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

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

We pay our homages to the film personalities we lost this month.

‘Leke Pehla Pehla Pyar’ dancer Sheila Vaz was ’50s icon but Bollywood forgot to give credit – Tina Das – From ‘Ramaiya Vastavaiya’ (Shree 420, 1955) upto Ghar Aaja Ghir Aaye Badra from Chhote Nawab (1961) Sheila Vaz, who passed away on 29th June, knew how to charm audiences with performance. Today, YouTubers agree with it.

Sheela Vaz from Shree 420 (1955) | YouTube

Beete Hue Din pays tribute in the form of “Leke Pehla Pehla Pyar Bhar Ke Ankhon Me Khumar – Sheela Vaz, which is supplemented by a YT video Sheela Vaz aka Rama Lakhanpal

Ten of my favourite Sheila Vaz songs is a tribute in which she’s lip-synced to the song, from Hindi films

Bhupinder Singh: A limited-edition, classy artistBalaji Vittal  – Celebrated for his singing talent, he was an equally accomplished guitarist. (Ref: How Bhupinder Singh blends the ghazal with the guitarManish Gaekwad) – Bhupinder passed away on 18 July 2022 at the age of 82.

Courtesy Pavan Jha/Twitter

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

Mehfil celebrates 5th Anniversary! By continuing the series, the year-wise review of Lata Mangeshkar’s career, on Lata Mangeshkar. Presently, covered are ‘Semi Classical songs by Lata Mangeshkar’

Dilip Kumar: How the ‘first Khan’ gracefully transitioned into his second innings, created a blueprint for star-actorsSampada Sharma – On Dilip Kumar’s death anniversary(8 July), here’s looking back at how the ‘first Khan of Bollywood’ created a blueprint for success with his second innings.

Dilip Kumar and technology: ‘What exactly is this Internet?’ –  Faisal Farooqui – An excerpt from a memoir by Faisal Farooqui, the founder of the website

Satyadev Dubey transformed Indian theatre – but many forget his maverick film projects – Nandini Ramnath – Apart from plays, he had two short films – Aparichay ke Vindhachal (1965) and Tongue In Cheek (1968), the full-length feature ‘Shantata! Court Chaue Aahe’ and an unfinished production to his credit.

Duets (+) of Mukesh: With Male Singers are as a tribute to Mukesh on his 99th Birth Anniversary (b. July 22, 1923 – d. August 27, 1976)

Guru Dutt believed he was making ‘insubstantial’ cinema before Pyaasa, the film released him from ‘solitary confinement’Sampada Sharma  – On Guru Dutt’s 97th birth anniversary, here’s revisiting the time when Dutt felt like he had been let out of prison while making Pyaasa.

Vasant Desai Part 2 (post-1950s): His male singers is a follow-up post to Vasant Desai Part 1 pertaining to the vintage years (1930s and 40s),

Jana Pehchana Sa Ajanabee – Remembering lyricist, Asad Bhopali on his 101st Birthday on 10th July

Manoj Kumar understood the ‘soft power’ of patriotism in movies, how Bharat Kumar came into beingSampada Sharma  – On Manoj Kumar’s 85th birthday, here’s recalling how he became known as Bharat Kumar in Hindi cinema.

July 2022 episode of Fading Memories, Unforgettable Songs takes up Mohammad Rafi’s First Duet Song With The Music Director for the Second Five-Year Period: 1949 -1953. We had covered 1st Five-Year Period of 1944 to 1948 in the year 2021.

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

Stardust Memories – On the marriage anniversary of the legendary actors Amitabh Bachchan and Jaya Bachchan, Silhouette presents this beautifully penned piece by Taroon Coomar Bhaduri, Jaya Bahduri’s father. The article was published in the Illustrated Weekly of India, March 5, 1989.

Also to read: Jaya Bachchan: A Slot-less Act

We now move on to posts on other subjects –

Deepti Naval on her memoir: ‘It’s like watching a movie, where you’re with me’Nandini Ramnath – The acclaimed actor returns to her first love, writing, with ‘A Country Called Childhood’. In her memoir, A Country Called Childhood – A Memoir, Deepti Naval, Aleph Book Company, the acclaimed actor retraces her earliest film-watching experiences.

