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

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

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

We pay our tribute to Chandrashekhar who left for heavenly abode on 16.06.2021.

‘I got more praise than the hero’ – Movie veteran Chandrashekhar (Vaidya), best known for films like Cha Cha Cha, Surangand Street Singer and playing the role of Arya Sumant on the television serial Ramayan, passed into the ages.

We now move on to other tributes and memories:

Songs of Yore completes eleven years

When Dimple Kapadia refused to badmouth Rajesh Khanna: ‘Don’t you dare try to extract any nasty statements’ – a throwback on Dimple Kapadia’s 64^th birthday on June 8.

Remembering Razak Khan on his 5th death anniversary (01/06).

How the Kamat Foto Flash agency became as iconic as the movies it was hired to snap – Nandini Ramnath – A staple of the credits of Hindi films since the 1940s, the photography studio is now focusing on its vast archive.

Damodar Kamat | Courtesy Kamat Foto Flash

Remembering Nargis Dutt, one of the most dignified and respected actresses of our country, on her birth anniversary (01/06).

Mani Ratnam at 65: Made in Madras, his superb songs enthral all of urban India – Shaikh Ayaz – The Mani Ratnam-Ilaiyaraaja-AR Rahman combo has created a gold-standard repertoire of Tamil-Hindi film soundtracks. As realistic as Ratnam’s films are, his songs are the absolute opposite — illogical, grand and dream-like.

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

June 2021 episode of Fading Memories, Unforgettable Songs takes up Dattaram – Mere AansuoN Pe Na Muskuraa. Till now we have covered, Dattaram’s compositions from the films during

1957 to 1959 in In 2018,

1960 and 1961 in 2019, and

1962 and 1963 in 2020

Dattaram Part 1: Under the shadow of big banyan tree with songs of Mukesh and Manna Dey is followed up with Dattaram Part 2: Breaking out of the Banyan Tree with ‘Other’ Singers

We now move on to songs on other subjects –

Mehfil announces the month of ‘Train Songs’ – Trains, the train tracks, Railway station platforms and farewell or welcomes at the station have been an important part of our Hindi cinema. Part I has songs with train rhythm from B&W films and Part II has songs from colour Hindi films. And of course, there are Train songs without the Train Rhythm

लफ़्ज़ों में फेर बदल – कुछ फ़िल्मी गीतों पर मेरा अभिप्राय is a very candidly presented point of view with regard to some specific lyric in otherwise good songs.

‘Hindi Cine Raag Encyclopaedia’ by KL Pandey: Book Review – KL Pandey’s ‘Hindi Cine Raag Encyclopaedia’, the raag analysis of about 20,000 Hindi film songs from 1931 to September 2020, is a monumental work of enormous significance for music lovers, academics and researchers.

From Bollywood Rewind – Sampada Sharma – Indian Express’s weekly column:

Naya Daur: Of the new era that will always be intimidating – Starring Dilip Kumar and Vyjayanthimala, BR Chopra’s 1957 film Naya Daur talks about the disturbing casualties of the rampant industrialisation that is projected as the wave of the future.
Madhumati: The fantasy of reincarnation – Starring Dilip Kumar and Vyjayanthimala, Bimal Roy’s 1958 film Madhumati is a hopeful fantasy for star-crossed lovers and considering its influence on Hindi cinema, it is probably the fantasy that’s still fueling our desires for a happy ending.
CID: The Dev Anand thriller that gave Bombay its anthem – Starring Dev Anand, Shakila and Waheeda Rehman, Raj Khosla’s 1956 film CID is a timeless thriller that could work even today, but with the right embellishments.
Pyaasa: Guru Dutt questions the meaning of life in this timeless classic – Starring Guru Dutt, Mala Sinha and Waheeda Rehman, Dutt’s 1957 film Pyaasa examines the eternal question that humans have always had – ‘What is the meaning of life?’.

We have commenced Micro View of Best Songs of 1944 @SoY with Setting the Stage and then have taken up Male Solo Songs.

Songs of (skewed!?) Work-Life Balance ends with a sharp repartee to the workaholics –

Badal jaaye agar maali,

chaman hota nahin khali,

bahaarein phir bhi aati hain,

bahaaren phir bhi aayengi!

