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

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

We open our present episode with the 92nd birthday of Lata Mangeshkar.

A little girl who started professional singing more than 7 decades ago is still there somewhere, says Lata Mangeshkar as she recalls such a long journey of career that notched up another hit just last month.

All Mangeshkar sisters Lata, Asha, Usha & Meena together on-screen with Brother Hridaynath in the song Chala Chala Nav Bala from the film Maaze Bal – 1943, composer Datta Dawjekar

In continuation with the practice of presenting Lata Mangeshkar’s songs from a different angle, Mehfil Mein Meri presents Lata – Non-film songs, for the period 1954 in Part 1 and for the years thereafter in Part 2.

We, also, rue the loss of Veteran actor and Mehmood’s sister Minoo Mumtaz passes away  – Komal RJ Panchal – Minoo Mumtaz (26-4-1942 | 19-10-2021) – appeared in films like CID, Naya Daur, Taj Mahal, Gaban, Zameer among others. She passed away in Canada.

Minoo Mumtaz was 79 years old. (Photo: CinemaRare/Twitter)

RIP, Minoo Mumtaz – We Have Lost Another One of the Greatest (as everyone should know) – Minoo Mumtaz was a mujra queen in her own right – in addition to being a hilarious comedienne. The previous post of 2009 where Tom Daniel’s DVD compilationis referred to, describes it as A Whole (Beautiful, Crisp, Clear) DVD of Minoo Mumtaz! It is recommended to re-visit that that post most of all because it includes a list of the contents of Tom’s DVD, which is the best place to look if you want the names of the best songs that she appeared in.

Songs of Yore also had a post, In Conversation with Minoo Mumtaz, which included an interview with her as well as one with her son, Ajaz Ali.

When an era passes – Malika Begum or Malikunnisa, better known by her screen name Minoo Mumtaz, carved a unique place for herself.

Ten of my favourite Minoo Mumtaz Songs recalls songs featuring Mino Mumtaz on the screen.

We now move on to other tributes and memories this month.

Taxi Driver — one of India’s first ‘cabbie films’, which sealed Dev Anand’s romantic hero imageUnnati Sharma – On Dev Anand’s 98th birth anniversary (27th September) a revisit to a film close to his heart — a complete Anand family production, whose heroine he married.

Hans Jhakhar has come up with a series of articles on Rajendra Krishna (6 June 1919 – 23 September 1987) and his music directors on Songs of Yore to commemorate the 34th Remembrance Day of Rajendra Krishna. The first two articles are: Rajendra Krishna with the Albela Karigar C Ramchandra and Rajendra Krishna and Madan Mohan: Classic Case of Two Geniuses at Work.

The unassuming genius of Hrishikesh MukherjeeSubhash K Jha – “I confess I’m guilty of making potboilers…That’s because I had a unit and their family to maintain. I console myself with the thought that I’ve made decent films too on family values.” …… Thankfully Hrishida quit this world before people started watching his films on phones.

Eyi Path Jodi Na Shesh Hoy: The Immortal Songs of Uttam-HemantaSounak Gupta and Antara Nanda Mondal present Silhouette’s a tribute to Uttam Kumar by revisiting the iconic Uttam-Hemanta partnership and some of their evergreen hits.

Happy Birthday, Simi Garewal, who was always ahead of her time. When Indian actresses were demure dainty and shy Simi was a whiff of fresh air. There was no pretence about her personality

Forget Dil Chahta Hai, Raj Kapoor-Nargis starrer Chori Chori was the first road trip movieUnnati Sharma – On Manna Dey’s death anniversary, remembering how the song “Yeh Raat Bheegi Bheegi” is more popular than the film itself.

Smita Patil as remembered by her sister: ‘Funny, generous, uncaged’Anita Patil-Deshmukh pays tribute to the acclaimed actor on her 66th birth anniversary.

Smita Patil photographed by Gautam Rajadhyaksha.

In Subah, Smita Patil’s character broke glass ceiling of what ambitious women can’t doUnnati Sharma – Smita Patil plays Savitri, a woman who is capable, intelligent and ambitious, but often finds herself caught up in the complications of family life.

Vinod Khanna: The actor who gave Amitabh Bachchan a run for his moneySampada Sharma – A Stardust cover of 1978 had claimed in big bold letters ‘Vinod Khanna turns No 1’ but unbeknownst to everyone, Vinod was never a part of the rat race and it was perhaps this nonchalance that made him one of the most iconic stars of Hindi cinema.

5 unknown facts about Rekha who turns a year older on October 10Subhash K Jha – Rekha prides herself on being an accomplished singer. She sang Qayda Qayda Todke Socho Ek Din in Khubsoorat for herself.

How Kader Khan became Bollywood’s go-to dialogue writer: When an impressed Manmohan Desai gifted him his TV, gold braceletSampada Sharma – On Kader Khan’s 84th birth anniversary, here’s looking at the early career of the actor as a dialogue writer and how he did some of his best work with Prakash Mehra and Manmohan Desai.

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

In the series of articles on Sahir’s Songs of Romance, commemorating Sahir Ludhianvi’s birth centenary,  we now take up Sahir Ludhianvi’s Four Film Association with R D Burman.

October 2021 episode of Fading Memories, Unforgettable Songs takes up (Shankar (Jaikishan) and Shailendra’s Songs Fading From the Memory: 1955 -1956 (Part). Till now, we have covered the years

1949 – 1953 in 2018

1953 (Continued) in 2019.

