Carnival of Blogs on Golden Era of Hindi Film Music – Volume X – April 2022 Edition

Welcome to April 2022 edition of Xth Volume of Carnival of Blogs on Golden Era of Hindi Film Music.

We straight away move on to our section on tributes and celebrations for the month –

When three-time National Award winner Surekha Sikri was insecure about her looks: ‘Used to upset her a lot…’ – On Surekha Sikri’s birth anniversary, we revisit the time when her former co-star Rajit Kapur revealed that the National Award winner had at one point suffered from insecurities about her looks, but eventually overcame it.

Veteran television producer, Gol Maal actor Manju Singh passes away – Manju Singh, was seen in Hrishikesh Mukerji’s Gol Maal, and hasproduced television shows like Show Time, Ek Kahaani, Adhikar, Swaraj.

Panchhi Bawra – Remembering Khursheed Bano , with my choice focussing Koyaliya Kahe Bole RiNurse (1943) / Gyan Dutt – D N Madhok

Music and lyrics: For Anand Bakshi, his life was his museGanesh Vancheeswaran – nothing or nobody – not even life, in spite of many attempts – could dislodge him from the path to his dream. I have selected a song from his first film C.I.D. Girl(1959) :

Badi Buland Meri Bhabhi Ki Pasand – Mohamamd Rafi, Asha Bhosle – Music – Roshan

Manoj Kumar has plotted a four-part series on the history of the Indian film industry, viz. Part I Part II | Part III and Part IV.

Illustration: Pariplab Chakraborty

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 end the series with take up Sahir Ludhianvi’s 19-films association with Ravi.

All the episodes of Sahir Ludhianvi’s sogs of romance with different music directors can be accessed /downloaded as one file by clicking @ Sahir’s songs of romance – Sahir Ludhianvi Centenary.

April 2022 episode of Fading Memories, Unforgettable Songs takes up Hasrat Jaipuri – Beyond Shankar Jaikishan : 1960. In 2017, we have commenced the annual series of Hasrat Jaipuri’s songs with Music Directors Other Than SJ. Till now, we have covered –

The songs from 1950 to 1953 in 2017,

The songs from 1953 to 1955. In 2018

The songs from 1956 -1957 in 2019,

 The songs from 1958 in 2020, and

 The songs from 1959 in 2021.

Dustedoff also writes Ten of my favourite Hasrat Jaipuri Songs. A transcription of these songs, along with a translation, is available here

A Birth Anniversary Tribute to Nazia Hassan (and a few words about singers from Sindh) is a bouquet of seven songs of Nazia Hassan of which I have selected Kabhi Zindagani Jaisa,“ which has a more Calypso kind of flavor.

As BollywooDirectdid not have a recent posting of a memorable photograph, I dug into the archives of the blog and have selected Tribute to the legendary Shankar Singh Raghuvanshi of the famous Shankar Jaikishan duo and one of the emperors of Hindi film music world, on his death anniversary (26/04),  which was posted in 2020.

We now move on to posts on other subjects –

“The Unforgettable Music of HEMANT KUMAR” is a review of the book authored by Manek Premchand, with study of his Bengali repertoire by Antara Nanda Mondal and Sounak Gupta

The लेन – देन (give and take) Songs in the context human relationships which are not commercial but still talk of getting something in return or even returning something when relations are embittered

Five Classics I would Like to Rewrite is the first of a two-part post, that discusses five great films and why, despite strong women characters in them, the all-pervasive male gaze made their endings problematic, if not a complete cop-out. [For  companion post on, click  Ten Hindi films You Mustn’t Watch.] Five More Films – Five More Revisions is second post  in the series. If the films on that first list were all good films, here, most of these were successful films, not necessarily good ones.

Lata Mangeshkar: Ten Solos, Ten Composers – Part 3 do not overlap with the ones on the very first ‘Lata in Ten Moods’ song list.

Songs of EducationThere are diverse views on education in film songs – underlining its importance, sneering at the sheer uselessness of learning historical facts, mocking the lack of logic in grammar, criticizing the educational system for not imparting vocational education, and last but not the least, redefining education. The words to look out for are – पढ़ाई लिखाई and degree.

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

SoY has thrown open its annual extravaganza of Best songs of year with quite an interesting overview Best songs of 1943: And the winners are?

In continuation to our tradition of ending the post with a few songs of Mohammad Rafi that are relevant to the topics covered in the present episode, we will institute a series wherein we continue to listen to Mohammad Rafi and Lata Mangeshkar’s duet with a music director for the first time in a Hindi film, every month for the rest of the 2022,

Lagi Hai Aag Dil Mein, Qismat Ke Sitare Doob Gaye – Hulcal (1951) – Khumar Barabankvi – Mohammad Shafi Niyazi

Aisa Kya Qasoor Kiya Dil Jo Choor Choor Kiya – Nadaan (1951) – P L Santoshi – Chic Chokalte

Mohabbat Ki Bas Itni Dastan Hai – Baradari (1955) – Khumar Baranakvi – Nashaad

Aa Bedardi Baalma, Aa Preet Ka Kare Hisaab – Chhora Chhori (1955) – Kedar Sharma _ Roshan

Kab Tak Uthayein Aur Ye Gham Intezaar Ka – Naqaab (1955) – Prem Dhawan – Pt. Govindram

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.

1966 to 1971 – Those Anecdotal Five Years …. – The First Year – 4 – Direction-Orienting or Direction-Determining….??

Thus far, we have had three quite divergent experiences/ views, ranging from dazzling to frightening or even or confusing, about the first year. However, very rare must be a case who would have given up the pursuit of graduation engineering study for such reasons.