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.

Ye Dilqashi Na Hogi Mahtab Ki Kiran Mein…Sheeshe Ka Ho Ya Paththar Ka Dil Mohabbat Karo Dhadkane Lagega – Baat Ek Raat Ki (1962) – with Asha Bhosle – S D Burman – Majrooh Sultanpuri

Ye Gora Gora Mukhada Ye Kala Kala Til – Gangu (1962) – with Geeta Dutt – Kalyanji Anandji – Prem Dhawan

Jaam Chalne Ko Hai, Sab Ahle Nazar Baithe Hai…Saqia Aisi Pila De Hum Ko Diwana Bana De – Mall Road (1962) – Sudarshan – Viren Dablish

Chand Jaisa Badan Phool Sa Peharan – Rustom-e-Baghdad (1963) – N Dutta – Asad Bhopali

Tum Se Maano Na Maano Mujhe Tumse,… Pyar Ho Gaya Hai – Cha Cha Cha (1964)- with Asha Bhosle – Iqbal Qureshi – Bharat Vyas

Kaha Suraj Kaha Main Ek Jala,Sitaro Se Liye Ja Raha Hun.. Jigar Ka Dard Badhata Ja Raha Hai – Street Singer (1966) – with Sharda – Suraj (nee Shankar) – Hasrat Jaipuri

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.

The Micro View of Best Songs of 1944 @ SoY : Male Solo Songs

We had been listing all possible song in the Micro Review for the earlier years. However, from now onwards, we will not repeat the songs already listed in Memorable Songs of 1944.

I have also not ventured to search for the songs for which HFGK has not been able to identify the singer.

So, here are the songs that I could locate on YT after fulfilling these two filters I have also provided the song for which I could locate a link on the internet, other than YT.

Arun Kumar – Yeh To Malaria Hai Muhobbat Nahi Huzoor – Bhanwara – Kedar Sharma – Khemchand Prakash

Arun Kumar – Bedard Ko Bulao Siti Baja Baja Ke… – Carwan – Munshi Aziz – Bulo C Rani

Ashok Kumar – Mauj Karane Ke Liye Hai Duniya – Chal Chal Re Naujwan – Pradeep – Bulo C Rani

Ashok Kumar – Bolo Har Har Mahadev Allaho Akbar – – Chal Chal Re Naujwan – Pradeep – Bulo C Rani

Rafiq Ghazanvi – Aaya Toofan, Aaya Toofan, Jag Bharat Ki Nari – Chal Chal Re Naujwan – Pradeep – Bulo C Rani

G M Durrani – Samjhe The Jise Apna Nikla Wo Begana – Chand – Qamar Jalalabadi – Husnlal Bhagatram

G M Durrani – Aye Dil Mujhe Rone De – Chand – Qamar Jalalabadi – Husnlal Bhagatram

Alluddin Naveed – Matwale O Matwale Preet Kabhi Mat Karana Bete – Geet – ? – Naushad Ali

[The video link does to seem to be live.]

Manna Dey- O Prem Diwani, Sambhal Ke Chalana – Kadambari – Miss Kamal B A – H P Das

Charlie – Ek Kahar Barapa Karata Hai Jab Aae Budhapa– Raunaq – Ishwar Chandra Kapoor – C Ramchandra

Sundar – Nayano Ke Teer Chala Gayee Ek Shahr Ki Laundiya – Shukriya – G A Chisti

Carnival of Quality Management Articles and Blogs – June 2021

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

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

Our topic for he discussion for the month is – The Organization for the Future.

