As would be evident, eventhough the list of singers is quite lengthy, there are several singers for which only one song could be traced up on the YT. And that too with almost close to half of the songs for which the singers also remain unidentified.
Moreover, there are many songs where the records of HFGK and those by the valiant YT uploaders seem to be at variance.
To add to the ambguity to the process of selecting the TOP song / singer for the year 1944, almost all the songs that I got to listen in the Micro Analysis, I have listened for the first time.
In any case, from the point of view of my limited knowledge and basic taste, it would be only fair that I confine myself to my personal viewpoint.
Shorn of all these verbose pleadings, the simple fact is, I have not any rational back up analysis for selecting one solo song for a given female singers for the year 1944.
As such, the song for each of the female singer that was covered in the detailed Micro View of Female Songs of 1944 that appealed me most is the one hearing are the ones that presented her. If there is only one song for any female singer, I have simply included here.
So, here are the songs that would call for TOP slot from the female solo Songs for 1944, in the order in which the singer has appeared in the detailed Micro View earlier.:
Skateistan in Afghanistan – Films and Videos Documenting an Era Now Lost – Skateistan, is an international non-profit project that was originally started in Kabul in 2007 to encourage and teach skateboarding to children in Afghanistan, with a special concern about bringing in girls.….. Probably the best place to start would be a British-made documentary that won an Oscar/Academy award in 2020 – Learning to Skateboard in a Warzone (if you’re a girl)….. “Faranas’ Story” does not contain a lot of skateboard moves, but like the award-winning documentary, it does contain a lot of very moving observations (on the part of this girl) and speculation about the future that can be a bit heart-wrenching when looked at from the present moment.
Ten of my favourite male duets which feature two men singing: two actors (at least) onscreen, two playback singers contributing their voices to the song.
Boat Songs – Part I focused on the songs that had only the couple on the boat. Now, Part II takes songs with three or more, but not more than five or six people. Excluded here are the songs sung by the boatman or if the boat carrying the singing character is part of the group of boats..
The Paper, Ink and Pen Songs are ten songs that refer to writing equipment in the mukhda. The focus of this post is not letter writing. Thus, the reference to letter writing is purely incidental in some songs. The spotlight is on the ink, the surface chosen to write, the stylus/pen and in a song or two, the scribe.
From Bollywood Rewind – Sampada Sharma – Indian Express’s weekly column:
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.
Naiyya Ka Meri Tu Hi Khavaiya – Zamana (1957) – Indeevar – Salil Chowdhury
Ya Keh De Hum Insaan Nahin, Ya Man Ja Tu Bhagwan Nahi – Chhaya (1961) – Rajinder Krishna – Salil Chowdhury
Insaan Ki Zindgi Hai Dukh Sukh Ka Ek Jhoola – Jhoola (1962) Rajinder Krishna – Salil Chowdhury
Ab Jang Shuru Kal Se Ab Kal Se Hai Sangraam – Netaji Subhash Chandra Bose (1966) – Pradeep – Salil Chowdhury
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.
 Skateboarding in Afghanistan | Oliver Percovich – The founder of Skateistan | TEDxSydney
It is quite likely that, because of hardly knowledge of the Songs of 1944, during my search, I may have missed a few more solo songs of female singers. Recognizing this short coming, I conclude the present Micro View of (Best) Solo Songs of Female Singers for the year 1944 @SoY.
Welcome to September 2021edition of the IXth volume ofCarnival 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.
Our topic for the discussion for the month is – The Future of Work.
How the World of Work is Changing – The workplace of today looks dramatically different to the workplace of yesteryear. Besides obvious technological changes – computers replacing typewriters and machines replacing people – social change has ushered more women into what used to be predominantly a man’s world.
The 5 Trends Shaping the Future of Work – Jacob Morgan – Everything we know about the future of work is being shaped by five trends: globalization, technology, changing demographics, new behaviors, and mobility. For the first time these five trends are coming together to force organizations to change the way they think about how work gets done.
The big debate about the future of work, explains why economists and futurists disagree about the future of the labor market.
The future of work: is your job safe? | The Economist – This is the workforce of the future. Technology is transforming the world of work beyond all recognition creating groundbreaking opportunities. But it’s also eroding the rights of workers. Some even fear a dystopian jobless future. But are these anxieties overblown? How we react to this brave new world of work today will shape societies for generations to come. What are the forces shaping how people live and work and how power is wielded in the modern age? NOW AND NEXT reveals the pressures, the plans and the likely tipping points for enduring global change.