I am on records, in the earlier episode of these memoirs, that I to had joined engineering studies more because I could, rightly or wrongly – I would never now know, foresee that I was not possibly a good material for study of medical sciences.

My admission to the engineering was in Electrical Engineering. In those days, that was considered as the second choice, the first one being mechanical engineering, I believe that reason simply was the possible career prospects. To me, at that point of time, that hardly mattered, I was happy to be in ‘engineering’, whether it was mechanical or electrical or for that matter x or y or z. As it is I had next to no knowledge of what any of these disciplines meant in so far as the studies are concerned or the kind of work that one would take up after the studies. I did have two maternal uncles – husbands of sisters of mother – who were civil engineers, but I had never seen what kind of work they did when at office. Till that phase of my studies, there never was on occasion where I would have sought their guidance, or they saw ant need to offer me some.

Our subjects for the theory part of mechanical engineering were the fundamental like strength of material, applied mechanics, and even Engineering Drawing. On the other hand, on the practical side, at the Mechanical Workshops, there were carpenter’s tools like chisel or (carpenter’s) hacksaw or a half-a- pound hammer or there was a rough file, a smooth file, a or a right-angle for ‘fitting’ or there were lathes or shapers and some kind of cutting-tools to be used along with these machines. Or at The Engineering Drawing Hall, there were pencils with numbers like 2H or 4H (which I was to know later on that these were numbers designating the hardness of the graphite material used in a pencil). We were told what is to be done and if we asked, we were also told what to use and if further asked, we were also told how to use them, however we neither asked nor it was explained as to why this had to be done.

In so far as Electrical Engineering was considered we started learning the theoretical aspect of connecting a resistor, an inductor and/or a capacitor in ‘parallel’ circuit or a ‘series’ circuit.  If we were taught why a resistor was a resistor or an inductor an inductor, I perhaps may not have comprehended that aspect. I even do not now remember whether we did study that aspect even as part of the study of Physics in the earlier years. However, in the electrical engineering lab, I could ‘see’ that a resistor was a bank of incandescent lamps, an inductor was a sleeve wound with wires and I do not even remember what a capacitor actually looked like then. However even bigger surprise was the fact that what was seen juxtaposed in a small circuit diagram was actually strewn across the large floor space of the lab.

Somehow, that realization led my mind to compare electrical engineering with medical science – if one needed creative imagination to envisage what the reality would like when seen on a diagram, the other one required great deal of memory power that can instantly recall names of medicines for so many diseases.

As a result, for the first time, I was now worried – how will I be able to surmount the challenges of learning the further detailed advances of theory of electrical engineering and put that learning into practice with my so weak connecting link of imagination?

Somehow, I had a feeling that I may be more comfortable with mechanical engineering, even with my known poor record of performing art at the Industry or Drawing classes at Virani High School. I had harrowing time to pull out a cotton thread with the help of hand-held spindle or was a t total loss to draw a boy flying a kite (I could not even draw a kite in that picture!).

On almost a parallel track, the importance of another very basic feature of true learning was to get imbibed in my unconscious self.  Immediately after, my admission to the engineering was confirmed, I had gone to my maternal uncle who was Chief Engineer, Western Railway at Baroda (as it was then called) to collect various tools like engineering drawing board and related accessories and a slide rule. These were the instruments which his elder son had used during his study of civil engineering and now I can use them too. During a very informal chat, he told me that in next couple of years when I had studied enough of electrical engineering I should explain to him, in pure layman’s language, how a circuit having a power source and a few resistors was able to light a lamp and how a similar circuit was able to run an electric motor or how a similar circuit made a radio work. He further explained what his query was with the example of his own field f engineering wherein they- the railway engineers- were able to explain to their uneducated labourers some very basic issues of the work which they were expected to perform, without committing any error.

At that time, I had thought that he is simply checking what I had learned. But after the above narrated experience at the electrical Lab and such similar occasions later on, I realised that he was really emphasising the importance of understanding the basics well if you really want to gainfully apply your knowledge to any practical challenge in the real world.

So, unconsciously, I was to gain two insights – one related to the importance of ability to translate your knowledge into the practice, and vice versa,  and the second was developing ability to communicate about your knowledge-based expectations and requirements with the other person who may happen to be from a totally unrelated field or culture and also to conversely convert other person’s expectations and requirements as source of enhancing your knowledge..

Also, unconsciously I was to realise that first was the area where I was inherently weak and second was the area that I should always strengthen in my all pursuits in the future.

There was, thus, a direction set out for the future, but not the aid*s) that can help me chart a path in that direction.

However, I did have a ray that did give me some hope – that I could physically see what I was learning and clearly understand what I was not able to learn.

The lady luck also turned a benign eye towards me. By the end of first year, we had a window of in the form of opting for another branch. I grabbed that chance and opted for mechanical engineering… and even could succeed in securing berth in that discipline.

So, I was now destined to become a mechanical engineer, after all!

My experiences with the practical side of the engineering studies during these five years of studies is a chapter in itself. So is the story of how my career path took a definitive turn – in the last year of engineering. However, I propose to take them in little later.

I plan to take up the subject of Commuting – to and from the college- next.

Carnival of Quality Management Articles and Blogs – Volume X – April 2022 Edition

Welcome to April 2022 edition of the Xth volume of Carnival of Quality Management Articles and Blogs.

The theme for the Xth volume of our Carnival of Quality Management Articles and Blogs is inspired from the editorial of the January 2022 special Issue of Prabuddha Bharata (The Awakened India) – Living a Meaningful Life in a Digital World.

For our present episode, we take up the article, Understanding deep sleep according to Upanishads by Swami Satyamayanand.