1954 in 2020

Here is a collection of some vintage photographs, posted on BollywooDirect:

October is the month  of festivals, or is usherer of the great Indian festival of Diwali, so “Let’s Celebrate!”: Ten festival songs.

We now move on to posts on other subjects –

Songs of Age are not those where there is an observation about how man has no control over time and hence the need to make the best of the moment at hand, but are the songs where there is a mention of not just physical age but also of time passing or of an era having passed

‘Not Quite Usual’ Songs presents songs in two broad categories – Single song-one singer-two characters and Single song-two singers-one character.

Soul music: When Hindi film songs send a prayer to the AlmightyRineeta Naik explores the omnipresent clamour for divine intervention in the form of a song. Since the array of divinities is long and colourful, the songs are equally eclectic.

Sanchari – Bengal’s invaluable contribution to Hindi Film MusicSanchari (संचारी), in its very technical sense, n Hindustani classical music has to do with the Dhrupad genre. However, Bengal composers used the term Sanchari as a piece of different tune inserted between two Antaras, thereby imparting the song its unique character.

[Note: For anyone interested in the nuances of music, this post is very informative and should be read, as you listen the songs covered in the post.]

My Favourites: Devotional Songs of Hindi films have knack to move you despite yourself; that make you want to believe even if you don’t; that, either because of the vocals or the picturisation or both, make you believe in the devotion the words expressed.

Romancing through the Window and Door is an immensely explored subject in Hindi film songs of romance. The present post complements the songs on Atariya, Angana and Chhat, thus completing all the features of a house with such possibilities.

The Rendezvous Songs has emphasis more on the element of the meeting place.” … there is an element of escaping the prying eyes of the world in many a song. Some of the songs have risqué lyrics too.”

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. Presently, Part III finally presents boat songs sung by the boatman.

Was ‘Guide’ ever offered to Zaheeda?Subhash K Jha – Waheeda Rehman tells the whole story of how she agreed to do ‘Guide’, after two directors were changed

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

Micro View of Best Songs of 1944 @SoY concluded the micro-view of female songs with MY Top Female Solo Songs  and took up that of duets with the duets that have been already covered in Memorable Songs / Special Songs, Male-Female Duets – Part 1 and Part 2 – and reached the end point in Female – Female Duets | Male – Male Duets | Triads (+)

In continuation to our tradition of ending the post with a few songs of Mohammad Rafi, I have selected duets of Lata Mangeshkar and Mohammad Rafi during 1947 to 1949, based on one duet per music director:

Chalo Ho Gai Taiyaar Zara Thehro Ji – Shaadi Se Pehle (1947) – Paigankar- Karnad – Mukh Ram Sharma

Sun To Dil Ka Afasana – Andaz (1949) – Naushad – Majrooh Sultanpuri

Apni Nazar Se Door Vo Unki Nazar Se Door Hum – Bazaar (1949) – Shyam Sundar – Qamar Jalalabadi

Lambi Zoru Badi Museebat Are Din Dekhe Na Raat – Ek Thi Ladki (1949) – Vinod _ Aziz Kashmiri

Zara Tumne Dekha To Pyar Aa Gaya – Jaltarang (1949) – Husnlal Bhagatram – Kaif Irfani

Tadapake Ab Mujhe Chhod Diya – Namoona ((1949) – C Ramchandra – Gulshan Jalalabadi

Dil Le Ke Chhupne Wale Tu Hai Kahan Bata De – Paaras (1949) – Ghulam Mohammad – Shakeel Badayuni

Saajan Ki Ot Leke Haathon Mein Haath Deke – Zevraat (1949) – Hans Raj Bahal – Habeeb Sarhadi

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 : The Duets – Female – Female Duets | Male – Male Duets | Triads (+)

Female – Female Duets (+)

Parul Ghosh, Amirbai Karanatai, Chorus – Prabhu Charan Mein Dep Jalao, Man Mandir Ujiyala Ho – Jwar Bhata – Narendra Shrama – Anil Biswas

Leela Sawant, Lalita Parulkar – GaiyaN Ghar Laye Girdhari – Kaliyan – Kedar Sharma – G A Chisti

Leela Sawant, Lalita Parulkar – Sakhi Ri Ab Ke Sawan Aaye – Kaliyan – Kedar Sharma – G A Chisti

Amirbai, Rajkumari – O I See, Ye Dekho Duniya Ke Rang – Maa Baap – Roopbani – Alla Rakha

Sheela, Rajkumari – Aao Chalein Us Paar Sajani, Kah KaruN Man Mane NahiN – Pattharon Ka Saudagar – Gaafil Haryanvi – Mir Sahab

Male-Male Duets

Shyam Kumar, Mohammad Rafi – Tum Dilli main Aagre mere dil se nikle haye  – Pahle Aap, covered in Memorable Songs of 1944 list is considered as Naushad’s extended test case in so far as Mohammad Rafi is concerned.

Rewashankar, Chitalkar – Dheere Dheere Chal Tangewale, Baithi Tere Tange Mein Bulbul Ek – Lalkar – Pt. Madhur – C Ramchandra

Triads (+)

Shyam Kumar, Mohamamd Rafi, Allauddin Naved, BM Vyas etc. – Hindostan hain hum hain hindostan hamara – Pahle Aap, covered in Memorable Songs of 1944 list is considered as Naushad’s breakthrough to Mohammad Rafi, more perhaps as a test case.