I’ll become a nun’— Balraj Sahni’s autograph made Deepti Naval want to be an actor

In ‘A Country Called Childhood’, Deepti Naval talks about her interest in cinema, and experiences that pushed her to be an actress.

Balraj Sahni Autograph| A Country Called Childhood

Vintage era music relived in films to chronicle those movies/songs in which the songs of the vintage era are remembered sometimes as a tribute and sometimes are very craftily woven into the situation of the film as a parody.

‘The best student of our school’: KA Abbas on casting Amitabh Bachchan in ‘Saat Hindustani’K A Abbas – An excerpt from ‘Sone Chandi Ke Buth: Writings on Cinema’, by KA Abbas. Translated from the Urdu and edited by Syeda Hameed and Sukhpreet Kahlon.

In praise of a woman’s beauty is a sort of mirror image of Songs of Narcissists

Recent Musical Excursions Into Pakistan: Coke Studio; Sindhi and Punjabi Divas; Fascinating Fusion – Here is a stunning Zeb and Haniya video for the song “Dadra,”

The Mindful Songs are the songs where मन figures more in the sense of the mind.

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

We have inched forward to Male Solo Songs [2] in Micro View of  1943 to conclude with MY TOP Male Songs..

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 –

O Gori Aankhon Mein Kajra,. Kahan Chali Kahan Chali – Kichak Vadha (1959) – Bharat Vyas – Master Krishna Rao

Teri AankhoN Ka Rang Nirala Hai – Barood (1960) –  Hasrat Jaipuri – Khayyam

Khwab Mein Kahan Miloge …. Kis Liye Ji – Bindiya (1960_ Rajinder Krishna – Iqbal Quereshi

Mera To Dil Dil Ghabraaye – Kala Aadmi (196) – Hasrat Jaipuri- Dattaram

Jhun Jhun Paayal Jhanke O Raja More Man Ke – Maya Machhindra (1960) – Keshab – Ramlal Heera Panna

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.

Duets(+) of Mukesh: With Male Singers

A tribute to Mukesh on his 99th Birth Anniversary (b. July 22, 1923 – d.  August 27, 1976)

Films in India, by and large, revolve around different themes of love between a boy and a girl. As such, songs come in very handy as a very strong and direct, easy-to-comprehend, medium to express the different shades of feelings of love. Traditionally, the solo songs occupied the space of prime importance. During vintage era this was more a necessity because the singers were generally actors themselves. Moreover, the recording technology also was in the development stage, which made recording a duet song with two vastly different musical qualities of pitch and timbre of a male and female voice was quite difficult in comparison to the recording of a solo song.

With the playback singers taking over the onus of singing, and advances in the filmmaking and song-recording technologies, the duets started gaining more importance in the film production considerations. Music directors also started taking this genre seriously and started creating duets that stood, almost, at par with solo songs.

Essentially, the duets are categorised as male-female duets, male-male duets, and female-female duets. As can be expected, the bulk of the duets in the films remain male-female duets. Male-male and female-female duets normally remained as duet songs that friends would sing together. However, the traditions of patriotic songs, devotional songs, or dance songs in the greater arena of music also inspired similar male-male and /or female-female songs. The subjects used to vary from manifestation of friendly affection – either positive or negative (jealousy), celebrating the festivities together, sharing of mutual concerns or one teasing/advising/counselling the other. As such, once the choice of subjects and practices of narrating the story evolved over 40s, male-male duets genre also started getting prominence. In the 60s and onwards, with more films being produced with more than one hero, the male-male genre further got more weightage. However, essentially, the core subjects have not changed as materially as that of solos.

In so far as Hindi film songs are concerned, duets of Mukesh constitute roughly 20 % share of his total film songs. Mukesh Geet Kosh also includes duet songs that have some element of chorus in the song, while taking care that these are separately identified. The male-male duets of Mukesh, including those with chorus element, constitute again around 15% of the duets of Mukesh. The male-male duets of Mukesh offer fairly wide-spread range, in terms of subjects of the songs, co-singers, year of the song, and of course, the popularity, to lead me to zero in on this subject for the post to commemorate the 99th birth anniversary of Mukesh.