In the then then 1992 classic In Search of Excellence, the authors Tom Peters and Robert H. Waterman, Jr. found a saga of passion in the forty-three great companies that led to enunciation of some of the then them valuable management principles…The idea of passion in large business was a shape-shifter. In those days, managers of large companies were expected to be strategic and financial in their focus. Efficiency was prized. Products were things to be counted and shipped, not loved. If quality was a problem, it was a systemic error and not connected to employee morale [1]

Today most of those companies either have ceased to exist or have been acquired, because basically they were not designed to last… Today, a learning organization [2] should be asking hard questions about the sustainability of its enterprise: what will it take to survive this period of business disruption and technology advancement and what must change in the organization’s design to thrive? …. Designing a robust and sustainable organization begins by asking four questions:

On Process: What are the key processes required to survive and thrive? Even a learning organization can’t change everything at once.
On Structure: What kind of structure will enable changes and the successful implementation of new technologies? We are getting close to the end of the hierarchical, bureaucratic organization.
On Technology, Itself: Who in the organization is accountable for technology innovations and their implementation? Technology has a history of costing a lot and not delivering much value.
And on People: Is our challenge of change a matter of culture, behaviour, or skills? As Drucker wrote in his introduction to the Foundation’s book, “The organization is, above all, social.” Its “purpose must therefore be to make the strength of people effective and their weaknesses irrelevant.”[3]

How will we work in the future? – Most debates so far have focused on how skill requirements and individual jobs will change because of the ongoing technological and demographic transformation. In this talk, Markus Reitzig takes the discussion a step further by reflecting on how current trends such as AI, increasing knowledge complexity, population growth, and rising economic inequality will affect our collaboration more broadly. While we will continue to work in organizations, these will look quite different from the traditional companies of today. Managers will have to re-think how to structure activities to attract and retain future talent.

Professor John P. Kotter sees that the major challenge for business leaders today is staying competitive and growing profitably amid increasing turbulence and disruption. The solution that he proposes is a dual system, that is organized as a network—more like a start-up’s solar system than a mature organization’s Giza pyramid—that can create agility and speed. It powerfully complements rather than overburdens a more mature organization’s hierarchy, thus freeing the latter to do what it’s optimized to do. It makes an enterprise easier to run while accelerating strategic change. This is not a question of “either/or.” It’s “both/and”: two systems that operate in concert. [4]

McKinsey’s research in 2018 identified nine imperatives, highlighted in Exhibit here below, that can possibly separate future-ready organizations from the pack.

The research noted that three of the imperatives proved notable pockets of bold action: taking a stance on purpose (83 percent of companies we studied), establishing ecosystems (83 percent), and creating data-rich tech platforms (73 percent).

Further, when looked across the three categories (“who we are,” “how we operate,” “how we grow”) that together comprise the nine imperatives, it was noted that top-performing companies didn’t concentrate their efforts on any single category but instead tended to act across all three.

Indeed, in an increasingly winner-takes-all economy in which even above-average performance won’t guarantee returns above the cost of capital, we would expect the bar on organizational innovation to only rise.[5]

14 Principles of the Future Organization – Jacob Morgan

The Micro View of Best Songs of 1944 @ SoY : Setting the stage

The backward journey of Best Songs for TheYear @ SoY ssemed to end at the 10^th milepost of 1945, having mesmerizingly passed through 1955, 1953, 1951, 1950, 1949 1948, 1947 and 1946 on the way. However, as it happens in the life, as you seem to reach one destination, journey to the next destination unfolds. In the case of Best songs of year too, the second phase of the journey has opens up with a series that takes up the previous series further backwards, beginning with year 1944 with Best songs of 1944: And the winners are?

As such, The Micro View of the Best Songs for the Year also joins this journey of more uknown than knowns.

We first recapitulate the key points of the SoY overview article:

Musical landmarks:

Rattan was a jewel in the crown of Naushad.

KL Saigal had two films in the year: Bhanwra (music Khemchnad Prakash) and My Sister (music Pankaj Mullick).

Noor Jehan’s songs in Lal Haveli (Mir Saheb) and Dost (Sajjad Hussain) achieved great acclaim.

Other important musical compositions

Many other films in the year had great songs, such as Man Ki Jeet (SK Pal), Pahle Aap (Naushad), Chaand (Husnlal-Bhagatram) and Jwar Bhata (Anil Biswas).