G M Durrani, Amirbai, Hamida – Ham Aage Badhate Jaein, Duniya Peechhe Peechhe Jae Re – Anaban – Pt. Madhur – Gyan Dutt

Carnival of Quality Management Articles and Blogs – October 2021

Welcome to October 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.

Our topic for the discussion for the month is – The Profiles of Future – The World without Distance

Profiles of the Future: An Inquiry into the Limits of the Possible by  Arthur C. Clarke –  originally appeared in 1962, is an anthology of essays written by Arthur C Clarke during the period 1959 – 1961. Since it was concerned with ultimate possibilities, It has under gone two revisions, in 1971 and 1999. As such the latest 1999 revision does not contain several portions of the original text.

I plan to take up a more detailed look at the book in some time next year. For the purpose of our present episode, we will briefly take a look at some of the predictions Arthur C Clarke has to make about the Future of Work (in 2050) and a few representative current views. –

Arthur C. Clarke Predicted the Future of Remote and Flexible Work in 1964 By Jennifer Parris – With regards to remote working, Arthur Clarke believed that almost any skill, from executive or administrative, to even physical skills, would be possible to perform remotely, regardless of distance. This sentiment shows that Clarke already envisioned the workplace to be a mobile one, not one reliant upon people being together in an office to perform their jobs.

For a more comprehensive look at how working from home came to be (starting with the hunter-gatherers as the earliest at-home workers!), read FlexJobs post on’ “The Complete History of Working from Home.”

Here are some more additional readings on the subject:

BBC Horizon is a widely acclaimed TV show of BBC, One of the episodes of that show, in 1964, presented Artur C Clarke’s predictions of the future. Here is that episode:

BBC Horizon (1964) with Arthur C. Clarke –

(Part 1 of 2)

Part 2 of 2

[Note: BBC Horizon Collection – 512 Episodes – can be accessed at

The big debate about the future of work, explained

3 myths about the future of work (and why they’re not true) | Daniel Susskind

New Profiles of the Future: The World in 2050 and beyond, with Lord Martin Rees

How do we find dignity at work? – Roy Bahat and Bryn Freedman | Ted Salon” Zebra Technologies

Roy Bahat wondered, what was AI doing to the people whose jobs might change, go away or become less fulfilling? The question sent him on a two-year research odyssey to discover what motivates people, and why we work. In this conversation with curator Bryn Freedman, he shares what he learned, including some surprising insights that will shape the conversation about the future of our jobs.

How will we earn money in future without jobs? – Martin Ford | TED 2017

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

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

Productive Failures – Failure can provide the seeds for success.- In a productive failure, you do not achieve your objective, but you come away with new knowledge that will increase your chances of future success. A non-productive success occurs when you achieve your objective, but you are not sure what you did right. You can build on productive failures. You can’t build on non-productive failures….The more productive failures experienced, the more you’ll learn….When bad things happen, first think, “Darn, that is really disappointing.” Then quickly think, “How can I turn this into something useful?”

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

  • Serendipity, A Meaningful Connection? – Serendipity is “the occurrence and development of events by chance in a happy or beneficial way.” – a happy coincidence or more like a “meaningful connection.” ….. It is something like listening a song for the first time and catching that meaningful lyric, or the emotion of a melody, that spoke to you in that very moment….. Quality hopes to provide with that same sense of serendipity…………….

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.

The Micro View of Best Songs of 1944 @ SoY : The Duets – Male Female Duets [2]

One very distinct characteristic, of the duets for the year 1944, that come to our mind is the presence several music directors and a lyricist, and even an actor (Gope), normally not associated with film songs singing. To someone, like me, not at all versed with the film song arena of those years, that raises several questions – Was the paucity of male actors-singers was so sever that the music director (or lyricist) had to step in? And then, why that presence is for the duets only?

Well, some day we may have answer to such questions. Till, then we take the second, and last for the time being, batch of male-female duets for the year 1944.

Leela Sawant, V Bhatkar – Sajan Paas Bula Lo….., Nayanan Bich Basa Lo – Kaliyan – Kedar Sharma – G A Chisti

GM Durrani, Jhohrabai Ambalewali – Bhanwara Na ….. Jab Tak Hansana Na Rem Jab Tak KaliyaN Hans De –Lakar – Pt. Madhur – C ramchandra

Pahadi Sanyal, Snehprabha – Aaj Na Phool Sajao Sakhi, Lat Sundar Lage – Mahakavi Kalidas – Rammurti – Palsekar

Malaka Amir Jan, Gulshan Sufi –Meri Uthati Jawani Ki Dekho Dekho Bahar – Mauji Jeewan – Baba Pagal – Gulshan Sufi

Hamida Bano, Gulshan Safi – New Fashion Ka….Aao Prem Rachaye– – Mauji Jeewan – Baba Pagal – Gulshan Sufi

HFGK mentions Hamida Banu as the sole singer.

G M Durrani, Rajkumari – Chale Prem Ke Desh Pujari – Maya Nagri -? – Veer Sinh

G M Durrani, Rajkumari – Khole Re Kaun….  Mere Man Ke Dwar – Maya Nagri -? – Veer Sinh

Anima Sengupta, Unidentified male singer – Bhatake Hue MusafiroN, Age Badho – Subaha Sham – Faiyyaz Hashmi – Subal Dasgupta

HFGK does not identify singers. HFGK also notes a second part of the song ‘Bahati Nahi Hai Khoon Ki Nadi WahaN Kabhi’

Rajkumari + Unindentified male voice –Sab Haal Bata Denge Jo Hum Pe Gujarati Hai – Panna – Wali Sahab – Amir Ali

Balwant Singh, Kaushalya – Aae Din Pyar Ke Sajana, Pichhali Baatein Bhula – Parakh – Gaafil Harayanvi – Khursheed Anwar

The Micro View of Best Songs of 1944 @ SoY : The Duets – Male Female Duets [1]

We now take up the Micro View of male female duets for the Year 1944, not covered in Memorable Songs of 1944 list, The list here I slimited to only those MF duets that have singers identified in HFGK and have a valid YT link.