The Future of Work – A CQI Quality Futures Report talks about the effects of digitalisation in the workplace, helping every working person and the organisation to proactively address these issues in the relevant management strategies.
Transitioning to the future of work and the workplace – A Deloitte survey (sponsored by Facebook) asked C-suite executives for their perspectives on the future of work. Their responses reveal six themes about the future workplace—and six lessons to help leaders ease the transition.
1: Pay attention to culture; help ensure leaders actively participate in its development and dissemination.
2: Companies should be proactive in creating greater transparency in communications and new systems, and policies and reinterpreting their corporate culture around digital in the workplace, or they risk losing employees, productivity, and, potentially, customers.
3: To keep Millennials, companies should place greater emphasis on nurturing and developing their people, creating interesting and purposeful work, and building an environment with career flexibility and tools that enable employees to collaborate and exchange ideas transparently.
4: Business benefits are real—this is about getting things done
5: Start the shift to new collaboration tools but help ensure workplace practices and employee expectations are aligned with the new capabilities that are available.
6: Leaders can often underestimate the benefits of social tools at work8 and need to be educated in how to use collaboration and business social tools for improved communication, collaboration, and connectivity.
We now watch ASQ TV, wherein we refresh our viewpoints about–
Readying Yourself for Digital Transformation Initiatives – Richard Uphoff, Manager & Registered Principal Responsible (RPR), Vanguard, discusses skills needed for digital transformation, lessons learned from 25 years of challenging initiatives, and the need to learn how to learn.
Enhancing Effectiveness – If you do not feel very effective or productive while at work, it can lead to a downward spiral. Chances are you can work far more effectively than you are now and put yourself into an upward trend.
One way is to take control of your time and manage it as well as possible. Try keeping a log for a week or two and track every minute of your day at work, then analyze it. Next, develop strategies for eliminating time traps and time wasters that are pulling you away from achieving your goals
Another good opportunity is to stay current with the technical innovations in your business or industry by reading latest books, periodicals, etc.
A third suggestion is to expand the network of people who can stimulate and support you.
Answers & Questions – We’ve all seen movies where the leader inspires his or her team with a moving speech and a call to action. But one characteristic is usually absent.
“Have you ever seen them ask any questions? They just know what to do,”
And that is important for all involved—leaders, followers, associates, suppliers, stakeholders. Asking questions and searching for feedback provides the confidence of knowing everyone is on the same page.
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.
‘Gaali’ has two solo songs credited to Nirmala (we presume it is Nirmala Devi), but YT does not have these songs. ‘Geet’ has four solo songs of which – Main akeli raja aa ja aa ja re – is included in Memorable Songs of 1944. One solo song – Hua Savera Preetam Mera, Yaad Teri Ne Gher – is not available on YT. Here are the other ones, as available on YT –
Main To Piya Ki Joganiya HuN – Geet – D N Madhok – Naushad Ali
Chaand Khila Taare Muskae, Meri Hansi Udae – Geet – Mahar-Ul-Kadri – Naushad Ali
Jaao Ji Jaao Dekhenge KahaN Jaoge – Geet – D N Madhok – Naushad Ali
AkhiyaN Mila Ke Bhagna Na – Jeewan – D N Madhok – Naushad Ali
Aae Ho Abhi Baitho To Sahi Do Pyar Ki Baatein Ho Jaein – Jeewan – D N Madhok – Naushad Ali
Solo Songs of Naseem Akhtar
Of the two songs listed, for the film Bhai, to Naseem Akhtar’s credit in HFGK, one – Kuchh Yaad Dilati Hai Hamein Biti Hui Baatein – does not seem to be available on net.
Is Dil Ki Haalat Kya Kahiye – Bhai – Khan Shatir Gazanvi- Ghulam Haider
(Shankar) Jaikishan and Hasrat Jaipuri’s Songs Fading From the Memory: 1962
Hasrat Jaipuri (a.k.a. Iqbal Hussain) – B: 15-4-1922 | D: 17-9-1999 – was versatile poet and lyricist. He wrote a poetry that was accessible to the common man. Critics may not put him in the same roll of honor as Sahir Ludhianvi or Kaifi Azmi or even his long-time associate Shailendra. But his simple lyrics appealed the commos listener. His poetry was simple but the message it contained used to be quite deep. Many of his pure romantic songs carried most intimate and intense feelings. Hasrat Jaipuri also has written screenplay for ‘Hulchul (1951). His career spanned for the first film ‘Barsat’ in 1949 till his last, Hatya: The Murder (2004).