Debut, fact file and trivia

Mukesh– Us Paar

Dilip Kumar (Yusuf Khan) – Jwar Bhata

Shyam and Sitara Kanpuri – Man Ki Jeet

Sushila Rani Patel – Draupadi

Husnlal-Bhagatram – Chaand

The famous tabala-palyer, Alla Rakha, who later also used name A R Qureshi for film music, gave music for Ghar Ki Shobha in which he also sang some songs. Snehal Bhatkar, later year music director in a number of films, sang under the baton of Anil Biswas in Lady Doctor. Anil Biswas himself sang a very nice Holi chorus song in Jwar Bhata, composed by him. Many other music directors, too, sung playback in the year, such as Vasant Desai, Bulo C Rani and C Ramchandra (under other music directors too). The lyricist Bharat Vyas sung some superb songs in the year.

Chal Chal Re Naujawan was the first film made by the newly established production house Filmistan, led by Ashok Kumar and S Mukherjee, an offshoot from Bombay Talkies.

In the film Panna, Shamshad Begum had sang the songs, but HMV records were issued in the voice of Rajkumari, as Shamshad Begum was contracted to Xenophone Records.

Bhartrihari became the last film of Jahanara Kajjan in Bombay and she sang her last two songs. After this film she migrated to Pakistan.

Bhool jana chaahti hun bhool paati hi nahin (Jwar Bhata) has a solo version and a duet version.

Pradeep wrote lyrics in the name of his daughter Miss Kamal for the film Kadambari (made by Lakshmi Productions) because of his contract with Bombay Talkies.

Baby Meena (Meena Kumari) played the role of the child Noorjehan in Lal Haveli.

If you compare Naushad in 1944 with Anil Biswas in 1943 (Kismet, Hamaari Baat) and in earlier years (Roti, Basant, Bahen, Aurat, Alibaba, Hum Tum Aur Wo, Gramophone Singer and Jagirdar), one may consider 1944 as the year in which Naushad has started gaining ground vis-à-vis Anil Bishwas.

In short, 1944 is a kind of watershed year.

1944 had 85 films from which 769 titles of songs are known. Of these songs, singers for more than 354 songs remain unidentified. Of the 415 songs for which singers are identified, 65 songs are male solos, 240 female solos and 110 duets. We will have to wait for the detailed micro view to see how many of the uncovered songs are available on YT or in audio form.

Of these, List Of Memorable Songs has 80 songs. These songs have been separately listed as Memorable Songs of 1944, with corresponding YT link to the song.

For the year under review, Special songs are indeed special as the list contains songs sung by music directors and the lyricist in addition to Mohammad Rafi’s duet with Shyam Kumar and a Johrabai Ambalewali gem. I have brought these songs on the same page with Memorable Songs of 1944.

The stage is now set to commence our journey into the Micro View of the Songs of 1944. I plan to take up only those songs here which are not covered under Memorable Songs of 1944 and Special Songs of 1944.

MY TOP Male Solo Songs
MY TOP Female Solo Songs
MY TOP Duets

MY TOP music director

are concerned for the year 1944.

All the posts that will appear on this subject here have been tagged as Songs of 1944.

Fading Memories…. Unforgettable Songs: June 2021

Dattaram – Mere AansuoN Pe Na Muskuraa

Dattaram (a.k.a. Dattaram Lakshman Wadkar) – B: 1929 | D: 8 June 2007) unfortumately, popular as the rhythm arranger for Shankar Jaikishan’s orchestra and for his ‘dattau’s thekka’, and not as an independent music director, in the Hindi film world circle. Many stories and theories have been written on how great he was in so far as rhythm is concerned or whether he was creative enough to be a music director or was he commercial-minded enough to build on his early success and so on. Even when his career as independent music director does not have many (successful) films, it was apparent that his talent had not weathered away with the strikes of misfortune.

We have commenced a series on Dattaram that focuses on the songs from the films where he is independent music director, to commemorate the month of death anniversary.

Till now we have covered, Dattaram’s compositions from the films during

1957 to 1959 in In 2018,

1960 and 1961 in 2019, and

1962 and 1963 in 2020

Dattaram did not have any film in 1964. Many of his films seemed to be not doing well on the box office. This would have affected flow of whatever offers Dattaram would normally have been receiving. So, Dattaram seemed to have done what anyone perhaps would have done under the circumstances. He signed C grade films, so that his name remains active as independent music director. The year 1965 has three films, More Man Mitwa, in the Magahi language and two Daara Singh starrers – Rakaa and Tarzan comes to Delhi.