Here is the excerpt from the article:

Our sleeping and waking cycles are regulated by a complex sequence of physiological and neurological processes, known in common terms as biological clock and technically as circadian rhythm. In the old days going to sleep was like going into nidra mandir, the inner shrine of sleep. However, the excessive domination of digitalization in the day-to-day activities has upset the circadian rhythms not just for the mankind but also for the innumerable creatures.

Some of the pressing problems caused by the sleep deprivation are:

    1. Negatively affected attention, intelligence, emotions, cognitions and memory.
    2. Depression and anxiety
    3. Gaining excess weight because of upsette4d endocrine system.
    4. Heart disease
    5. Diabetes
    6. Lowered immunity
    7. Increase in autoimmune diseases
    8. Premature aging of skin.

As the darkness starts intensifying, secretion of melatonin starts through the pineal gland, signalling the start of sleep cycle. An average human being undergoes six stages of sleep cycles, each stage of varying time length.


The deep sleep occurs in stage three, known as Delta sleep, or slow-delta waves sleep or deep Non-Rapid Eye Movement (NREM) sleep. This is the phase of the sleep which is restorative. It is very difficult to wakeup someone during this phase of sleep.

Psychologically, our ego is absent during the deep sleep, i.e., we seem to lose our identity during that period. When one one’s identity disappears, one experiences joy. This is also known as Nitya Pralaya, the Daily Dissolution.

More we sleep peacefully; more are the chances that we wake up from the sleep of ignorance and realize our true nature as eternally free.

We will now turn to our regular section -.

We now watch ASQ TV episode on –

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

  • RegretsThe regrets are the emotions of wishing we had made a different decision. …The consequence of the decision may have adversely affected something or had a negative impact in some way. So, we generally have regrets caused by the outcomes of our mistakes…. Regrets exude great quantities of negative energy. We have the opportunity to point that energy in positive, productive directions. … So, we made a mistake last time. We need to learn from it and let our regrets be a reminder to do much better next time. … Regrets present us with compelling truths that are impossible to deny or ignore. We need to utilize those truths to create new achievement and fulfilment.

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

  • From Every Theory in Moderation? – or Firing the Silver Bullet? – The real life is all about hunting for an answer to everything, a real chance to find a sliver bullet. The moot point is what indicators you choose to study the situation for which you hunt for an answer…. at the root of the question—beyond the approach of either moderation or singularity—are the “indicators,” and using them efficiently and correctly. Same is true in quality. As authors Yves Van Nolan and Grace Duffy write, “Some doubt the value of KPIs (key performance indicators) as a tool for business or organization process management. The use of KPIs helps management make correct decisions. However, the way KPIs are used by most organizations is far from perfect.”

I look forward to your views / comments / inputs to further enrich the theme of Living a Meaningful Life in a Digital World.

Note: The images or video clips depicted here above are through courtesy of respective websites who have the copyrights for the respective images /videos.

Fading Memories…. Unforgettable Songs : April 2022

Hasrat Jaipuri – Beyond Shankar Jaikishan : 1960

Hasrat Jaipuri (born: Iqbal Hussain) – B: 15 April 1922 – D: 17 September 1999 – perhaps cannot be equated in the same bracket with Sahir Ludhianvi, because his poetry did not have that bite of revolt, or with either Kaifi Azmi, for his poetry was considered to lack that depth of feelings or even long-standing professional teammate Shailendra, for his poetry was considered to lack that earthy realism. The simplicity of his lyrics, use of catchy colloquial words, expressing the common man’s aspirations and feelings in his own style perhaps did not create any special aura in so far as the way his film songs are generally perceived.

However, if one looks beyond the obvious, it becomes abundantly clear that Hasrat Jaipuri had everything a poet needs to succeed as the lyricist in a highly competitive world of Hindi Film Songs, and that to on his own terms, and on his own, far higher than the run-of-the mill, average standard.

If the proof of Hasrat Jaipuri’s versatility lies in the variety of songs he has written for so many different situations for Shanker Jaikishan as well music directors other than Shaker Jaikishan, proof of his talent lies in coming across so many songs that one probably would not have imagined to have been written by Hasrat Jaipuri, at least if he does not know lyricists’ name

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

The songs from 1950 to 1953 in 2017,

The songs from 1953 to 1955. In 2018

The songs from 1956 -1957 in 2019,

 The songs from 1958 in 2020, and

 The songs from 1959 in 2021.

Presently, we will refresh the memories of Hasrat Jaipuri’s songs for with Music Directors other than Shanker Jaikishan for the year 1960. These music directors are with Khayyam, Dattaram, O P Nayyar and Sardar Mallik. While choosing a song, on one hand, I have tended to lean over the songs that I have heard rarely and, on the other hand, I have learned to choose as many different moods and situations as possible. In the process, I have sidestepped from selecting such evergreen songs as Likhoge Padoge To Aage Badhoge (Mohammad Rafi, Lata Mangeshkar, Sheikh Mukhtar, Honey Irani),  Rang Rangila Sanwara Mohe Mil Gayo (Lata Mangeshkar, chorus) – both from Barood (1960), Music: Khayyam); Dil Dhoondhta Hai Sahare (Mukesh) – Kala Aadmi, 1960 – Music: Dattaram; Chanda Ke Des Mein Rehti Ek Rani (Mukesh) and Baharon Se Poocho Mere Pyar Ho Tum Tumahre Tarane Ham Gaaye Ja Rahein Hai (Mukesh, Suman Kalyanpur)- both from Mera Ghar Mere Bacche ,1960, Music: Sardar Malik—and Hal-e-dil Hamara Jaane Na (Mukesh) and  Ae Dil Dekhe Hai Bade Bade Sangdil (Mukesh, chorus) – both from Shreeman Satyawadi, 1960, Music: Dattaram.

