaboN Pe Naam Tera Baar Baar KyuN – Pratima – Arun Kumar – Narendra Sharma

Chand Uga Re…Mere Man Ke Gagan Mein – Pratima – Arun Kumar – Narendra Sharma

Bhool Gaye Bhool Gaye Tum Pyas Bujhana Bhul Gaye – Pratima – Arun Kumar – Narendra Sharma

Baby Alka

Of the three songs of Baby Alka in the film Badi MaaN, only one song seems to be available on YT.

Pyara Pyara Rut Hai Suahani Mausam Hai – Badi MaaN – Datta Korgaonakar – Anjum Pilibhiti

Rattanbai

Jam Jam Rahe MeherbaaN Dharm – Dharma – with Chorus – Sajjad Hussain

Snehprabha Pradhan

Hansanewalo Ko Rualoge Yeh Malum Na Tha – Din Raat – Dada Chandekar – Santokh Nadim

Main Ban Ke Jogan Aayi Teri Gali – Preet – Bulo C Rani – D N Madhok

Mori Galiyo Ki Pipal Nishani – Preet – Bulo C Rani – D N Madhok

Nain Bhaye More Baware, Man Mein Peeda Hoye – Preet – Bulo C Rani – D N Madhok

We will take up some more Micro View of Solo Songs of Other Female Singers for the year 1945 next week.

The Eponymous Principles of Management – The Peter’s Principle

Foreword

An eponym is a person, place, or thing after whom or which someone or something is, or is believed to be, named. The adjectives derived from eponym include eponymous and eponymic.

One of the most famous eponyms in Literature is ‘Yahoos’. In Book IV of Jonathan Swift’s Gulliver’s Travels, the hero Gulliver encounters uncouth and degraded people who he calls ‘Yahoos’. Today one meaning of ‘Yahoo’ still remains ignorant, uncouth or brutish people. However, Americans used it as exclamation of happiness or happiness, which is adopted by the internet company ‘Yahoo!’

Eponym is like an allusion that refers to a famous person. Therefore, it develops a ‘Fevicol-bond’ – one more classic example of a eponym – link between a reference and the thing being referred to, and through this connection, readers can understand the idea easily.

One such case of strong bond with a name its connection with the relevant context is the case of THE famous villain of Hindi films – Pran (a.k.a. Pran Krishan Sikand – B: 12 February 1920 – De: 12 July 2013). A thorough gentleman to the core in his real life, his image as a villain had so strong influence that mothers would not agree to name their sons Pran.

One can find many historical or scientific terms. To name a few like:

Fahrenheit (the measure of temperature) – Gabriel Daniel Fahrenheit
Diesel (Now the common fuel for automobiles)- Rudolf Diesel
America (the American continent) – Amerigo Vespucci
Gandhism – Mahtma Gandhi or

Reganomics – Ronald Regan or

Thatcherism – Margaret Thatcher or

Modinomics – Narendra Modi

This list of eponymous laws provides links to articles on laws, principles, adages, and other succinct observations or predictions named after a person. In some cases the person named has coined the law – such as Parkinson’s law. In others, the work or publications of the individual have led to the law being so named – as is the case with Moore’s law. There are also laws ascribed to individuals by others, such as Murphy’s law; or given eponymous names despite the absence of the named person.

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We plan to take up in the present series various known and less-known eponymous principles relating to the field of management.

The Peter Principle

The Peter Principle should be one of the most known principles to find place in most of the academic work of the management schools over the world, even though it has not been conceived for the academic purposes. The principle is published in the form of a book – “The Peter Principle, Why Things Always Go Wrong”, by Dr Peter J Laurence and Raymond Hull,1969 – in the basic premises made in the book remain valid a good fifty years now and, in all probabilities will remain valid fifty years from now. The popularity of the book can be judged by the fact that BBC One aired a 1 pilot + 2 series of 6 episodes each show The Peter Principle between 1995 to 2000.

The Peter Principle is stated as – “In a hierarchy, every employee tends to rise to his level of incompetence.”

One of the most common reason for such a phenomenon to occur is that more often than not people were promoted based on their current performance. This measure of competence does not guarantee that that person will necessarily be true for the competence required for the job in the higher position. consideration of their capacity to take on greater responsibility. The result is that that person works out to be less good for the higher job than the previous job.

Moreover, the way hierarchical mind set of the persons at higher levels is also more likely to be similarly conditioned.

In a typical organization, before the real situation becomes known, the person is likely to get, at least, a couple of more climbs up the organizational stair. This leads to the situation narrated in the Peter’s Corollary: In time, every post tends to be occupied by an employee who is incompetent to carry out its duties.

Another reason why the degree of incompetence remains hidden is that Work is accomplished by those employees (normally at the lower, or the actual operative levels)who have not yet reached their level of incompetence.

Since the aim here is not present the whole book or all the relevant related research and treatises, it would be opportune to note that the book, even now, remains a good reading – purely as a work of satirical fiction or a real introduction to the ways of hierarchiology- the study of hierarchies.

It is even more interesting to note that the applicability of The Peter Principle does not simply is limited to the hierarchies in an organization. The same logic applies to other situations caused ether by the nature or by the man, in situations other than the organizational hierarchy. The form and effect may appear to be somewhat different than that in the case of organizational hierarchy. In the real-life situations, in essence, the competence can be perceived as the inability to cope with the given situation effectively.

In nature, only fittest survive the inevitable cycles of change. Those who cannot adapt to the new set of circumstances are destined to be become fossils. Man is susceptible to become incompetent either because of the circumstances of his own creation or those created by the external forces. For example – The most competent archer of his time Arjun suddenly found himself wanting to take on the fight on the first day when he sees his elders, brothers and friends pitted against him on the opposite camp. Or, Bjorn Borg found his motivation lacking to continue his non-stop title winning spree at the Wimbledon when he started finding opponents who were not able to extend his prowess to the newer limits. A great player like Borg had one black dot on his records book he had never won a US open title.

One may argue that artists or creative people should not be compared with more mundane people in the fields of industry / business or such other professional works. Beginning with Phase 1.0 of the Industrial revolution, the world of the economic activities has been undergoing its own steady-rate changes, each set of the major and related minor changes have posed challenges to the mankind to remain fit enough to survive in the new set of circumstances. At every stage of the Industrial Revolution, the nature changes have been becoming more and more complex and rate of such changes have been more rapid. ‘Change is the only constant’ dictum that was prevalent by the end of previous century is now no more valid. In the present VUCA era, where change is THE destructively dynamic fluid state, “Best Practice was yesterday, Best Thinking is in demand today and tomorrow.”

On a lighter note –

Even before you may get to read the book and several other excellent treatises on how to overcome the Peter Principle, it would be desirable to be forewarned that the reading will only intensify the feeling of what is being said henceforth – it is water-tight fait accompli that everyone reaches to some level of incompetence at some stage of one’s life. Persons who scrape through with less degree of incompetence either have learnt from their lessons consciously or have learnt them by the force of some external stimuli.

Yes, underlined, in capital bold, letters, the message is that if you can remain a learning person- or a learning organization – you have fair chance to maintain your level of competence.

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The Peter Principle trail does not end here. There is An Opposite of Peter Principle, a Dilbert Principle which is more a cause of worry to ‘the management’ and of course there is Gervais Principle and then there is Coase’s Ceiling……