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Carnival of Blogs on Golden Era of Hindi Film Music

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

Welcome to April 2021 edition of IXth Volume of Carnival of Blogs on Golden Era of Hindi Film Music.

We pay our tribute to Shashikala (Javalkar) who left for heavenly abode on 04.04.2021.

Kyon Muje Itani Khushi De Di – Shashikala – Beete Hue Din – Shishir Krishna Sharma – is a comprehensive life sketch of Shashikala, published seven years back.

The Greats: Shashikala remembers various roles she has played on the screen.

Ten of my favourite Shashikala songs in which Shashikala lip-syncs to the song. These could be solos or duets.

Whilst on the subject, in our Fading Memory, Unforgettable Songs episode of March 2021, we had noted a very young Shashikala in Masti Bhari Bahar Ne Masatana Kar Diya (Pugree (1948) – Shamashad Begum – Ghulam Mohammad – Shakeel Badayuni)

We now move on to other tributes and memories:

8 songs that prove Anand Bakshi was Hindi cinema’s lyricist for the common manUnnati Sharma and Shreyas Sharma – While some of his contemporaries and seniors like Sahir, Majrooh and Gulzar are considered more ‘poetic’, Anand Bakshi kept it simple and read the pulse of the masses.

A Daughter’s TributeRatnottama Sengupta – A Films Division festival ‘A Daughter’s Tribute’, screened three documentaries made by daughters as tribute to their celebrated parent. Nargis by Priya Dutt, And They Made Classics…. by Ratnottama Sengupta and The Last Adieu by Shabnam Sukhdev, were screened at Nandan in Kolkata. Ratnottama Sengupta, the curator of the festival writes about the concept and the experience of the festival.

The young Nargis – a still from the documentary Nargis

Book Review: Vinod Mehta’s ‘Meena Kumari: The Classic Biography’ – Instead of discussing Meena Kumari’s cinema (which, normally would be the main reason anyone would want to read this book), Mehta focuses on Meena Kumari’s personal life, and how that personal life affected her professional life.

‘Kohinoor’, the 1960s gem that had Bollywood’s tragedy king & queen at their comical bestUnnati Sharma – Starring Dilip Kumar and Meena Kumari, the 1960 film directed by S.U. Sunny broke the shackles of tragedy and provided audiences wholesome entertainment.

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

·  Bollywood Songs for Expecting Mother or Parents

·  The Songs written by Hasrat Jaipuri for Other Musi…

·  Shamshad Begum – The Highest Paid Female Playback .

April 2021 episode of Fading Memories, Unforgettable Songs takes up Hasrat Jaipuri – Beyond Shankar Jaikishan: 1959, continuing the annual series of Hasrat Jaipuri’s songs with Music Directors Other Than SJ. Till now, we have covered –

The songs from 1950 to 1953 in 2017,

The songs from 1953 to 1955. In 2018

The songs from 1956 -1957 in 2019, and

The songs from 1958 in 2020

We now move on to songs on other subjects -.

Jogi, Bhogi or Dhongi  brings the gay, colourful mood Holi.

Hindi songs with Tonga (Ghoda Gadi) beats lists only one song per composer. Here is one that is a gem for ever – O Matware Sajna Chala Gaya Mera Pyar, Dil Dhadke Main Kya KarooN, Hua Ye Paheli Baar  – Faulad (1963) Asha Bhosle – G S Kohli – Faruq Kaiser

Songs with a Regional Twist lists the Hindi film songs that have a phrase or two or even an entire line which is from a different Indian language; but, the rest of the song is in Hindi.

Triad of Singers lists songs where three (or more as the case may be) playback singers sing for a single actor or actress in a single movie – for example.

Geeta Dutt (Aaja Bedardi Baalma), Lalita Deulkar (Bachpan Ki Yaad Dheere Dheere Pyar Ban Gai) & Surinder Kaur (Badnaam Na Ho Jaaye, Mohabbat Ka Fasana)  – Film – Shaheed (1948)| Actress – Kamini Kaushal| Composer – Ghulam Haider

How vicarious songs came to the aid of bashful actors in Hindi filmsAjay Mankotia @ajaymankotia – How should the budding romance between the protagonists be depicted on screen, when the script forbids them from directly doing so? Enter buskers and vicarious music to aid.