An Interesting Trivia: Each of the film covered in the present episode has more than on film from the same title – except the two, Kala Aadmi and Shreeman Satyavaadi.

Music Director: Khayyam

Bambai Ki Billi

This was the 3rd film with this title. The first film was ‘The Wild Cat of Bombay a.k.a. Bambai ki Billi’ – a 1927 Silent film, which was followed in 1936 by one more. Even more interesting is the fact that bot these films had Sulochana (a.k.a. Ruby Meyers) as the heroine.

Interestingly, the film has three female playback singers, each one having two songs. Each of the two songs of for a given singer have almost similar genre. So little about the film is now known that why such a strategy would have been deployed remains unknown!

Dilbar Tu Hai Mera Pyar Tu Hai Ekraar Kar Lo Jee , Apana Hi Maano Apana Hi Jaano, Ab Pyaar Kar Lo Jee – Geeta Dutt

This is a club song. So is another Geeta Dutt song in the film, Dil Ke Paar Ho Gayi Teri Ek Najhar, composed on fast waltz tune.

Aside Trivia: Khayyam had used waltz rhythm to a very telling effect in AasmaaN Par Hai Khuda Aur JameeN Par Ham (Phir Subah Hogi, 1958)

Zalim Zulm Na Kar Abhi Zindagi Hai Kam – Asha Bhosle

This again a fast-paced club dance song, So is another Asha Bhosle song – Meri Adayein Bijli Girayein, Jisko Bhi Chaahe Uslko Maare.

Main Tiharey Nazar Bhar Dekh Lo – Lata Mangeshkar

This is more likely to a be mujra song. Another Lata Mangeshkar song – Main BaagoN Ki Morni Jab NaachooN Taa Thaiya – also seems to have been placed in a similar situation but molded on a Punjabi folk dance tune.


Three more films have been made on the same titke, in 1976 (Music: S D Burman) , 1996 (which had small tail, bA Love Story, tagged to it and in 1998.

Musibat Ik Khilaunaa Hai Teri Maasum RaahoN Mein Guzar Jaa HaaN Guzar Jaa, Khelataa Dhaarati Ki Baanho Mein….  Chala Chal Ghar Hai Andhera Tera Bhagwaan Sahaara  – Mohammad Rafi

A classic, background, inspirational genre, song, duly decorated with Saakhi, the initial two-line couplet, which is signature style of Hasrat Jaipuri.

Aise Munh Na Chipao … Mar Jayenge Yunhi Hum… Tum Jaise Aadmi Ko Tadapayenge YuNhi Hum – Mohamad Rafi, Lata Mangeshkar

This is so much a Khayyam composition that by the time I reached the first interlude, Itne Qarib Aake Bhi Na Jaane Kis Liye (Shagoon ,1964) had started playing at the back of my mind.

Atakan Batkan Dahi Chatokan Raja Gaye Dilli, Saat Katori Laaye, Ek Katori Tut Gayi, Munna Ka Dil Lut Gayi – Honey Irani, Lata Mangeshkar

For a child -placating song, the composition seems to be a little difficult, but that is fairly compensated by very easy lyrics by Hasrat Jaipuri.

Music Director: Dattaram

Dattaram may not have been evlove his own distinct style by now, but he did used to get good assignments and could create songs that caught attention of the common cine-goers.

Kala Aadmi

Aankh Mila Kar Vaar KaruNgi Roko, Dil Ko Bachana Bachana Dekho – Suman Kalyanpur

Dattaram has, rather unconventionally, used Suman Kalyanpur for aa club song.

Babu Insurance Kara Lo … Jitna Paisa Daloge yum Usse Doguna Paaoge  – Mohamamd Rafi

To write meaningful lyrics a for a full-length song, which fits to the so many different characters a comedian would play in a Hindi film ought to be formidable challenge for a lyricist.

If the song would have been made during the present times, this one would certainly have attracted multitude of commercial sponsor offers for the life insurance business companies.

Mera To Dil Dil Gabraye Meri To Jaan Jaan Jaan Chali Jaye, Jaye Re Jaye Re Jaye Re – Mohammad Rafi, Lata Mangeshkar

We have here a judicious mix of a ‘club’ song and a ‘Johnny Walker’ song.

Music Director: O P Nayyar


Internationally famed dancer Uday Shankar had made Kapana in 1948, for which Vishnudas Sirali had composed the music.

The present version has as many as 10 songs, Qamar Jalalabadi and Raja Mahendi  Ali Kahn penning four each and Jan Nissar Akhtar and Hasrat Jaipuri penning one each.

O Ji Savan Mein Hoon Bekarar More Ghunghat Pe Jhanke Bahaar Sajanwa Se Keh Dijo – Asha Bhosle

The song apparently is credit title song but watching the video clip hardly gives any clue how the song – its lyrics or picturization – can be so fitted into that slot, except that the viewer gets barely introduced to the character of Padmini, that too barely informing us that she is a Kashmiri native beauty and can perform dance!

Music Director: Sardar Malik

Incidentally, Sardar Malik’s wife Bilquis, was sister of Hasrat Jaipuri. However, Sardar Malik and Hasrat Jaipuri have teamed up for only four films. Interestingly, Hasrat Jaipuri had teamed up with Sardar Malik’s son, Anu Malik, for some six or seven films.

Mera Ghar Mere Bacche

There is one more film on the same title, in 1985, for which Laxmikant Pyarela had composed music.

The present film was produced by Sohrab Modi, who is generally associated with historical, period genre films, under his Minerva Movietone banner.

Zulm Bhi Karte Hain Aur Kahate Hai Ke Fariyad Na Kar, Ek Bulbul Par O Mere Saiyaad Sitam Na Kar – Mohammad Rafi, Suman Kalyanpur

We have here a very special type of Rafi-Suman duet. As I got to listen to it for the first time now, I did like the song. Apparently, it lacks that something which could have made the song popular enough with other Rafi-Suman duets of that time.