Jaikishan (a.k.a. Jaikishan Dahyabhai Panchal) – B: 4 November 1929 | D: 12 September 1971] is sometimes not equated with the music qualities of life-long partner Shankar. But his innate sense of melody lent a totally different dimension to the style of orchestration that made Shankar Jaikishan songs stand out quite distinctively. They led the trend of creating orchestrion style which as easily recognized as unique signature style of the music director.
The primary division of of who will compose which song would be worked out at very initial stage between Shankar and Jaikishan, based on the demands of the situation and their own inherent inclinations. Then, Shankar was considered to generally compose Shailendra’s songs and Jaikishan that of Hasrat Jaipur. And yet, the four were very close as friends in personal lives as well. Hasrat Jaipuri wrote ‘Geeton Ka Kanhaiya Chala Gaya when Jaikishan passed away in 1971.
In this month of Jaikishan’s birth and Hasrat Jaipuri’s death, we have commenced remembering (Shankar) Jaikishan and Hasrat Jaipuri’s Songs Fading From the Memory on this platform since 2017.Till now we have covered
Presently we take up Hasrat Jaipuri’s songs, composed by (Shankar)Jaikishan during the years 1962. We have selected relatively less remembered songs from among all the available songs. The order of presentation of the film is set to the first, English, alphabetical letter of that film’s title.
1962 had 6 films of Shankar Jaikishan. Hasrat Jaipuri’s share of songs was 21 songs. Each of the song was well received then and many remain still well-known.
Nashili Raat Hai, Saare Charag Gul Kar Do, Khushi Ki Raat Mein Kya Kaam Hai JalanewaloN Ka…….Lo Aayi Milan Ki Raat Sahaani Raat… NainoN Se Kisi Se Ke Nain Mile HaathoN Mein Kisi Ka Haath – Aashiq (1962) – Lata Mangeshkar
The song opens with prelude of sharp strains of violin ensemble, followed by a sakhi (couplet) and then the mukhada presents us the situation.
This one song epitomizes all that SJ-HJ combination has been offering in abundance- sensitive, rich orchestration, Hasrat Jaipuri’s signature sakhi and simple word that deliver profound message. The song apparently describes the happy situation of marriage but the deeper meaning of each lyric and every note of orchestration, as well Lata Mangeshkar’s subdued delivery, in fact, conveys the pathos of the protagonist (Padmini). (Shankar) Jaikishan’s signature touch is reflected in Lata Mangeshkar hitting high pitch at those lyrics of pain…
Pyar Ka Saaz Bhi Hai Dil Ki Awaz Bhi Hai, Mere GeetoN Mein Tum Hi Tum Ho, Mujhe Naaz Hai ……Chheda Mere Dil Ne Tarana Tere Pyar Ka, Jisne Suna Kho Gaya, Pura Nasha Ho Gaya – Asli Naqli (1962) – Mohammad Rafi
Here is another typical example of SJ-HJ combination – an easy, pleasing song with no complicated lyrics or orchestration and yet catchy enough.
Ek But Banaunga Tera Aur Pooja Karunga, Arre Mar Jaunga Pyar Agar Main Duja Karunga – Asli Naqli (1962) – Mohammad Rafi
Use of the word ‘But” which has two meanings, a statue and a beloved one, is a typical master stroke of Hasrat Jaipuri in a song which essentially is about the hero trying to please his beloved and assure her she has neither anyone else in mind nor will ever have one.
Once the mukhada gets free form this difficult word for the meter and melody, the song moves into an easy-paced song even though the subject of all through remains the statue. (Shankar)Jaikishan too have smartly chosen to repeat the line ‘Arre Mar Jaunga Pyar Agar Main Duja Karumga’. The song opens with a very melodious violin ensemble that seems to bring the thoughts from the deep imagination of the mind to the lips.
Even if the song did not become as popular as other songs of the film, perhaps because SJ and HJ moving along an experimental track, it retains all the charm of SJ-HJ combination..
Najhar Bachakar Chale Gaye Woh, Varana Ghayal Kar Deta, Dil Se Dil Takra Jata To Dil Mein Agni Bhar Deta – Dil Tera Deewana (1962) – Mohammad Rafi
I like very unusual opening note of the prelude of the song in an otherwise a quint essential, very pleasing to listen to, SJ-HJ-Rafi songs tailor made for Shammi Kapoor.