Khan Mastana, Amirbai – Bagiya Kare Singaar, Aa Ja Sajan Main DaluN Gale Mein Haar – Badi Baat – Roopbani – Firoz Nizami

Jeenat Begum, Gulam Haider – Sajan Aa Jaa, Rajan Aa Ja, Khelein Dil Ke Khel – Bhai – Khan Shatir Gazanvi – Gulam Haider

Amirbai, Arun Kumar – Man Ki Baji Haar Chuka Hai, Preet Ki Baaji Jeet – Bhanwara – Kedar Sharma – Khemchandra Prakash

Naseem, Ashok Kumar – Mujhe Madhur Lagata Hai Unse Pyar Chuupana – Chal Chal Re Naujawan – Pradeep – Gulam Haider

Naseem, Ashok Kumar – Chamko Chamko BijaliyaN HaaN BijaliyaN – Chal Chal Re Naujawan – Pradeep – Gulam Haider

Jeenat Begum, G M Durrani – Aaye Hai Balamawa Pyare Pyare Ab Jaage Bhag Hamare – Chand – Qamar Jalalabadi – Husnlal Bhagatram

Leela Chitnis, Pratap – Tum Hare Main Jeeti, Sajan Tum Hare Main Jeeti – Char Ankhen – Narendra Sharma – Anil Biswas

Vanmala, C Ramchandra – Main Kisse KahuN Apani Kahani, Hai Dard Bhari Meri Kahani – Dil Ki Baat – Ram Murti – C Ramchandra

Parul Ghosh, Manna Dey – Bhula Bhatka Path Haara Main Sharan Tumhare Aaya – Jwar Bhata – Narendra Sharma – Anil Biswas

Parul Ghosh, Arun Kukar – SarsoN Pile Dhan Suhane, Sajan Mora Sawariya Ho – Jwar Bhata – Narendra Sharma – Anil Biswas

The Micro View of Best Songs of 1944 @ SoY : The Duets

We now take up the third leg of the Micro View of Best Songs for the Year 1944 – The Duets. The over view article, Best songs of 1944: And the winners are?, notes that close to 110 duets were recorded in 1944 for which the singers have been identified.The success ratio of availability of thses songs on YT is around 35% or so.

As such, not miss out any duet that have been located on YT, first, we will take on record the duets that have been already covered in Memorable Songs / Special Songs for the year 1944 and take up the Micro View of other duets for the year 1944 from the next episode.

Zohrabai Ambalewali, Gope – Balam Ji Ye Kya Jadoo Dara, Jiya NaahiN Jaye… – Aina

KL Saigal & Amribali Karnataki – Kya humne bigada hai kyun humko satiate ho – Bhanwara

Surendra & Amirbai Karnataki – Bhiksha de de maiya, jogi khada hai dwar – Bhartruhari

Surendra, Noorjehan – Mohaniya sundar mukhada khol – Lal Haveli

Surendra, Noorjehan – Dil le ke mukar na jana – Lal Haveli

Alla Rakha, Rajkumari – Madhur suron mein gaye chaandni chaand so ja – Maa Baap

Shyam, Zohrabai Ambalewali –  Aaja kahin door chalein  – Pahle Aap

Karan Diwan & Zohrbai Ambalewali – Saawan ke baadlo unse ye ja kaho – Rattan

Shyamkumar & Amirbai Karnati – O janewale baalamwa laut ke laut ke aa   – Rattan

Bulo C Rani, Kusum Mantri – Tujhko karun main salam sipahiya – Shahensha Babar

Mukesh and Kusum – Zara boloji, kya logi is dil ka kiraya – Us Paar

Fading Memories…. Unforgettable Songs : October 2021

Shankar (Jaikishan) and Shailendra’s Songs Fading From the Memory: 1955 -1956 (Part)

Shankar (Singh Raghuvanshi) – B: 25 October 1922 | D:  26 April 1987 – was one of the genius composers of the famous duo Shankar Jaikishan. Shankar had a long stint of training in classical music. He was a tabla player at the core, but went onto learn several rhythm and string instruments successfully in the initial period of struggle He got the basic training in the nitty-gritty of film music composition as assistant to Ram Ganguli in Raj Kapoor’s maiden venture, Aag (1948)

When Raj Kapoor took up his next project, Barsat (194) he invited Shankar to take charge of the music direction. Shankar roped in Jaikishan as his partner. During the decades of 1940s, 1950s and 1960s several composers dominated Bollywood films. Naushad Ali, S D Burman, C Ramchandra, Vasant Desai, Salil Chowdhury, Roshan, Madan Mohan, OP Nayyar, Ravi etc. all had the class, and style of their own. Among these stalwarts, Shankar Jaikishan created their own space – with RK and other leading banners, critics as well as common fans – and went on to compose music in almost 195 films in that golden age.