Galiyan Hai Gulzar Yaar Aaya Karo. Aaya Karo Jaaya aKaro Dil Na Dukhaya Karo …. Tumse Hai Humein Pyaar Yaar Aaya Karo – Asha Bhosle

No wonder the film did so poorly on the box office if even what is supposed to be the most attention-catching feature – an ‘item’ dance song – is so poorly conceived.

Dil Mera Naache Tunak-Tunak …. Dil Ki Umangein Jumake Gaayein, Aaj Khushi Bhi Saath Kyaa Baat Hai …..  – Mohammad Rafi, Suman Kalyanpur, Seeta Agarwal

Even though we have just an audio clip here, it does not require very special knowledge of the songs in Hindi films to make out that this a party song, celebrating some or other occasion for the children.

Peena Haram Hai Na Pilanaa Haraam Hai, Pine Ke Hosh Mein Aana Haraam Hai – Asha Bhosle

Here is another ‘rare (!)’ situation song – a ‘drunkard ‘genre mixed with ‘roothana- manana genre, with the one major variation that it is the heroine who is on the ‘placating’ side, and that too in a drunken- probably fake – state!

Wohi Udi Udi Ghatayein Ek Tum Nahin To Kuchh Nahin… Wohi Bheegi Bheegi Hawaein Hai, Ek Tum Nahin To Kuchh Nahin – Mukesh

We have a here a good-to-listen, but difficult-to-hum pathos mood composition.

As we rest here the present episode, the versatility of Hasrat Jaipuri as a lyricist remains undeniably validated. We will continue to explore more shades of his lyrical prowess in the next decade of 60s in the future episodes.

The Eponymous Principles of Management : The Murphy’s Law and Its Variants – The Peter’s Law(s) – The Core at the ‘Persistent and Passionate’ Problem-solving Mind

Peter’s Laws are adages that came in as good help to Peter Diamandis[1], when he was covered with mundane difficulties.

The creator of Peter’s Laws, Peter Diamandis is successful orator while also being a well-known entrepreneur and a capable author. Among several of his known and successful ventures is X Prize Foundation which offers attractive prize money for innovative solutions in the fields of space flights, less expensive, mobile medical devices, cleaning of oil spills, etc. He is also chairman of Singularity University which specializes in academic programs for rapidly developing technologies. Peter Diamandis is also credited with the best-selling The Exponential Mindset Trilogy – Abundance: The Future Is Better Than You Think[2], Bold: How to Go Big, Create Wealth, and Impact the World[3]. and The Future is Faster Than You Think[4]

We will briefly explore the origin of the Peter’s Law and the commentary on some other laws with the help of Peter Diamandis’ blogpost How You Can Use Peter’s Laws

What is now fondly known as Peter’s Law – “If anything can go wrong, fix it!’ – came into being more in the reactive mood of To Hell with Murphy’s Law! From thereon it was “simply a matter of noticing what” he believed in. “Creating, borrowing, modifying those core “have served him very well and made Peter Diamandis a firm believer in ‘The best way to predict future is to create it yourself’.  At a very fundamental level, this is exactly what it means to be an entrepreneur. Have a vision for tomorrow and pull yourself toward it.

Like all other human being, being hardwired to face challenges has also made Peter Diamandis an ardent follower of the adage, that in order to stay alive we have to become alive. That can be made a reality if you practice ‘When faced without a challenge, create one’. He well supports this hypothesis with a study published in British Medical Journal that those who retired at 65 lived more than those who retired at 55. Peter Diamandis infers that the state of optimal human performance shows up only outside of our comfort zone, when we are pushing limits and using our skills to the utmost.

It is also almost universally observed that we are also, generally, trained in making one choice between the two options. However, there are enough illustrations like Steve Jobs or Lan Musk or Richard Bronson, to show that by working with more than choice if implemented optimally and with due care and diligence, can help accelerate the rate of growth and breadth of your network of people as well as that of the resources such that sum parts can well exceed the whole. Thus, it makes sense When given a choice- take both.

The more you know about anything more yo become aware of the related pros and cons.  As you tend to reach the level of expertise on that subject, you tend to see that thing in so greater details that you tend to believe that matter is so complex that it is beyond the reach of any average person. So when you explain that average person, or even another expert, you tend to emphasise the cons, probably on the assumption that by emphasizing the negatives you make it easier for the other person to understand the potential pitfalls of doing that thing. As result, that common person forms an opinion that an expert is someone who can tell you how something cannot be done.

Henry Ford has a very interesting take on ‘an expert’. When asked about his employees, he had, so tellingly, said –

“None of our men are ‘experts.’ We have most unfortunately found it necessary to get rid of a man as soon as he thinks himself an expert because no one ever considers himself expert if he really knows his job. A man who knows a job sees so much more to be done than he has done, that he is always pressing forward and never gives up an instant of thought to how good and how efficient he is. Thinking always ahead, thinking always of trying to do more, brings a state of mind in which nothing is impossible. The moment one gets into the ‘expert’ state of mind a great number of things become impossible.”