The ‘College’ Songs is a list of songs picturised in a college campus or mostly in the college building.

Best songs of 1944: And the winners are? – SoY continues with year-wise reviews of the best songs of the year.

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.

Dil Ko Chedti Hai Tamanna Tumhi To Ho – Lachak (1951) – with Asha Bhosle – Moti Ram – Hasrat Jaipuri

Mere Dilber Mujhpar Khafa Na Ho – Dharmputra (1961) – N Dutta – Sahir Ludyanvi

Aji Aisi Nazar Ko Kya Kahiye Jo Yaar Na Apna Pahechane – Johar Mehmood In Goa (1965) – Kalyanji Anandji – Farooq Qaiser

Haye Kya Ye Shararat, Kya Ada Hai, Tauaba Re Ye Shararat Kurban Is Ada Ke – Jung Aur Aman (1968) – G S Kohli – Anjaan

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 – April 2021

Welcome to April 2021 edition of the IXth volume of Carnival of Quality Management Articles and Blogs.

We recapitulate that the 2021 theme for the IXth volume of our Carnival of Quality Management Articles and Blogs is Future of… as the basis for Creating and Maintaining Sustained Success.

I have picked up two articles relating to Future of Industry. Here too I have avoided going into details that relate to impact of digital technologies but have chosen to focus on the issues that should concern the management in general.

Note: This subject has no correlation to Industries of Future.

The future of industries: Bringing down the walls – As the boundaries between suppliers, producers and consumers and, in some cases, between whole industries shift, the separating walls are being brought down.…. It is expected that all industries will be transformed by the technology shockwave, lowering cost bases, and improving operational efficiency as well as demanding greater integration with customers and suppliers.

Five big issues for companies –

1. Have you got an outcomes’ focus or are you still stuck in a physical product mindset?

2. What are you doing to avoid commoditisation of your business?

3. Are you building a platform presence?

4. Are you leading with or being left behind by advanced technology?

5. Have you got your timing, right?

The ‘Future of Industries’ report discusses these and a number of other questions. Download it to find out more and join in the discussion with PwC.

Industry Of The Future: We Need To TalkMike Hughes – The industrial world still inhabits an environment of proprietary systems and vendor lock-in long since abandoned by the IT sector. This is throttling innovation and progress.

Credit: Getty Images

Many organizations recognize that next-generation industrial automation must be interoperable and break free from the locked-in model we currently accept. Interoperable and portable application software is a must for next-generation industries…… The factories and industries of the future, will have machines, operations and IT systems integrated and understand each other, talk and collaborate—where agility, sustainability, and productively are just a matter of choosing the best-in-class solution for your operation.

The Future of Industry | Accenture sums up succinctly the challenges as it states – The world is changing, and all industries are facing a tectonic shift. Let’s embrace the new, together…..

We will now turn to our regular sections:

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

Shared Meanings from Top to Bottom – Charlie Barton, President, Barton Consulting LLC, discusses the importance of shared meanings of words for organizations, and the negative business implications that could occur without that common knowledge.

We have taken up one article from Jim L. Smith’s Jim’s Gems this month:

Organizational Culture – Workplace culture takes work but delivers value – Peter F. Drucker, the famed educator and management consultant, said, “There is nothing as useless as doing efficiently that which should not be done at all.” …. Maybe more important for effectiveness and efficiency is workplace culture. As times change so must the culture. …We must learn to be aware of one another from a cultural background before we can learn to work together effectively. We need to realize it is not so much what we say as much as the manner in which we express ourselves that can adversely affect mutual understanding…. A lack of understanding and sensitivity can be injurious to the environment. There must be balance in the workforce just as there is in any other situation. We must learn to appreciate the differences between generations and learn to adapt. 

From the Editor (of Quality Magazine) – by Darryl Sealand, we have

Truth or Fallacy – Depends on how you look at it. – Sunk costs are defined as costs that have already been incurred and cannot be recovered. Proponents of the sunk cost fallacy argue that since it is a cost paid in the past and unrecoverable, it should be removed from any future decision making. But that does not stop sunk costs from being a part of our psyche…The sunk cost fallacy, in a way, is not just forgetting the time, money, and effort that went into producing something, but not allowing it to blind us to what we truly want or need. … “The sunk cost fallacy means making a choice not based on what outcome you think is going to be the best moving forward, but instead based on a desire to not see your past investment go to waste,” said Julia Galef, president of the Center for Applied Rationality.[1]

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.