Masoom Chehara Ye Qatil Nigahein Ke Bemaut Mare Gaye Hum Bichare – Dil Tera Diwana (1962) – Mohammad Rafi and Lata Mangeshkar
Unfortunately got hidden the razzle dazzle glare of the two other duets – Dil Tera Diwana Hai Sanam and Mujhe Kitana Pyar Hai Tumse (incidentally Shailendra songs) – but is the one that would remain more etched in the minds to a discerning SJ fan with Lata Matching higher scale notes to Rafi’s natural high-note style – for which Lata Mangeshkar always had a (sweet) complaint against Jaikishan..
Kho Gaya Hai Mera Pyaar….Dundhata Hun Main Mera Pyar – Hariyali Aur Raasta (1962) – Mahendra Kapoor
In line with the trend of those times, Shankar Jaikishan’s most of the songs would have been either filmed on the main character(s) or any other character which has major role in the film. The present song is not only an exception to that norm, but also one of the rare Shankar Jaikishan – Mahendra Kapoor song.
Hasrat Jaipuri’s lyrics amply express the message in the boatmen’s songs to the hero and Shankar Jaikishan has set the song to a very fast, relatively hitch pitched scale to reflect the heightened turmoil of thoughts and emotions in the mind of hero.
Hasrat Jaipuri has a rather minority quantitative share of 4 songs out of a staggering 11 songs in the film, Hariyali Aur Rasta, but having a title song Bol Meri Taqdeer Mein Kya Hai (Lata Mangeshkar, in happy and sad versions) and a song starting with an exceptionally heavy Urdu phrase Ibtida-e-Ishq Mein Ham Saari Raat Jaage hitting the top of the charts qualitative more than made for the quantitative share.
Ye Umar Hai Kya Rangeeli, Ye Najhar Hai Kya Nashili, Pyar Mein Khoye Khoye Nain, Hamara Rom Rom Bechain, Hamara Bhi Jamana Tha – Professor (1962) – Manna Dey, Asha Bhosle, Usha Mangeshkar
In an otherwise truly light-mood, foot-tapping song, Hasrat Jaipuri comes up with a profound message when he writes
jiwan kya hai haste rahna, man maujoN mein bahte rahna
chupke baitho mane na hum
chupke baitho mane na hum batein wo purani
ye umar hai kya rangili
Aye Gulbadan…PhuloN Ki Mahak, KaatoN Ki Chubhan, Tujhe Dekh Ke Kaheta Hai Mera Man, KahiiN Aaj Kisi Se Mohabbat Na Ho Jaye – Professor (1962) – Mohammad Rafi
With so romantic lyrics, so easy yet very rich musical composition and Mohammad Rafi at his full care-free flow, it was no wonder that this had caught the minds of the youth of those days. However, the beauty of the effect of entire composition is that one would like to listen to the complete song every time one gets to listen the song, even now.
Aawaz Deke Hamein Tum Bulao, Muhobbat Mein Hamko Na Itana Saataao – Professor (1962) – Mohammad Rafi, Lata Mangeshkar
The third song from Shankar Jaikishan – Hasrat Jaipuri combination – set to Rag Shivranjani, in which Shankar Jaikishan have composed some of their best ever songs – yields a totally different outcome, that one may be tempted to attributing to Shankar (Jaikishan)- Shailendra combination.
Chau Chau Bombaiyana Ishq Hai Marz Purana, Dil Ki Dafli Se Sabhi Gaate Hai Yeh Gaana – Rungoli (1962) – Manna Dey, chorus
Hasrat Jaipuri takes up the opportunity to put in the ‘right’ message(s) in an apparently a comedy song that is meant to spell out the worries and gloom –
humne jahaN bhi dekha mile haiN diloN ke rogi
apna hi raag alape shayad mohabbat hogi
tere mere dil ka juda hai afsana
duniya mein jab tak rahna
gham ko na aane dena
ban jana mast kalander
jeena ho hans ke jeena
badi badi ankhiyoN mein aansu nahiN lana
On this note of philosophical light mood, we bring curtains to the present episode, to continue our journey of Shankar (Jaikishan and Hasrat Jaipuri’s songs fading from the memory.
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.
Sahir Ludhianvi was one lyricist who would not hesitate to take up cudgel with anyone when the matter was the pride of lyrics. He firmly believed in, and even demanded for, the primacy of lyrics, in comparison with a music composition of the song or the delivery of the song by way of singing by a singer. He was the only lyricist in those time, who demanded, and got, royalty for his lyrics. His fight for accepting royalty almost equal to Lata Mangeshkar is already a story laced with several colours in the annals of Hindi film music history. Many of his relationships broke down over this issue – the cases of those with Jaidev or S D Burman are the more known ones. It also remains an almost accepted fact that his association with a production banner or the music director turned out to be the most bankable instrument, as can be seen in the cases of Jaidev or N Dutta, whose careers could never reach the full potentials after their association with Sahir had ended.