Whether among animals or among human beings, any one who happens to be (even slightly) different than the group, that one is usually gets ostracized, and even likely to be subjected to the treatment due to something that is ridiculous. As Burt Rutan who went onto win the $10 million prise money, after eight years from the first rejection, for his brilliant SpaceShipOne project, says, “The day before something is a breakthrough, it’s a crazy idea.”, In more common, colloquial, words:

On a similar note, here is the (final) list of 31 Peter’s Laws:

Peter’s Laws: The Creed of the Persistent and Passionate mind

(circa July 2011)

  1. If anything can go wrong, Fix It!!… to hell with Murphy!
  2. When given a choice…  take both!!
  3. Multiple projects lead to multiple successes.
  4. Start at the top then work your way up.
  5. Do it by the book … but be the author!
  6. When forced to compromise, ask for more.
  7. If it’s worth doing, it’s got to be done right now.
  8. If you can’t win, change the rules.
  9. If you can’t change the rules, then ignore them.
  10. Perfection is not optional.
  11. When faced without a challenge, make one.
  12. “No” simply means begin again at one level higher.
  13. Don’t walk when you can run.
  14. Bureaucracy is a challenge to be conquered with a righteous attitude, a tolerance for stupidity, and a bulldozer when necessary.
  15. When in doubt: THINK!
  16. Patience is a virtue, but persistence to the point of success is a blessing.
  17. The squeaky wheel gets replaced.
  18. The faster you move, the slower time passes, the longer you live.
  19. The best way to predict the future is to create it yourself!
  20. The ratio of something to nothing is infinite.
  21. You get what you incentivize.
  22. If you think it is impossible, then it is… for you.
  23. An expert is someone who can tell you exactly how it can’t be done.
  24. The day before something is a breakthrough it’s a crazy idea.
  25. If it were easy it would have been done already.
  26. Without a target you’ll miss it every time.
  27. Bullshit walks, hardware talks.
  28. A crisis is a terrible thing to waste.
  29. The world’s most precious resource is the passionate and committed human mind.
  30. Fail early, fail often!
  31. If you can’t measure it, you can’t improve it.

Copyright, 1986, 2009, Peter H. Diamandis, All Rights Reserved.  Laws # 14 & #18 by Todd B. Hawley.  #19 Adopted from Alan Kay.

[1] My Name is Peter Diamandis

[2] Peter Diamandis & Steven Kotler on Abundance: The Future is Better Than You Think!

[3] How to Think Bigger: Thinking Big and Bold | Peter Diamandis

[4] Peter H. Diamandis: The Future is Faster Than You Think

Sahir’s Songs of Romance : 19 Films Association with Ravi

Sahir Ludhianvi was one of those rare poets whodi di not mold his poetry to the dictates of the Hindi film music medium. In fact the medium had to come to the terms of his poetry.  As such, whether it was his songs of rebellion, or sheer comedy, a qawwali or a mujra or a song of romance, he would rather use an Urdu word as easily as any other would have used a Hindustani word. It was also not necessary that the word he would use would be an easy one, at least for a common listener to understand. But if that was word that only could convey his feeling, he would use that word, with all disregards for the pressures or traditions

Sahir Ludhianvi’s 19 films association with Ravi spanned almost a decade and half, and as such did span over a very wide range of situations and film subjects. It is perhaps this aspect has this relationship a very special chapter not only in the oeuvre of either Sahir or Ravi but also in the annals of Hindi film music.

Ravi (Shankar Shrama) – 3 March 1926 | 7 March 2012 – was as unassuming as simple were his compositions.  He developed a very lasting relationship with almost everyone he had occasion to be associated professionally. For example, he went onto compose music for Devendra Goel’s banner right from his maiden film Vachan (1955) to Aadmi Sadak Ka (1997); with almost all production houses of South who were into making of Hindi films, with several hits like Grihasthi, Nazarana, Gharana, Khandan etc. One such major, long, and very fruitful relationship was with B R Films where Sahir Ludhianvi was also strong link of the bond. Ravi has had as many as 21 films with the lyricist Rajendra Krishna, 15 films with Shakil Badayuni besides 19 films with Sahir Ludhianvi.

Because of the simplicity of his compositions, there was school of critics who would not place Ravi at par with some of the other major top-ranking music directors of that time. But the fact remains that Mohammad Rafi got his first ever Filmfare award for Ravi’s Chaudahavi Ka Chand Ho, Mahendra Kapoor for Chalo Ek Bar Phir Se Ajanabi BanJaaye Ham Dono, to be followed with Neele Gaagan Ke Tale Dharati Ka Pyar Pale. Even female stalwart playback singers, Lata Mangeshkar also has one Filmfare for Ravi’s Tum Hi Mere Mandir, Tum Ji Meri Puja and Asha Bhosle fro GariboN Ki Suno. Even an experiment like Salama Agha also had one for Ravi’s Dil Ke ArmaaN AansooN Mein Dhal Gaye. That is more than enough of proof of popular appeal of Ravi’s compositions.

For our present episode, we have remained away from Sahir Ludianvi – Ravi combination’s very popular songs. As such, all the songs of BR Films very successful films, Gumrah (1963), Waqt (1965) and Haaraz (1967) have been filtered out here. We have also left our the popular songs of BR Films’ Aadmi Aur Insaan (1969)  and Dhundh (1973).. Also filtered out, on the same criterion, are the songs from Kajal (1965) and Neel Kamal )1069).