We will take all the available YT songs from the three films for which Dattaram composed music in 1965 for the present episode.

Morey Man Mitwa (1965)

The regional language film More Man Mitwa was a social drama, with Naaz, Sudhir and Sujit Kumar in the lead roles.[1]

Kusum Rang Lehnaga Managde Piyawa Ho – Mohammad Rafi, Asha Bhosle – Lyrics: Harshchandra Priyadarshi

The song has weaved in all the local flavors of the subject of demands, and ready acceptance thereof, for a colorful dress and all the paraphernalia that goes with it. Dattaram has used a strong dholak-based rhythm for a folk-dance tune.

More Mann Mitwa Suna De O Gitwa Balamawa Ho Pritava Jagai He More Man MaN – Mukesh, Suman Kalyanpur

The song is a simple romantic duet, set to a lusty rustic flavor.

Mere Aansuon Pe Na Muskuraa Kai Khwab The Jo Machal Gaye – Mubarak Begam – Harishchandra Priyadarshi

Dattaram has scored a scoop here as this song remains one of the most remembered Mubarak Begum songs. This song can easily throw away all the theories of good banner, reputed lyricist or a top-rung singer and popular artistes on the screen to become a song a popular while earning a nod from the critics as well.

One would certainly not miss the easy glide path Mubarak Begum takes to reach a high octave at the beginning of each stanza and then smoothly revert back to the low scale, so fluently maintains control over the diction as well as melody through the entire passage.

Raaka (1965)

After the stunning box -office success of initial few movies, Daara Singh was flooded with a string of movies in this period. Each of the film had the then struggling, but undoubtedly highly meritorious music directors. Daara Singh never claimed any histrionic talents, nor he would have aspired for such an unexpected flow of films while honing out his wrestling skills. Most of the music directors or Daara Singh’s co-female stars could not attain the escape velocity that could take them to a higher orbit of A grade films, except the Laxmikant Pyarelal (from amongst the music directors) and Mumtaz (from amongst the lead female artists).

Asad Bhopali was the lyricist for the film.

Aadmi Majbur Hai Taqdeer Par Ilzam Hai, Baat Kehne Ki Nahi, Ye Sab Tera Hi Kaam Hai – Mohammd Rafi

The song is apparently being sung as a matter of a discourse by a monk to the devotees to the temple. But, close-up shots of the female protagonists, Mumtaz and Ganga, the two ends of a love triangle around Daara Singh (Raaka),seem to reveal the deeper meaning that these words have to their lives.

Dattaram has cleverly used the presence of devotees as chorus for the interlude music.

Aside Trivia: While surfing through a relevant post on Atul’s Song A Day, I learnt the Ganaga, the other female artist in the song, also has played another major heroine’s friend role in Padosan (1968). She smells rat in the singing of the song Kahena Hai Aaj Tum Ko Ye Paheli Baar, by Sunil Dutt and clears off the smoke veil to reveal that it is in fact Kishore Kumar who is real the playback voice on the screen.

Hum Bhi Naye Tum Bhi Naye Dekho Sambhalna – Manna Dey, Mohammed Rafi, Kamal Barot, Asha Bhosle

The song is a typical public dance song arranged in the films which have dacoit or similar background.

Dil Ki Betabiya Le Chali Hai VahaN, Zindagi Hai JahaN, Hal-e-dile Puchho Na – Lata Mangeshkar

The song is filmed on Ganga, the female actress, that we talked in detail, in the previous song,

Dattaram has used flute as the key instrument through this happy mood song.

Bolo Na, Koi Mila Raah Mein, Achha, Aur Dil Kho Gaya, Phir Kya Hua, Are Haye Gajab Ho Gaya – Asha Bhosle, Chorus

Asad Bhopali’s out-of-the-box use of a quick enquiry-explanations session among the lead actress and her friends has very cleverly been weaved into the song by Dattaram. Dattaram also has very smoothly raised the pitch in the last line of the stanzas to match the meaning of the lyrics and mood.