Shailendra (a.k.a. Shankardas Kesarilal, B:  30 August 1923 – D: 14 December 1966) ‘s poetry and films songs reflected his temperamental proximity to the common man. In the famous quartet of Shankar Jaikishan Shailendra and Hasrat Jaipuri, Shankar and Shailendra worked as one part of the team with Hasrat Jaipuri, and Jaikishan made up the other half. Apart from the personal preferences and proximity related to friendship, this division of work was more in accordance with the inherent composition patterns of the two composers. Shankar always loved composing serious thematic songs with a lot of emotional content that only Shailendra could do justice to whereas Jaikishan was more into composing light- hearted romantic stuff that came so naturally to Hasrat.

To commemorate the birth anniversary of Shankar Singh Raghuvanshi, we have commenced the present series of Shankar (Jaikishan) and Shailendra’s Songs Fading From the Memory from October 2018 and have been covering their less familiar songs from the films released in chronological order of year.

Till now, we have covered the years

1949 – 1953 in 2018

1953 (Continued) in 2019.

1954 in 2020

Presently, we would listen to Shankar- (Jaikishan) and Shailendra’s Songs Fading From the Memory for 1955 and part of 1956. The variety of the film subjects and the corresponding song compositions, coupled with the steeply increasing the numbers of the films in a year clearly indicate the beginning of the upsurge in the wave that Shankar Jaikishan created in the ocean of Hindi film music. In fact, 1956 had as many as 7 films under the baton of Shankar Jaikishan with a staggering total of 61 songs, distributed between Shailendra and Hasrat Jaipuri as 46 and 15 songs respectively.

Seema (1955)

Seema had 6 songs, with Shailendra and Hasrat Jaipuri scoring lyrics for three songs each. Hasrat Jaipuri’s one song runs into two parts whereas Shailendra’s Tu Pyar Ka Sagar Hai appears twice, in different contexts, in the film. None of the songs from the film can ever be classified as the Fading from The Memory category. Therefore, I have picked up one song that I like more than other songs.

Man Mohana Bade Jhoothe, Haar Ke Haar Nahi Maane – Lata Mangeshkar

Based on Raag Jaijaiwanti, the song is all the way a Shankar Jaikishan song. The composition, though sounds so simple and pleasing, was so difficult to render that Nutan chose to attend the recording session to note the way Lata Mangeshkar negotiates the nuances of the song, so that she herself can truly reproduce these on the screen. Shailendra is at full simplicity blossom when he says –

Bane the khiladi piya, nikale anadi,
Mo se beimani kare, mujhse hi roothe

… … … … …
… … … … …

Tumhari ye bansi kanhaa, ban gai fansi
Taan sunake mora, tan man loote

Aside Trivia: One for more film with the title Seema was made in 1971, for which music director was Shankar Jaikishan!

Shree 420 (1955)

Shree 420 remains one of the most celebrated of RK Productions’ films, with seven of nine songs of the film remaining quite popular even today. Shailendra scored lyrics for

Shaam Gayi Raat Aayi Ab To Sanam Aa Ja , TaaroN Ki Barat Aayee Ke Balam Aa Ja  – Lata Mangeshkar

The song opens with prelude that has faint resemblance with famous ‘Albela’ (1951) song Bholi Surat Dil Ke Khote, Gujarati folk dance garba based, notes before Shankar Jaikishan’s signature base rhythm of dholak picks up the song. Such a melodious song remained relatively less known as compared to other songs, perhaps because it has not been included in the film.

Halaku (1956)

Directed by D D Kashyap, Halaku was a period film. It had Pran in the title role of emperor of Iran. The film revolves around his love for a common citizen beauty, who in fact is deeply in love with other young man. Halaku had 8 songs, of which Shailendra scored lyrics for 5 songs and Hasrat Jaipuri that for the other three.

Of the five songs of Shailendra, three duet songs – Aaja Ke Intzar Mein, Jaane Ko Hai Bahar Bhi (Rafi, Lata); Dil Ka Na Karana Aitbar Koyii, Bhule Se Na Karana Pyar Koyi (Rafi, Lata) and Aji Chale Aao, Tumhein AankhoN Se Dil Ne Bulaya Hai (Lata, Asha) – were quite popular.

Yeh Chand Yeh Sitare, Yeh Saath Tera Mera, Shab-e-Jhindagi Ka Na Ho Ab Savera, O Dilruba, O Dilruba – Lata Mangeshkar

In sync with the background of the story of the film, Shankar Jaikishan has composed the song mainly on the strength of the string instruments, both in the rhythm and in the interlude and obbligato orchestra support.

Teri Duniya Se Jaatein Hai Chhupaye Gam Apana., Liye Jaateein Hai AankhoN Mein Kisi Ke Pyar Ka Sapna – Lata Mangeshkar

Shankar Jaikishan once again follow different than their usual style of composition in the song.

The song was ultimately not included in the film.

Kismat Ka Khel (1956)

Kismat Ka Khel, directed and written by Kishore Sahu was so total failure as a film that its music also ha been packed off to a dust bin with its reels! Film had 7 songs, 5 of which were by Shailendra and two by Hasrat Jaipuri.

Aside Trivia: Kismat Ka Khel is a (just) the fourth film of Sunil Dutt’s career, the earlier three being, Railway Platform (1955) Kundan (1955) and Ek Hi Rastaa (1956).