Jaidev (B: 3-8-1918 | D: 6-1-1987) and Sahir Ludhianvi, both, had a common period of their youth spent in Ludhiana. So, when they got together in Joru Ka Bhai (1955) it was expected to a reunion which would be very fruitful. But, the prides of both the talented artists created the situation where the relationship remained soured from the first stage. Fate gave them another chance in Hum Dono (1961). Their work together in this film revived the hopes. But the egos clashed again in the next outing, Mujhe Jeene Do (1963), and the paths separated out. Fate intervened once again in Laila Majnu (1976) when Jaidev took up the unfinished work of Madan Mohan. But that was too late to fill up the chasm of the separation of minds.
Surmai Raat Hai Sitare Hai, Aaj Dono Jahaan Hamare Hai, Subah Ka Intezaar Kaun Kare – Joru Ka Bhai (1955) – Lata Mangeshkar – Music: Jaidev
phir yah rut yah samaaN mile na mile aarzu kaa chaman khile na khile vaqt kaa aitabaar kaun kare
le bhi lo ham ko apani baahoN mein ruh bechain hai nigaaho mein iltejaa baar baar kaun kare
nayi raat dhalati jaati hai ruh gam se pighalati jaati hai teri zulfoN se pyaar kaun kare
Surmai Raat Dhalati Jaati Hai, Ruh Gam Se Pighalati Jaati Hai, Teri ZulfoN Se Payar Kaun Kare, Ab Tera Intezar Kaun Kare – Joru Ka Bhai (1955) – Talat Mahmood – Music: Jaidev
tumko apna bana ke dekh liya ek baar aazma ke dekh liyaa baar baar aitbaar kaun kare
ae dil e zaar saugwar na ho unki chaahat mein beqaraar na ho badnaseeboN se pyaar kaun kare
Abhi Na Jao Chhod Kar Ke Dil Abhi Bhara NahiN – Hum Dono (1961) – Mohammad Rafi, Asha Bhosle – Music: Jaidev
abhi abhi to aai ho, bahaar banake chhaai ho havaa zara mahak to le, nazar zara bahak to le ye shaam dhal to le zara, ye dil sambhal to le zara maiN thodi der ji to lun, nashe ke ghunt pee to luN nashe ke ghunt pee to luN abhi to kuchh kaha nahiN, abhi to kuchh suna nahNi
sitare jhilamilaa uthe, charaag jagamagaa uthe bas ab na mujhako tokanaa ….. na badhake raah rokna agar maiN ruk gayi abhi to jaa na paaungi kabhi yahi kahoge tum sadaa ke dil abhi nahiN bharaa jo khatm ho kisi jagah ye aisa silsilaa nahiN
adhuri aas, adhuri pyaas chhod ke, adhuri pyaas chhod ke jo roz yunhi jaaogi to kis tarah nibhaaogi ki zindagi ki raah mein, javaaN dilo ki chaah mein kai mukaam aayenge jo ham ko aajmayenge buraa na maano baat kaa ye pyaar hai gila nahiN
haaN, yahi kahoge tum sadaa ke dil abhi nahiN bharaa
haaN, dil abhi bharaa nahiN nahiN nahNi nahiN nahiN
Maang Mein Bhar Le Rang Sakhi …Anchal Bhar Le Taare Ke Milan Ritu Aa Gayi….Jaegi Tu Un Sang Jo Tohe Lage Pyare, Milan Ritu Aa Gayi – Mujhe Jeene Do (1963) – Asha Bhosle, Chorus – Music: Jaidev
koi chandi ke rath mein aya hai mere babul, mere babul ki rajadhani mein maiN use dekhati huN chhup chhup kar ek halachal si hai jawani mein tadake ek ek ang sakhi re aaj khushi ke mare, milan ritu aa gayi
surkh chudaa hai meri baaho me surkh jodaa mere badan par hai sab ki nazarein hai mere chahare par aur meri nazar sajan par hai machali jaye umang sakhi ri dhadakan kare ishaare, milan ritu aa gayi
meri doli saja rahe hai kahar phul bikhare hue hai raahoN mein phul bikhare hue hai raahoN mein jinki baho ki arazu thi mujhe jaa rahi huN maiN unaki bahoN mein angna lage tag sakhi ri piya jab banh pasare, milan ritu aa gayi
Raat Bhi Hai Kuchh Bhigi Bhigi, Chand Bhi Hai Kuchh Madhdham Madhdham, Tum Aao To Aankhein Khole Soyi Hui Payal Ki Chham Chham – Mujhe Jeene Do (1963) – Lata Mangeshkar – Music: Jaidev
kisko bataaeN kaise bataaeN aaj ajab hai dil kaa aalam chain bhi hai kuchh halkaa halkaa dard bhi hai kuchh maddham maddham
tapte dil par yu girati hai teri nazar se pyaar ki shabanam teri nazar se pyaar ki shabanam jalate hue jangal par jaise barakhaa barase ruk-ruk tham-tham
hosh mein thodi behoshi hai …. …… …….. ……. ….. behoshi mein hosh hai kam kam …. …… …….. ……. ….. tujhko paane ki koshish mein …. …… …….. ……. ….. dono jahaaN se kho gae ham …. …… …….. ……. …..