Teri Meharbani Hogi Teri Meharbani, Haye Badi Meharbani – Mohammad Rafi, Asha Bhosle

Dattaram comes up with one of best-in-the-genre qawwali composition, with Mohammad Rafi and Asha Bhosle adding their won theatrics to add the greater effect to the lyrics of Asad Bhopali.

Ho Nain Se Nain Ulajh Gaye Re SaiyaN, Dil Ki Baat Samajh Gaye Re SaiyaN – Asha Bhosle

Dattaram has deftly blended use of western rhythm instruments in the opening and interlude pieces with that of dholak in the singing parts of mukhada and stanzas. The song does not lose cacophonic even though it is a very fast paced composition.

Tarzan Comes To Delhi (1965)

The Indian version of Zimbo came on the silver screen with a 1958 film, wherein Azad, a Parsee body-builder as the hero. The film had struck chord with a very wide cross section of population in the urban and rural North India. That led to the entry of another the then big name in the wrestling – Daara Singh – to the films. A torrent of various Tarzan and Kin Kong movies were reeled off in quick succession, with each film yielding excellent returns to the investments.

Anand Baxi is the lyricist.

Sun Re Sun Albele Kabse Hum Hai Akele…. Pyar Jata Ke Hari Dil Mein Bula Ke Hari, Ab To Aaja Aa Aa Aa – Suman Kalyanpur

Induction of Tarzan to the ways of modern civilization cannot be complete without a visit to a professional cabaret dance on a hotel dance floor!

Husn Iqrar Kare Ishk Inkar Kare, Aise Nadan Se Ab Kaise Koi Pyar Kare – Lata Mangeshkar

The song gives vent to the sweet tangs of frustration of the heroine who has not been able to get the hero, Tarzan, to the civilized way of falling into love to a beautiful lady. Dattaram comes up with a sweet composition even while all western instruments in the composition.

Kari Kari Ankhiyo Se Pyari Pyari Batiyo Se, O Sajna Balma Haye O Sajna Balma Haye, Kahe Meri Nindiya Churaye Haye – Mohammad Rafi, Asha Bhosle

Master Bhagwan joins the danseuse BelaBose to a duet dance song to enliven the evening of a community event.

Dil Lagale Dilwale Tujhe Samjhate Hai, Ye Umar Phir Na Aayegi – Asha Bhosle, Usha Mangeshkar

A hip-swing dance seems to have been organized to entice Tarzan to some designs of the villain!

Nigahe Char Karu Ye Meri Tamanna Hai, Kisi Se Pyar Karu Ye Meri Tamanna Hai – Asha Bhosle

The suave urban belle makes a direct, singing -dancing approach to the jungle Hero, in his own ecosystem!

Chham Chham Baje Payal Matwali, Kabhi Jiya Ghabraye Kabhi Nain Sharmaye, Piya Kaisi Najar Tune Dali – Asha Bhosle, Usha Mangeshkar

The song seems to be another enticing way to mend the ways of Jungle Hero. Dattaram has successfully experimented with a long drum prelude in the song that seems to recreate the African atmosphere.

We will continue our journey with Dattaram’s bold musical efforts to keep his independent music identity afloat in the present series……

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.

[1] Part 1 and Part 2

The Eponymous Principles of Management – The Gervais Principle

The Gervais Principle[1], named after Ricky Gervais, the creator of The Office, and coined by Venkatesh Rao, of Ribbonfarm, recognises the The MacLeod Model of Hierarchy wherein at the top of any organization are sociopaths, at the bottom are losers, and in the middle are the clueless.

Venkatesh Rao has spelt in detail his views on The Gervais Principle, Or The Office According to “The Office” in his well-laid out series on his blog, which can be accessed at Series Home | Part I | Part II | Part III | Part IV | Part V | Part VI | ebook. It’s a primer that explains theories of office politics beginning with William Whyte’s The Organization Man in the 50s, then The Peter Principle in 1969, then Dilbert Principle and finally his own theory drawn from The Office which he dubs as The Gervais Principle.