Kismat Ka Khel Hai Janab-e-Ali…. Aapke Paas HaiN Moti Khazane Aur Apni Jeb Khali – Lata Mangeshkar

In those days, one would just a small opening to let in a song in the film. Here, the protagonists, Vyjayanti Mala and Sunil Dutt seem to be travelling in train, but obviously have no money for the ticket. On being asked to pay the penalty by the TTE, the lady proposes to sing a lilting dance song (in an obviously crowded train coach of those times!) to collect the required sum……!!!

Na Bure Na Bhale Hum Gareeb Gam Ke Pale, Tum Kya Jaano Basti Hamari Rajaa, Ladli Zindagi Apne AnsooN Mein Dhali – Lata Mangeshkar, chorus

The song is presented as a grand presentation of the basti, where Anokhi (Vyjayanti Mala) reigns and Prakash (Sunil Dutt) takes shelter, is the main arena for the film story. It is this situation that makes Shailendra to blossom out in the only stanza the song has:

hamari bhi gali me muskaraye chandani
badal jhumke gaye rasili ragini
tumhare mahal se kuch kam
nahi ye basti hamari

Arz Hai Aapse Aur Apse, Bhed Ki Baat Hai ApanoN Se Kahi Jaati Hai …… Balam Aayega…. – Lata Mangeshkar

The song is some occasion for Vyajayanti Mala to present herself as a damsel waiting the arrival of her beloved, of course in the form of a dance!

The song opens with a sakhi, which has harmonium in the obbligato support

Tu Maane Ya Na Maane Balam Anajaane, Bedardi Tere Liye… Nache Meri Zindagi – Lata Mangeshkar, chorus

The song is presented as a street-side tamaasa dance, but the appears very synthetic. The compositing seems to be set to mid-east Asian culture but lacks the melodious touch of SJ music.

Chalo Le ChaluN Mein Taaron Mein Rang Rangeele GulzaroN Mein – Asha Bhosle

The stage dance song begins with gorgeous prelude and then goes onto become a fast-paced song.

Basant Bahar (1956)

Shankar Jaikishan’s bag of variety of film subjects for the year 1956 had Basant Bahar as a major challenge since the subject revolved around the life and travails of a n astrologer’s son who is keenly interested in music. As such the film had to have songs based on either classical raags or should have a classical core.

The challenge was to stand up to the unprecedented success of music of Baiju Bawara. Success would have placed them in the first row of the then top class music directors and failure would have branded them as ‘also ran’ club membership. Shankar Jaikishan responded the challenge with as many as nine songs. Of these nine Shailendra scored lyrics for eight songs. Forcefully selecting one for the present episode, all other seven bore the class as well as mass popularity. These were: Ketaki Gulab Champak Ban Phoole (Manna Dey, Bhimsen Joshi); Sur Na Saje Kya GaooN Main and Bhay Bhanjana Vandana Sun Hamari (both, Manna Dey); Nain Mile Chain KahaaN (Manna Dey, Lata Mangeshkar); Badi Der Bhayi and Duniya Na Bhaye (both, Mohammad Rafi) and Ja Ja Ja Ja Re Balamwa (Lata Mangeshkar). Even the only one song by Hasrat Jaipuri, Main Piya Tori Tu Mane Ya Na Mane (Lata Mangeshkar) is not a shade less than the other eight.

Kar Gaya Re Kar Gaya Re Kar Gaya Mujhpe Jadoo Sanwariya – Lata Mangeshkar, Asha Bhosle

The dancing, outspoken, one lady spells out her feelings in the form of the second line of the song, Ye Kya Kiya Re, Gazab Kiya Re, Chor Ko Samaji Main Sadhu, which the other, rerved one, shuns to use is the subtle way to set the tone of two competing ladies for the love of Bharat Bhushan. Shankar Jaikishan has very deftly weaved in the two differing appeals in the form of Asha Bhosle singing a dance sequence and Lata Mangeshkar singing a pensive mood sequence. So has Shailendra, by so aptly choosing the lyrics for each mood.

We will foreclose the other four films – New Delhi, Rajhath, Chori Chori and Patarani – the year 1956 for continuation in the next (year) episode, because of sheer variety of each film and listening load of son=me very popular and some not so popular but meritorious songs.

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’s Songs of Romance – Four-film Associations

Of the 122 films for which Sahir Ludhianvi penned lyrics, in a career spanning from 1948 to 1989, the decades of 50s and 60s account for 84 films – 44 films during 1950 to 1959 and 44 films during 1960 to 1979 – which statistically works out to a huge 69%.  By the turn of ‘60s GenNext music directors were in the process of  taking over the baton from music directors of the earlier generation. The character and importance of Hindi film songs too was undergoing a major shift. In such a transforming scenario of the decade of 1970 to 1979, Sahir Ludhianvi remained active and relevant, by penning songs for 26 films (~21%). His quantitative work during 1980 to 1989 did seem to have thinning out – 8 films (~6+%).

The two leading music directors of GenNext breed, R D Burman and Laxmikant Pyarelal had adapted almost contrasting styles of music direction during the decade of 70s. Our journey of Sahir Ludhianvi’s Romantic songs brings us to Sahir’s association of four films with R D Burman, ,one of these two music directors,  in our present episode.

R D Burman, (June 27, 1939 – January 4, 1994) had yet not joined as assistant to his father in Pyasa (1957), the last film, that Sahir and S D Burman did together. However, RD was always part of SDB team, as an understudy of the father. However, when R D Burman teamed with Sahir Ludhianvi in 1973, R D Burman was firmly in his saddle with his own distinct style of rhythm composition, coupled with highly imaginative orchestration.