[1] Julia Galef: The Sunk Costs Fallacy | Big Think

Categories
Fading Memories….Unforgettable Songs

Fading Memories…. Unforgettable Songs : April 2021

Hasrat Jaipuri – Beyond Shankar Jaikishan: 1959

Hasrat Jaipuri (born Iqbal Hussain) – B: 15 April 1922 – D: 17 September 1999 – has penned  around 2000+ songs for close to 350 films in a fairly long active career as lyricist for the Hindi Films. Even though the widespread impression is that along with Shailendra, his major work was Shankar Jaikishan, he has done sumptuous work with many other music directors. With Shankar Jaikishan, as would be obvious, all the available situations in a film would be shared Shailendra. That would offer Hasrat Jaipuri ample spare time. It is also said that he was also worldly wise to spread his eggs among many baskets. That seems to have made himself open to be associated with other music directors. He is even said to carved out other streams of income with the help of savings generated from the income of songs-writing. 

In 2017, we have commenced the annual series of Hasrat Jaipuri’s songs with Music Directors Other Than SJ. Till now, we have covered –

The songs from 1950 to 1953 in 2017,

The songs from 1953 to 1955. In 2018

The songs from 1956 -1957 in 2019, and

The songs from 1958 in 2020

Presently, we will refresh the memories of Hasrat Jaipuri’s songs for the year 1959, with Roshan, Dattaram and Kalyanji Virji Shah. Except for two films with Dattaram, Hasrat Jaipuri was neither the sole nor the major lyricist in the films discussed herein. Whether he was chosen for a situation for which he would prove to be a better choice, what sort of rates he would have charged are some of the questions for which it would be interesting to know the reasons.

Roshan

CID Girl (1959)

Anand Bakshi was the other lyricist for the film.

Ik Baat Sun Matwale Kahate Hai Nazar Ke Pyale – Asha Bhosle

This is a signature club song. Roshan has successfully tried hand with using western rhythm instrument in Mukhada and then switching over to Dholak as rhythm instrument in the main lines  Anataras, ending with western instrument rhythm instrument. Hasrat Jaipuri has penned lyrics pregnant with the message enshrouded for those whom the song is actually addressed.

Akiyon MeinDil Khoya Batiyon Mein Dil Khoya, Main Ise Dhoondh Loongi Baabu Asha Bhosle

We have here a club song that is peppier. The song is straightforward a tantalizing one

Dattaram

Qaidi No.911 (1959)

Hasrat Jaipuri was the sole lyricist for the film. Meethi Meethi Baton Se (Lata Mangeshkar) and
Pyar Bhari Yeh Ghatayein (Manna Dey, Lata Mangeshkar) are two well-known songs.

Tere Teer Ko Hamne Pyar Se Dil Mein Rakh Liya – Lata Mangeshkar, chorus

This time Dattaram comes up with club song. However, playback singer is Lata Mangeshkar, who might have agreed to sing the song to help bolster Dattaram’s career.

Tune Mera Maine Tera Dil Le Liya … Do Nain Mila Ke Haye Diwana Kar Diya  – Lata Mangeshkar

This one is street-play genre song. This genre was also a popular genre in those days. Dattaram smartly blends his ‘theka’ with the orchestration pieces of harmonium.

Yeh Khile-Khile Taare Hamare Hain Ishare Aaja Re Aaja – Lata Mangeshkar, Mehmood

This is again a peppy club song that is a blend of tantalization that is impregnated with hidden message to a particular client – dressed up as an Arab, which itself can be a masquerade.

Santan (1959)

Hasrat Jaipuri is sole lyricist here too. Kehta Hai Pyaar Mera (Twin version – Lata Mangeshar  + Hemant Kumar). Dil Ne Use Maan Liya (Mukesh) and Bole Ye Dil Ka Ishaara (Manna Dey, Lata) are the well-known songs.

Aside Trivia: There are at least three other films with this title, a 1946 film (Music: Ramchandra Pal; Lyrics – Anjum Pilibhiti), a 1976 film, which also has Hasrat Jaipuri as sole lyricist with Laxmikant Pyarelal as music director and a 1993 film9 Music: Anand Milind; Lyrics – Sameer).