Madan Mohan (B: 25—6-1924 | D: 14-7-1975) was another music director who did justice to the poetry of Sahir Ludhianvi, as can be seen in just one example of radiffkisepesh karuN in the set of three ghazals in the same film, Ghazal (1964), viz.
Each one is as exquisitely penned by Sahir as is composed Madan Mohan.
Chand Madhdham Hai AasmaN Chup Hai, NeeNd Ki God Mein JahaaN Chup Hai – Railway Platform (1955) – Lata Mangeshkar – Music: Madan Mohan
door vaadi mein doodhiyaa baadal jhuk ke parbat ko pyaar karte hain dil mein naakaam hasratein lekar ham teraa intazaar karte hain
in bahaaroN ke saaye mein aajaa phir mohabbat javaaN rahe na rahe zindagi tere naamuraadoN par kal talak meharbaaN rahe na rahe
roz ki tarah aaj bhi taare subah ki gard mein na kho jaayein aa tere gham mein jaagti aankhein kam-se-kam ek raat so jaayein
Jiya Kho Gaya Ho Tera Ho Gaya, Main KahuN To Kaise KahuN, Jiya Kho Gaya – Railway Platform (1955) – Lata Mangeshkar – Music: Madan Mohan
gair hai phir bhii tu mujhko apna lage terii har baat chahat ka sapna lage
uthate uthate jhukuN, jhukte jhukte uthuN aur takra gai do nigahein phul se khil gaye dil se dil mil gaye jaise milti hai manzil se rahein
mujhko apne pe bhii laaj aane lagii main akele mein chhup chhup ke gane lagi
Mujhe Ye Phool Na De Tujhko Dilbari Ki Qasam, Ye Kuchh Nahi….Tere HothoN Ki Tajhagi Ki Qasam – Ghazal (1964) – Mohammad Rafi, Suman Kalyanpur – Music: Madan Mohan
najhar hasiN ho to jalve hasiN lagte hai main kuch nahiN huN mujhe husn ki qasam
tu ek saaz hai chheda nahi kisi ne jise tere badan mein chhupi narm ragini ki qasam
ye ragani tere dil mein hai mere tan mein nahi parkhne wale mujhe teri sadgi ki qasam
gazal ka lauch hai tu najam ka shabab hai tu yakin kar mujhe meri hi shayri ki qasam
Unse Nazarein Mili Aur Hijhab Aa Gaya, Zinagai Mein HasiN Inquilab Aa Gaya – Ghazal (1964) – Lata Mangeshkar, Minoo Purushottam – Music: Madan Mohan
bekhabar the umar ke taqaazoN se ham hamko maalum na tha aise bhi din aayege aayina dekhe to aap apne se sharamaayege ….. …… …… …… …… bekhabar the umar ke taqaazo se ham aaj jaana ki sach much shabaab aa gaya
aankh jhukati hai kyoN saans rukati hai kyoN in savaalo ka khud se javaab aa gaya
dil ke aane ko ham kis tarah rokate jispe aana tha khaana kharaab aa gaya
Is Reshami Pazeb Ki Zankar Ke Sadquay … Jisne Yeh Pehnai Hai Us Dildar Ke Sadquay – Laila Majnu (1976) – Mohammad Rafi, Lata Mangeshkar – Music Madan Mohan
us jhulf ke qurbaN lab-o-rukhsar ke sadquay har jalwa tha ik shola husn-e-yar ke sadquay
jawani mangati thi yeh hasin jhankar barsoN se tamanna bun rahi thi dhadakno ke tar barsoN se ….. …… …… …… chhup-chhup ke aanewale tere pyar ke sadquay
jawani so rahi thi husn ki rangin panaho mein chura laye ham unke najani jalwe nigaho mein ….. …… …… …… ………. kismat se jo huwa hai us didar ke sadquay … ….. ……. …… ……..