It also needs to be noted that Amaanat (1977) –  Dur Rah Kar Karo Na Baat Qarib Aa Jao and  Chingari )1989), for some or other external factors, were released much later then the actual period of their production

On this note, let us take up Sahir Ludhianvi’s Romantic songs from his 19 films association with Ravi –

Itni Hasin Itni JawaN Eaat Kya Karein, Jage Hai Kuchh Ajib Se Jazbat Kya Karein – Aaj Aur Kal (1963) – Mohammad Rafi

pedoN ke bajoomein lachakati hai chandani
bechain ho rahe hai khayalaat kya karein

sanso mein ghul rahi hai kisi sans ki mahak
….    …..  ……        …….  ……………
daman ko chhu raha hai koi hath kya karein
………  … ……….     . ………..

shayad tumhare aane se ye bhed khul sake
hairan hai ki aaj nai bat kya kare

Rangin Fiza hai, …. ….. ….  Aaja Ke Mera Pyar Tujhe Dhundh Raha Hai …. Ye Kiski Sadaa Hai, Ye Kaun Mujhe Apni Taraf KhiNch Raha Hai ….  – Bahu Beti (1965) – Mahendra Kapoor, Asha Bhosle

teri bhi hai ye meri hai, aawaz nahiN hai
……  …. …. ……       ….. aye jan-e-tamanna
ye koi raz nahi hai
tu mujhse juda hoke bhi
kab mujhse juda hai
dil dil se mila hai

tum mujhko bulate ho to tala nahiN jata
tum mujhko bulate ho to tala nahiN jata
apne ko kisi tarah sambhala nahiN jata
julfo ka mujhse hosh na aachal ka pata hai
ye kaisa nasha hai

dunia ko bhula kar meri bahoN mein chali aa
…. ……. …… ….. …… ………
jajbat ki befikar panaho mein chali aa
kahte haiN jise ishq wo jine ki ada hai
achha na bura hai

Milti Hai Zindagi Mein Mohabbat Kabhi-Kabhi, Hoti Hai DilbaroN Ki Inaayat Kabhi-Kabhi – Aakhein (1968) – Lata Mangeshkar

sharma ke munh na pher, nazar ke sawaal par
………… ………. ….. …………
laati hai aise mod pe, kismat kabhi-kabhi
…. ….         …    …… ……… …

khulte nahi hai roz dariche bahar ke
…     …….  …. ……….. ……..
aati hai jaaneman ye qayamat kabhi-kabhi

tanha na kat sakeinge javani ke raste
….      …..         …..   . . …….. .
pesh aayegi kisi ki zarurat kabhi-kabhi
… … …       …  … … ..
phir kho na jaaye ham kahiN duniya ki bhid mein
….  …        …. ….. ……..
milti hai paas aane ki mohalat kabhi-kabhi
…..   ….  …         …..    . … ..

Sama Ye Rut Ye Nazare, Dil Mera Machalne Laga, Jaan-e-wafa, Aye Dilruba, Aise Mein Aa Meri BaahoN mein Aa, Rok Le NigahoN Ke Ishare, Tan Mera Pighalne Laga, Main HuN Teri, Tu Hai Mera, Aa Mere Dil Ki PanahoN Mein Aa – Do Kaliyaan (1968) – Mohammad Rafi, Lata Mangeshkar

shame pe mere, gira de julfe
aankho pe mere, bichha de julfe
aisa jaga de pyar ka jaadu
sare jahan pe chhaye nasha
rok le nigaho
ke ishare, tan mera pighalne laga

Ijaazat Ho To Puchhe Aap Hi Se Ke Hum Milkar Bhi Hai Kyun Ajnabi Se Mile Hum Tum Aise YuhiN Naa Samajho Koi Milta Nahi YuNhi Kisi Se  – Aadmi Aur Insaan (1969) – Asha Bhosle, Mahendra Kapoor

hazaaroN shaukh kurbaaN us par
jo tumne keh diya hai saadgi se
ajab sa lag raha hai tumse kahkar
ye baatein hum naa kahte the kisi se

meri manzil ki raahine jagmaga do
mohabbat ki sunheri roshani se
safar ki intaha hone naa paaye
sada ka sath lele zindagi se

Jane KyuN Bar Bar Bar Mera Dil Mujhe Kahe Us Se Mil – Paisa Yaa Pyar (1969) – Asha Bhosle

jisse milte nahiN bilkul hi khayalat tere
kyu pareshan hai uske liye zazbat tere
jab bhi wo mujhse mila usne sataya mujhe
mujhko bura to laga phir bhi wo bhaya mujhe

jo tere husn ki tauhin kare us se na mil
jo kisi dusri saztaz pe mare us se na mil
mujhko to jo bhi dekhe raho me aahe bhare
mai kyu kisi pe maru mujhpe zamana mare

ho sake to koi sangin saza do usko
tere kabil nahi wo dil se bhula de usko
usko bhulau kaise itna bata do mujhko
uska irada kya hai kuch to bata do mujhe

Taaro Ki ChhaoN Mein SapnoN Ke Gaon Meon PariyoM Ke Sang Tumhein Jana Hai. So Jao Chain Se Is Kali Rain Se Aage Jo Des Hai Suhana Hai  – Samaj Ko Badal Dalo  (1970) – Mohammad Rafi, Lata Mangeshkar

gagan tale pawan chale thandi suhani
dhimi dhimi laye mein kahe man ki kahani
aayi rey aayi rey aayi hindol le ke nindiya ki rani
so jao, so jao, so jao
taaro ki chhao me sapno ke gaon me
pariyo ke sang tumhe jana hai

bhaNve teri pita jaisi maa jaisi ankhiyaN
gajab kare jiya hare dhunde kankiya
aayi rey aayi rey
aayi hai tumhe lene phulo ki sakhiya
so jao, so jao, so jao
taaroN ki chhaoN mein sapnoN ke gaon mein
pariyo ke sang tumhein jana hai

khili rahein saji rahein yuN hi ye kyari
hasi khushi jiyo sabhi maa tum pe vari
….. ….. …..  …….. ….
…..  … …. ……….. …….. …
aayi rey, aayi rey
aayi rey chanda ke rath ki sawari