Chhoti-Si-Dulahaniya Ke Shaadi, Pyari Si Dulhaniya Ki Shadi – Lata Mangeshkar, chorus

Here we have a (all-kid girls) party song so ably created by Dattaram and Hasrat Jaipuri weaving in simple events with meaningful lyrics of a marriage function.

Chham-Chham Mein Naachu Jhumati Bahar Mein, Jane Kis Khayal Mein Baje Man Ke Taar –  Lata Mangeshkar

The young heroine is bubbling with the first acceptance of her love –

Jane Kyu Ye Jiya Lehraye
Raz Hi Samajh Na Aaye….
Haye Re Sharm Si Lagi Haye Re Na Bola Jaye
Haye Re Na Bola Jaye Chhalke Hai Pyar Haye

Jeene Wale Khushi Se Jiye Ja Apne Ansoo Tu Khushi Se Piye Ja – Mohammad Rafi, chorus

Dattaram had so masterfully used choir chorus in the counter melody in this background song. Hasrat Jaipuri dutifully pens lyrics that fits the situation like a T. Mohammad Rafi is his usual theatrics best for such songs.

Kalyanji Veerji Shah

O Tera Kya Kehna (1959)

The film had six songs, penned by four lyricists Gulshan Bawra, Indeevar, Shor Niyazi and Farooq Qaiser, with one song each, in addition to two songs by Harat Jaipuri. No less than eight playback singers have been deployed for these six songs.

Mein Hoon Miss Lali Dekho Nahi Dena Jhatka – Suman Kalyanpur

This appears to be a club song.

Baabu Na O Baabu Na … Dil Maange Dil De DooN, Jaan Maange Jaan De DooN, Teri Ada Pe Main Cheen Aur Japan De DooN – Manna Dey, Mahendra Kapoor, Suman Kalyanpur

The use of Baabu Na (No Please O Baabu) is a very clever ploy. The opening lines of the song set stage for the two competitors, at a club performance, by openly bidding for the common prize of a beauty.

Satta Bazaar (1959)

That Gulshan Bawara (3 songs), Indeevar (2 songs) and even Shailendra (1 songs) are the other lyricists, indeed makes the film as an ideal case to know why these lyricists were chosen for the film. Interestingly, it is also noteworthy that after Anandji joined his elder brother. And the duo was well established, Hasrat Jaipuri has worked with Kalyanji Anandji off and on in films like Jee Chahta Hai (1965, sole lyricist), Ghar Ghar Ki Kahani (1970, 2 songs), Rakhwala (1971, 1 song), Apradh(1972, 1 song) etc.

Aside Trivia: The present film was produced by Ravindra Dave under his production banner ‘Nagina films’. Laxmikant was the assistant to the music director, Kalyanji Veerji Shah – thus both hyphenated respective partners – Pyarelal and Anandji- have to yet to join the respective duo teams.

Kaheti Hai Meri Aankhein, Ye Jaadu Bhari Aankhein, Hua Hai Tum Se Pyar…., Tumhari Yaad Aaye Jiya Ko Tadpaye.- Lata Mangeshkar

Hasrat Jaipuri’s signature beginning with the initial couplet- Sakhi – is seamlessly joined with the principal opening line Teri Yaad Aaye.. in this mujra song

Zara Thehro Ji Abdul Gaffar Rumal Mera Le Ke Jaana… O Main To Layi HuN Jamun Se Bahar, Rumal Mera Leke Jaana – Mohammad Rafi, Suman Kalyanpur

Kalyanji has set the song to the Gujarati folk tune of a garba in this essentially a street play song, rendered by the two Pathani-dressed artists. Hasrat Jaipuri has successfully weaved in the lyrics that spell sweet tit-a-tat between the two protagonists – Sabita Chatterji and Johnny Walker.

Aside Trivia: The sad-faced hero is Suresh, who may be better recalled as an actor who had sung Suhani Raat Dhal Chuki (Mohammad Rafi; Dulari, 1949; Music – Naushad; Lyrics- Shakeel Badayuni)

We will continue with Hasrat Jaipuri’s songs for other music directors in our next (year) episode.


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.