us jhulf ke qurban lab-o-ruksar ke sadquay
najhar lahra rahi hai jism pe masti si chhayi hai dubara dekhne ki shauk ne halchal machai hai ….. …… ……. ………. …… dil ko jo lag gaya hai us ajhar ke sadquay
Ye Diwane Ki Zid Hai…Apne Diwane Ki Khatir Aa – Laila Majnu (1976) – Mohammad Rafi – Music: Jaidev
jahaN mein quais jhinda hai to laila mar nahiN sakati
ye da’awaa aaj duniya bhar se manwane ke liye aa
…. ….. ….. . ….. ….. ……
tere dar se main khali laut jauN kya qayamat hai tu meri ruh ka kaa’aba meri jaan-e- ibaadat hai
jhabeen-e-shauq ke sajdon ko apnaane
ki khaatir aa
Sahir’s lyrics also spans over two decades with the common link of 1976 film Laila Majnu However, the subject of the film, Laila Majnu, and support of music of two music directors – Jaidev and Madan Mohan – who could truly lend music to his poetry, provide ample opportunity to Sahir Ludhiyanvi to maintain his elements in his lyrics even after the quite transformed period of HFM in the second half of ‘70s.
In the next episode, we will take up Sahir Ludhianvi’s romantic songs composed by R D Burman for four films they did together.
Radiff (Arabic: رديف) is a rule in Persian, Turkic, and Urdu poetry which states that, in the form of poetry known as a Ghazal, the second line of all the couplets (bayts or Shers) must end with the same word/s. This repeating of common words is the “Radfif” of the Ghazal. (Source: Wikipedia)
People with less skill have less meta cognitive ability, which is necessary to induce awareness about their incompetence. Moreover, without certain minimum expertise, it is hard to perform well. Also, it is hard to know that you are under-performing unless you have the expertise. This double curse of being unskilled and unaware makes the less competent overestimate their competency,
This is known as Dunning Kruger Effect, named after the researchers David Dunning and Justin Kruger in their 1999 study “Unskilled and Unaware of It: How Difficulties in Recognizing One’s Own Incompetence Lead to Inflated Self-Assessments”.
Graphically it can be described as
The complete article from Britannica is reproduced here below for a comprehensive discussion of the subject:
“Dunning-Kruger effect, in psychology, is a cognitivebias whereby people with limited knowledge or competence in a given intellectual or social domain greatly overestimate their own knowledge or competence in that domain relative to objective criteria or to the performance of their peers or of people in general. According to the researchers for whom it is named, psychologists David Dunning and Justin Kruger, the effect is explained by the fact that the metacognitive ability to recognize deficiencies in one’s own knowledge or competence requires that one possess at least a minimum level of the same kind of knowledge or competence, which those who exhibit the effect have not attained. Because they are unaware of their deficiencies, such people generally assume that they are not deficient, in keeping with the tendency of most people to “choose what they think is the most reasonable and optimal option.” Although not scientifically explored until the late 20th century, the phenomenon is familiar from ordinary life, and it has long been attested in common sayings—e.g., “A little knowledge is a dangerous thing”—and in observations by writers and wits through the ages—e.g., “Ignorance more frequently begets confidence than does knowledge” (Charles Darwin).
“In the studies reported on in their paper “Unskilled and Unaware of It: How Difficulties in Recognizing One’s Own Incompetence Lead to Inflated Self-Assessments” (1999), Dunning and Kruger tested the abilities of four groups of young adults in three domains: humour, logic (reasoning), and grammar. The results supported their predictions that, as compared with their more competent peers, “incompetent individuals…will dramatically overestimate their ability and performance relative to objective criteria”; that they “will be less able…to recognize competence when they see it” (whether their own or someone else’s); that they “will be less able…to gain insight into their true level of performance” by comparing their own performance with that of others; and, paradoxically, that they can improve their ability to recognize their own incompetence by becoming more competent, “thus providing them[selves] the metacognitive skills necessary to be able to realize that they have performed poorly.”