Is Dharti Is Khule Gagan Ka Kya Kahna Madmati Madbhari Pawan Ka Kya Kahana, phuloN Bhare Ye Gulsan Hare Magan Hua Tan Man Kya Kahna – Ganaga Tera Paani Amrit  (1971) – Mohammad Rafi, Lata Mangeshkar

gawalanoN ka roop ghunghatoN ki aad mein
panchhiyoN ka pyar bairiyoN ki jaad mein
basuri ki dhun khetiyoN ke par se
panghatoN ki nar dole is pukar se
dhadkan badhe nasha sa chade
thirak uthe gagan kya kahna

chappuoN ke rag kah rahe hai pyar se
…… …. …. … … …

jud gaye hai aaj kastiyoN ke tar se
ja raha hai jane kaun kisi ki chah mein
bas raha hai kaon jane kis nigah mein

bas gayi hai nigahein jab kahi tum aaye ho
kya meri pukar sunke bhi paraye ho
…. ….. ….. ….. ….. … …….. …
…… ……….. ….. …… …….. . …
itna intzar roj kar na paungi
rok lungi aaj ya main sath jauNgi
duri ghati to ye duvidha hate to
fir mere sajan kya kahna

Jubna Se Chunariya Khisak Gayi Re, Dunia Ki Najariya Bahak Gayi Re – Dhundh (1973) – Asha Bhosle, Manna Dey

najuk tan or uspe jawani
haye patli kamariyaN
haye re haye re patli kamariyaN
lachak gayi re

balkhati julfein jo dunia ne dekhi
dal fasi gale mein latak gayi re

gusse mein inke ye tewar to dekho
jaise badal mein bijli
haye re haye jaise badal mein bijli
kadak gayi re

Meri Chahat Rahegi HameshaN JawaN, Jism Dhalne Se Jajhbat Dhalte Nahi Maut Aane Se Bhi Pyar Marta NahiN, Dam Nikalne Se ArmaNn Nikalte NahiN – Mehmaan (1975) – Mohammad Rafi

lakh toofan ho hum na ghabrayenge
tu na aayegi milne to hum aayenge
jaan par khelne se jhijhakte hai jo
wo mohabbat ki raho pe chalte nahi
jaan par khelne se jhijhakte hai jo
wo mohabbat ki raho pe chalte nahi

humne choda na chodenge daman tera
jisko apna liya usko apna liya
ho sake to hame umar bhar aazma
mausmo ki tarah hum badalte nahi

tu mile na mile par salamat rahe
dur hi ki sahi tujhse nissbat rahe
zindagi bhar teri mujhko hasrat rahe
hasrato ke bina khwab palte nahi

Cycle Pe HasinoN Ki Toli Dekhi To … Dekhi To Dekhi To Tabiyat YuN Boli, Aye Kash Ke Hum Cycle Hote Tn HathoN mein Handle Hote… Pairo Ke Tale PaiNdal Hote Dabti Uthi SaiNdal Hote  Bhar Jati MuradoN Ki Jholi – Amaanat (1975) – Mohammad Rafi, Asha Bhosle, Manna Dey, Chorus

cycle pe jawano ki toli dekhi to
dekhi to dekhi to tabiyat yuN boli
ae kash ke hum sendal hote sode ki bhari botal hote
tab thik se tum dakhal hote sab jhagde abhi settle hote
pachta abe ke niyat kyuN doli pachta abe ke niyat kyu doli

sadko pe pared ye fashion ki ek shakal hai invitation ki
jat kuch bhi banao nation ki tum jaan ho us genration ki
jo dil pe chalati hai goli jo dil pe chalati hai goli

kya bat hai education ki halat hai ye civilization ki
kuch sharam karo position ki yu humse jo conversation ki
kar waoge khopadiya kholi kar waoge khopadiya kholi

kuchh naaz ada ke rule bane romaance ke kuchh school bane
tapori hain hum kyuN tool bane dil de ke tumHein kyun fool bane
is neend humein samjho goli is neend humein samjho goli

Dil Mein Kisi Ke Pyaar Kaa Jaltaa Huaa Deeya,  Duniyaa Ki AandhiyoN Se Bhalaa Ye Bujhegaa Kya – Ek Mahal Ho SapnoN Ka (1975) – Kishore Kumar

saanso ki aanch paa ke bhadakta rahega ye
sine mein dil ke saath dhadakta rahega ye

The Lata Mangeshkar version:

wo naqsh kya hua jo mitae mit gaya
wo dard kyaa huaa jo dabaaye se dab gayaa
dil mein kisi ke pyaar kaa jaltaa huaa deeya

ye jindagi bhi kyaa hain amaanat unhi ki hain
ye shaayari bhi kyaa hain inaayat unhi ki hain
inaayat unhi ki hain
ab wo karam kare ke sitam unka faislaa
hum ne to dil mein pyaar kaa shola jagaa liyaa

Har Vaqt Tere Husn Ka Hota Hai Samaa Aur …  Har Waqt Mujhe Chahiye Andaj-e- BayaN Aur – Chingaari (1989) – Mahendra Kapoor

phulo sa kabhi naram hai sholo sa kabhi garam
mastana ada mein kabhi shokhi hai kabhi sharam
har subah guma aur hai har raat guma aur
har waqt tere husn ka hota hai samaa aur

bharne nahiN pati tere jalvo se nigahein
thakne nahiN pati tujhe lipta ke ye baahein
chhu lene se hota hai tera jism jawaan aur

+                                    +                                   +

Basically, Sahir Ludhianvi was rebel at the heart. But his poetry had several other dimensions at his core, than the rebellion. We have closely looked at one such dimension of romance, from several different perspectives, during our present memoir. And yet –

ko_ii bhii us kaa raaz na jaane
ek haqeeqat laaKh fasaane
ek hii jalawaa shaam sawere
bhes badal kar saamane aaye

All the episodes of Sahir Ludhianvi’s sogs of romance with different music directors can be accessed /downloaded as one file by clicking @ Sahir’s songs of romance – Sahir Ludhianvi Centenary.