I have picked up the key points from Part I here:

Ventkatesh Rao watched the US version of the show The Office obsessively, but would keep wondering what made that show so devastatingly effective, and elevates it so far above the likes of Dilbert and Office Space. He figures out that it is a fully realized theory of management that falsifies 83.8% of the business section of the bookstore. The theory begins with Hugh MacLeod’s well-known cartoon, Company Hierarchy, and its cornerstone is something Venkatesh Rao will call The Gervais Principle, which supersedes both the Peter Principle and its successor, The Dilbert Principle. Outside of the comic aisle, the only major and significant works consistent with the Gervais Principle are The Organization Man and Images of Organization.

Idealized organizations are not perfect. They are perfectly pathological. So, while most management literature is about striving relentlessly towards an ideal by executing organization theories completely, this school, which Venatesh Rao calls the Whyte school, would recommend that you do the bare minimum organizing to prevent chaos, and then stop. Let a natural, if declawed, individualist Darwinism operate beyond that point. The result is the MacLeod hierarchy. It may be horrible, but like democracy, it is the best you can do.

The Sociopath (capitalized) layer comprises the Darwinian/Protestant Ethic will-to-power types who drive an organization to function despite itself. The Clueless layer is what Whyte called the “Organization Man” but the archetype inhabiting the middle has evolved a good deal since Whyte wrote his book (in the fifties). The Losers are not social losers (as in the opposite of “cool”), but people who have struck bad bargains economically – giving up capitalist striving for steady paychecks. Consider this passage from William Whyte’s The Organization Man in the 1950s –

Of all organization men, the true executive is the one who remains most suspicious of The Organization. If there is one thing that characterizes him, it is a fierce desire to control his own destiny and, deep down, he resents yielding that control to The Organization, no matter how velvety its grip… he wants to dominate, not be dominated…Many people from the great reaches of middle management can become true believers in The Organization…But the most able are not vouchsafed this solace.

Today, any time an organization grows too brittle, bureaucratic, and disconnected from reality, it is simply killed, torn apart and cannibalized, rather than reformed. The result is the modern creative-destructive life cycle of the firm, which Venkatesh Rao calls the MacLeod Life Cycle.

A Sociopath with an idea recruits just enough Losers to kick off the cycle. As it grows it requires a Clueless layer to turn it into a controlled reaction rather than a runaway explosion. Eventually, as value hits diminishing returns, both the Sociopaths and Losers make their exits, and the Clueless start to dominate. Finally, the hollow brittle shell collapses on itself and anything of value is recycled by the sociopaths according to meta-firm logic.

Which brings us to our main idea. How both the pyramid and its lifecycle are animated. The dynamics are governed by the Newton’s Law of organizations: the Gervais Principle, which is –

Sociopaths, in their own best interests, knowingly promote over-performing losers into middle-management, groom under-performing losers into sociopaths, and leave the average bare-minimum-effort losers to fend for themselves.

The Gervais principle differs from the Peter Principle, which it superficially resembles. The Peter Principle states that all people are promoted to the level of their incompetence. It assumes that future promotions are based on past performance. The Peter Principle is wrong for the simple reason that executives aren’t that stupid, and because there isn’t that much room in an upward-narrowing pyramid. They know what it takes for a promotion candidate to perform at the top level. So, if they are promoting people beyond their competence anyway, under conditions of opportunity scarcity, there must be a good reason.

Scott Adams, seeing a different flaw in the Peter Principle, proposed the Dilbert Principle: that companies tend to systematically promote their least-competent employees to middle management to limit the damage they can do. This again is untrue. The Gervais principle predicts the exact opposite: that the most competent ones will be promoted to middle management. The least competent employees (but not all of them — only certain enlightened incompetents) will be promoted not to middle management but fast-tracked through to senior management. To the Sociopath level.

And in case you are wondering, the unenlightened under-performers get fired.

Venkatesh Rao states that – “This is where Gervais has broken new ground, primarily because as an artist, he is interested in the subjective experience of being Clueless (most sitcoms are about Losers). For your everyday Sociopath, it is sufficient to label someone clueless and manipulate them. What Gervais managed to create is a very compelling portrait of the Clueless, a work of art with real business value.”

Venkatesh Rao is so much enamoured by the Gervais’s point of view that he feels that Gervais deserves Nobel prizes in both literature and economics.

[1] The Gervais principle – Venkatesh Rao talks at the Economist