Categories
The Eponymous Principles of Management

The Eponymous Principles of Management – The MacLeod Model of Hierarchy

The hierarchy is one of the oldest social institution of the civilized world. More capable, and more fortunate, – All animals are equal, but some animals are more equal than others – people ultimately have more control over the available resources. This enables them to exercise influence over the ones who have less resources (under their control). This influence gained the form of power over the time.

In 2004 car­too­nist Hugh Mac­Leod published a very simple cartoon entitled “Company Hierarchy”.

On the face of it appears to be one more jargonistic model. So, first we take help of another article[1] wherein these terms have been explained–

Corporate Sociopath (noun) – A person whose professional behavior lacks morality, and whose actions use manipulation and game-planning in order to achieve money, power, and prestige.

The Sociopath is like an athlete on performance enhancing drugs, determined to win at any cost – and willing to do whatever it takes.  The Sociopath is willing to use manipulation and undermining techniques to gain control and is persistent with his intents. He considers himself larger than the cause – the organization – he is working for.

Corporate Loser (noun) – A person who is competent with their work and shows professional morality and integrity and is aware of the lacking morality in corporate leadership (Corporate Sociopaths). Corporate losers do not have loyalty to their company since they are aware of how disloyal the company is to them, however they rarely leave soul-crushing employment because of self-instilled fear, laziness, or lack of creativity.

No wonder they slog at the bottom the pyramid. However, the real world this does not continue for ever. About that, a little later…

Corporate Clueless (noun) – A person who is loyal to their company, completely unaware of how disloyal the company is to them. The corporate clueless person will always follow management directions, honoured to even get the attention of their sociopathic leadership. The Clueless create a communication and hierarchical gap between the sociopaths and the losers, and also can be easily manipulated to be the fall guy for the sociopath when things go wrong.

The Corporate Clueless are enablers for the sociopaths on two fronts:

First, as the loyal ones, they are easy scapegoats.  They allow the sociopaths to take risks for the business while incurring no personal risk because they have a corporate clueless person to act as the fall guy.

Second, the Corporate Clueless create an important shield between the Losers and the Sociopaths. The Sociopaths always want more (e.g. ideas, designs, efficiency, hours logged, etc) for less. The Losers are aware of this, and it makes them angry The Losers are angry, but all they can do is complain to the Clueless – who the Losers know to be incompetent.  And how long the Losers remain angry at someone who is doing their best but is inherently clueless. Thus, they will simply keep absorbing the pressures. They will keep doing the thankless job of calming up the losers, but rarely communicate the real situation to the sociopaths.

By the way, if we want to do away with remembering these negative-sounding jargons, we can replace these three terms with “confident leader”, “extreme loyalist”, and “moral hard worker” respectively. 

MacLeod’s company hierarchy is mostly true, despite it being such a sad and hopeless picture.  But, there is an alternative and it starts with people who are willing to escape the unconsciousness of the three positions within the hierarchy and transcend into Consciousness.

Corporate Conscious (noun) – A person capable of leadership and ingenuity, capable of taking risks with the awareness and acceptance of the potential failure, compassionate towards superiors, peers, and underlings. This person is aware and conscious of the business and politics of the world around them, and capable of using this awareness when the outcome is profitable and moral. Most important, this person is conscious of the fact that the company needs him (or her) more than he (or she) needs the company.

Daniel Miessler[2] calls these terms as Kings, Sages and the Cogs.

In the real life, if one has enough competence to generate the required escape velocity, one can move up the layers. However, those who dot have such velocities of continuing competence, the inevitable force of gravity of incompetence will usually lead to the lower layer.

If you are in the leadership position or aspire to be in the one, you need to be what famous British Prime Minister, Benjamin Disraeli, says, be a good butcher while becoming good empathetic person to the people as well.[3] Seems to be a task as impossible as riding two horses. task, isn’t it? That is why the position at the top is very ‘lonely’. There, you are like that trapeze artists who is trundling along a sizzling hot tope, delicately balancing between being ‘transcendental people leader’ and the non-emotional goal-oriented slave driver.

As can be expected, the MacLeod Model of Hierarchy too has inspired a lot of meaningful, or academically worthwhile and of course, humorous discussions..

[1] MacLeod’s Company Hierarchy And The Corporate Conscious

[2] Three Types of Employees

[3] Who are you, anyway?