Tera Mujhse Hai Naata Koi YuNhi NahiN Dil Lubhata Koi…. Jane Tu Ya Jane Na, Mane Tu Ya Mane Na – Aa Gale Lag Ja (1973) – Kishore Kumar

dhuaN dhuaN tha wo sama
yahaN wahaM jane kahaN
tu aur main kahiN mile the pahle
dekha tujhe to dil ne kaha
jane tu ya jane na

dekho abhi khona nahiN
kabhi juda hona nahiN
abke yuNhi milte rahenge dono
wada raha ye is sham ka
jane tu ya jane na

The song has another version, in the voices of Shushma Shreshtha and Kishore Kumar. Sahir Ludhianvi has altered the lyrics in sync with the new situation. This version had earned acclaim of the critics too.

dekho abhee khona nahiN, kabhee juda hona nahin
ab khel mein yuNhee rahenge ham dono
vada raha yeh is sham kaa
yuNhi nahiN dil lubhata koi

vade gaye batein gaiN, jagi jagi rateein gai
chaha jise mila nahi, to bhi hamein gila nahNi
apna to kya jiye marein chahe kuch ho
tujhko to jeena ras aa gaya
jane too ya jane naa

O Thehro Meri Jaan, Waada Karo NahiN Chhodogi Tum Mera Saath , Jahan Tum Ho, Wahan Main Bhi Hoon…..Chhuo NahiN Dekho Mera Haath, Zaraa Peechhe Rakho Haath, JawaaN Tum Ho JawaaN Main Bhi HuN – Aa Gale Lag Ja (1973) – Kishore Kumar, Lata Mangeshkar

suno meri jaan, haNske mujhe yeh keh do
bheege laboN ki narmi mere liye hai
ho, jawaaN nazar ki masti mere liye hai
hasiN ada ki shokhi mere liye hai
mere liye leke aayi ho yeh saugaat

mere hi peechhe aakhir pade ho tum kyuN
ek main jawaan nahiN hoon, aur bhi to hai
oh, mujhe hi ghere aakhir khade ho tum kyuN
main hi yahaN nahiN hooN aur bhi to hai
jaao jaake le lo jo bhi de de tumhein haath
jahaN sab hai, vahaN main bhi hooN

Kaanp Rahi Main Abhi Jara Tham Jaanam, Baaki Hai Raat Abhi, Haanf Rahi Main, Le LuN Jara Dum Jaanam, Na Kar Ye Baat Abhi  –  Joshila (1973) – Asha Bhosle

tune, o re mere jaani
jo hai ji mein thani
usse daruN main, daruN main …
tu jo, pass mere aaye
jaan meri jaye
aahein bharuN main
th th trak trak th ra
th th trak trak th ra
jane de re, rok jara hath abhi
kaanp rahi main

abhi, gul hai diye sare
pass aa ja pyare
ban ja diwana, diwana
jara, mast main bhi holuN
to ye tujhe boluN
tu hai nishana
th th trak trak th ra
th th trak trak th ra
main bhi huN, tu bhi hai sath abhi
kaanp rahi main

Maine Tujhe Maanga Tujhe Paya Hai, Tu Ne Mujhe Maanga Mujhe Payaa Hai … Aage Hamein Jo Bhi Mile, Mile Na Mile Gila NahiN – Deewar (1975) – Asha Bhosale, Kishore Kumar

chhanw ghani hi nahiN, dhoop kadi bhi, hoti hain rahoN mein
gam ho ke khushiyaN ho sabhi ko humein lena hain bahoN mein
yuN dukhi ho ke jinewale, kya ye tuze pata nahiN
maine tuze manga, tuze paya hai

jhid hain tumhein to lo lab pe na shikawa kabhi bhi layenge
has ke sahengeN jo dard ya gam bhi jahaN se payengein
tuzako jo bura lage, ayesa kabhi kiya nahiN
maine tuze manga, tuze paya hai

Meri Najhar Hai Tujhpe Teri Najhar Hai Mujhpe Isi Liye Rehate HaiN Dono Khoye Huye…. Tere Bina Jiyra Mane Na Lagi Agan Hai Ye Kaisi Haye Jane Na Manwa, Ho Sajna, Ho Tere Bina Jiyra Mane Na – The Burning Train (1980) – Asha Bhosle

tere liye kaliyaN maiN chunti rahuN
aashaaoN ki malayein bunti rahuN
jage mein bhi sapno mein khoi rahuN
sote mein bhi aahat si sunti rahuN
o sajna balma mujhko kya ho gaya
ho januN na januN na, tere bina jiyra mane na
lagi agan hai ye kaisi haye janae na balam ho sajana
meri najhar hai tujhpe teri najar hai mujhpe

….. …… …… …… …… ….

bichhad ke unse na jab dil kisi tarah bahla
sharabkhane ka rukh
sharabkhane ka rukh ekhtiyar hamne kiya
na aanewaloN ka kyuN
na aanewaloN ka kyuN intajhar kyuN hamne kiya
na aanewaloN ka kyuN intajhar kyuN hamne kiya
kisi ke vade pe kyuN, aitbar humne kiya

If R D Burman has maintained his unique style, Sahir Ludhianvi, too, has, retained the basic character of his poetry, in this era of film songs in the era of more predominance of action over the content, resulting in a unique combination of two different styles blending into a creative association.