“Dunning and Kruger emphasized that the effect they had identified does not imply that people always overestimate their own knowledge or competence. Whether they do so depends in part on the domain in which they evaluate themselves (most golfers do not believe that they are better at golf than Tiger Woods) and whether they possess “a minimal threshold of knowledge, theory, or experience” that, given the effect, would lead them to the false belief that they are knowledgeable or competent. Nor does the effect imply that motivational biases and other factors do not also play a role in producing inflated self-assessments among incompetent people.
“Later investigations of the Dunning-Kruger effect explored its influence in a variety of other domains, including business, medicine, and politics. For example, a study published in 2018 indicated that Americans who know relatively little about politics and government are more likely than other Americans to overestimate their knowledge of those topics. Moreover, according to the study, that tendency seems to be more pronounced in partisan contexts in which people consciously think of themselves as supporters of one or the other (Republican or Democratic) major political party.”
Knowing how our skills stack up against others is useful in many ways. But psychological research suggests that we’re not very good at evaluating ourselves accurately. In fact, we frequently overestimate our own abilities. David Dunning describes the Dunning-Kruger effect @ Why incompetent people think they’re amazing?
To learn how this comes about and what one can do to avoid it from happening to you, please watch The Dunning Kruger Effect –
The opposite of the Dunning-Kruger Effect is the Impostor Syndrome. This is a cognitive bias where someone is unable to acknowledge his or her own competence. In spite of numerous instances of success, they are unable to attribute this success to internal factors. Instead, they externalize the reasons for their competence and attribute it to luck, timing or even deceit.
The perceived fraudulence could involve several aspects like inauthentic ideation, depressive tendencies, social anxiety and high self-monitoring skills. It is unlikely that the Impostor Syndrome has its cause in low self-esteem. People with the Impostor Syndrome are highly critical though. This often results in a strong pressure to excel (Kolligian Jr & Sternberg, 1991). This could also attribute to the fact that the Impostor Syndrome often occurs in academics or highly successful people.
The False-Consensus Effect could also be seen as an opposite of the Dunning-Kruger Effect. This is a cognitive bias wherein people believe their own behavior and choices are relatively common in comparison to others. They tend to overestimate the prevalence of the behavior in other people, as well as other people’s abilities in comparison to theirs. You could call it unknowingly modest.
Dunning and Kruger also have acknowledged this aspect during the course of their original 1999 study. They mentioned that “across the four sets of studies, participants in the top quartile tended to underestimate their ability and test performance relative to their peers.”
Put simply, incompetence results in overconfidence and extreme competence results in overly modest behaviour. Luckily there is a way around these biases, and it is called meta-cognition, what psychologists call “the knowledge about your own thought processes and the ability to understand your own cognition.” This refers to the ability to think about your own thinking. It is one of the skills that make the human a dominant race, since we can reflect on thoughts and change them consequently.
The typical approach to overcome these biases is contained in the following simple steps:
Improve the meta-cognition – The amount of meta-cognition increases when our ability of a certain task increases. We are then able to reflect on our overconfidence and adjust it to a more realistic thought.
Seek feedback – Honest and true feedback not only shows where improvements are required, but also gives inputs on how to improve.
Question yourself – to look at the subject from a different perspective.
Practice makes perfection – Experiencing the Dunning -Kruger effect or opposite syndromes and falling for it several times helps you realize when it could happen again. When a similar situation occurs, think about your response calmly and always consider biases might be involved.
Note: You Tube has several videos on Impostor Syndrome: Here are a few representative ones that may help to understand the effect and also tell us how to overcome it.
We suffer – needlessly – from The Impostor Syndrome.
Former U.S. first lady Michelle Obama …. urged girls to resist the “imposter syndrome” she had felt on the way up and fight men for power….
Impostor syndrome, or “impostor phenomenon,” is a term that was first used in 1978 by psychologists Pauline Clance and Suzanne Imes to describe why many high-achieving people felt like impostors in their respective fields.
One thing no one told you about the imposter syndrome | Christina Whittaker | TEDxAlpharettaWomen
Do you have Impostor Syndrome … too? | Phil McKinney | TEDxBoulder
How you can use impostor syndrome to your benefit | Mike Cannon-Brookes
The Imposter Syndrome Banishing Spell | Dona Sarkar | TEDxUIUC
The Surprising Solution to the Imposter Syndrome | Lou Solomon | TEDxCharlotte
For the year 1944, Shamshad Begum’s quantitative presence apparaently seems limited to two films, if we do not consider the songs from Panna, which HFGK notes Rajkumari clarifying that the songs were rendered by Shamshad Begum in the film but were recorded in her voice.