In our next episode, we will again change the track from ‘70s to the earlier decades, with Sahir Ludhianvi’s five-film association with O P Nayyar.

The Eponymous Principles of Management – The ‘Super Mario’ Effect

One common characteristic of incompetent people, whether infested by Dunning-Kruger Effect, or even competent people, under the influence of the Impostor Syndrome, or not, usually, is that failing several times makes one realize when it can happen again. That fear of failure causes us to never try in the first place.

However, it is conclusively proven that the root cause is actually not the fear, but how we perceive the failure, i.e., generally we would not like to be seen having failed in the eyes of the others. This was borne out in an experiment conducted by Mark Rober, a former NASA engineer and Apple engineer, with more than 1.5 million followers on YT[1]. The experiment runs something like this:

In a simple computer game, one had to get the car across the maze by typical arranging the computer programming code like blocks.

The game had two versions – in one if you fail you do not lose any points and can try again, whereas in the second one, for every failure you lose five points, but you can try again, here, too. 50,000 people played the game. When the results of the two versions were analysed, it revealed a very significant trait of a human being.

From the total participants who chose not lose points, 68% succeeded in solving the puzzle. This group had made 12 attempts, on an average, before they quit. In comparison to this, from those participants who opted for a loss of five pints per failure, on 52% finally solved the puzzle. The average number of attempts that this group made before quitting was 5.

This went on confirm the famous Japanese saying, “Nana Korobi, Ya Oki’[2] – Fall down seven times, stand up eight. In other words, those try more, are likely to succeed more.

It was this experiment that helped Mark Rober to come up with what he calls as The ‘Super Mario’ Effect.[3]

However, before we appraise ourselves with The ‘Super Mario’ Effect, it may be in order to know briefly what this game Super Mario is all about.

This a console video game wherein Mario and Luigi, the two Italian plumbers, try to search Princess Toadstool from the evil King Bowser in the land of Mushroom Kingdom.  The game is based on a series of side-scrolling levels, each filled with enemy evil turtles. The levels take place in different settings, some in dungeons and some above ground, with fights against Bowser impersonators at the end of castle levels. Once the imposter is defeated, a Mushroom Kingdom resident informs Mario or Luigi that the princess is in another castle. The game is completed with the defeat of the true Bowser and the rescue of Princess Toadstool.[4]

If you are defeated in one Super Mario like game, you do not remain defeated, but take on the challenge once again, and again. Generally, you also remember what error you committed in the last game. So, you, consciously or unconsciously, try to avoid that mistake again. This mentality helps you to improve your score with every outing.

Mark Rober, in his TEDx talk, The Super Mario Effect – Tricking Your Brain into Learning More, places this simple revelation as what he calls as ‘life gamification’. In effect this gamification effects helps us to reframe all of the challenges and failures in our life into obstacles we can overcome

In his talk, @7.25 Mark Rober sums his idea of ‘life gamification’ as:

This concept of life gamification is more than just, like, “Have a positive attitude” or “Never give up”, because those sort of imply you’re having to endure against your true desire to quit. I feel like when you frame a challenge or a learning process in the way I’m describing [gamification] you actually want to do it. It feels natural to ignore the failures and try again, in the same way a toddler will want to get up and try and walk again, or in the same way you want to keep playing Super Mario Bros.

This simple concept of learning is named after the game ‘Super Mario’ because, the (kid) players keep playing this difficult game without the fear of losses because of the inherent fun of playing the game. In fact, Mark Rober submits that in order to indeed learn how to beat the failures, one should lose. Every failure helps you to be more committed to the success next time.

Here are nine of the best lines from Mark’s Tedx Talk, which has been viewed by over 5.8 million people, on how we can trick our brains into thinking about all forms of learning in the same way we think about a game.

  1. “The trick to learning more and having more success is finding the right way to frame the learning process.”
  2. “What if you just framed the learning process in such a way that you didn’t concern yourself with failure? How much more successful could you be? How much more could you learn?”
  3. “The focus and obsession is about beating the game, not about how dumb you might look. And as a direct result of that attitude—of learning from but not being focused on the failures—we got really good and we learned a ton in a really short amount of time.”
  4. “This is what I call The Super Mario Effect: Focusing on the princess and not the pits, to stick with a task and learn more.”
  5. “When you frame a challenge or a learning process in the way I’m describing, you actually want to do it. It feels natural to ignore the failures and try again in the same way a toddler will want to get up and try to walk again or in the same way you want to keep playing Super Mario Brothers.”

  1. “I really believe if you reframe the challenges, it will make all the difference. My approach is to sort of trick you into learning something through something cool.”
  2. “By reframing the learning process, the fear of failure is often taken off the table and learning comes more naturally.”
  3. “By shifting your focus to the princess and treating your life’s challenges like video games, you can trick your brain and actually learn more and see more success.”
  4. “Failing and failing and failing and eventually succeeding.”

Mark Rober’s Tedx Talk is an important addition to the growing body of research on why games are such an effective tool for learning and retaining information over the long-term. If you’re interested in delving deeper into this wave of emerging science, you can read the interview with Peter C. Brown, author of the bestselling book “Make It Stick: The Science of Successful Learning.”[5]

[1] Mark Rober’s YT channel

[2] Fall down seven times, get up eight: The power of Japanese resilience

[3] The Super Mario Effect: A Psychological Trick to Help Achieve Success Painlessly

[4] Super Mario Bros

[5] 9 Best Lines From Mark Rober’s SUPER MARIO EFFECT TEDX Talk