Under the broader category of duets, Mukesh Geet Kosh also has separately identified songs that have some actor /actress chipping with Mukesh a line here or there in the song. I have not included such songs here. Mukesh has more than one duet with Mohammad Rafi or Kishore Kumar. I have chosen the one which I like more than other Rafi or Kishore duets. In some cases, I have included a few triads or quartets (with all male or male-female combination), where the context of the narration, or paucity of a right duet, or the need for variety of different subjects or styles or music directors so necessitated. In one particular instance of duet with Talat Mahmood, I have included, rather had to include, an NFS as well.

So here are Duets(+) of Mukesh with Male Singers, generally, in the chronological order of year of the release of the film.

With Shailesh (Mukharjee)

Rab Mere Araj Sun Meri Sharan Ab Teri – Aag (1948) – Lyrics: Saraswati Kumar Dipak – Music: Ram Ganguli

Ram Ganguli has certainly come up with a very different style of composition for a song that is essentially a devotional song.

If we would have strictly followed the chronological sequence of the release of the films, one of the two Mukesh – Mohammad Rafi duets from Chilman (1949) or Thes (1949) would have appeared here. But from the seven Mukesh-Mohammad Rafi duets, the song that liked most happens to be a duet from the film of the year 1958, So that will have to wait for a while.

With G M Durrani

Aise Mein Koi Chham Se Jo Aa Jaye To Kya Ho – Hanste Aansoo (1950) – Lyrics: Shewan Rizvi – Music: Ghulam Mohammad

Here is an exchange of arguments for pros and cons between two friends of locating the bed if a house is built on a given location – one wants to set up his bed at that very doorstep so that when some (a much awaited) beauty comes up suddenly he would not miss it. His friend warns of another extreme possibility of a high-heeled slipper to be awaiting a welcome instead.

Ghulam Mohammad has come up with so lovely enough orchestration for this composition to induce revisits to the song. If we would have seen the film, we may also have come to know what will have happened after the song is over.

I have picked up a triad next because that provides us with a new combination of singers.

With Khan Mastana

KyuN Shikwa Karein KyuN Aah Bharein – Pagle (1950) – with Talat Mahmood – Lyrics: Anjum Rehmani – Music: V G (Snehal) Bhatkar

The friends have gathered to vent their frustration of non-result bearing efforts of their pursuit to get someone to love them.

Pagle had one more triad, with G M Durrani as the third player –

Ye Aaj Kal Ke Laila Aur Majnu Pagle (1950) – with G M Durrani – Lyrics: Anjum Rehmani – Music: V G (Snehal) Bhatkar

Another song of the youthful frustration when all efforts to woo the ‘fair sex’ fail, which leads to this deep sigh, in the form of

Ye aaj kal ke Laila or Majnu
.. … …
ik haath se dil ko thamate haiN
ik hath se tata kahate haiN

It would be interesting note that Mukesh Geet Kosh has clearly identified the singers for these songs, but HFGK mentions Jagirdar, Agha and Sheri as the singers, who in fact are the actors singing the songs on screen.

With S D Batish

Jaao Sidharo Hey Radha Ke Shyam – Aarzoo (1950) – with Shamshad Begum, chorus – Lyrics: Majrooh Sultanpuri / Jan Nissar Akhtar – Music: Anil Biswas

Mukesh and S D Batish do not actually get connected through a triad here. What is treated as triad in the credits on the record N 38386, is in fact a three-piece stage show story wherein the first (penned by Majrooh Sutmapuri) and third part (penned by Jan Nissar Akhtar) are S D Batish-Shamshad Begum duets with chorus and the second part (also penned by Jan Nissar Akhtar) is a Mukesh-Shamshad Begum duet with chorus.

With Kishore Kumar

The Kishore Kumar – Mukesh combination has an interesting aspect too. Except for one triad in 1953, they did not have a proper duet during the pre-Aradhana, what is generally called as, Kishore Kumar 1.0 career phase. Then they had a triad-chorus in Satyakam (1969) the transition year. They had first proper duet in 1971, in what can be considered as Kishore Kumar 2.0. Since then, Kishore Kumar has had one more duet with Mukesh, in 1976. The duo further had one triad each with Sushma Shreshtha (Dharam Karam, 1975) and Dilraj Raj Kaur (Chor Mandali, 1983) as well as a quartet with Mohammad Rafi and Lata Mangeshkar (Amar Akbar Anthony, 1977)

Lo Mil Gayi Degree Pyar Ki – Maalkin (1953) – with Ram Kamlani – Lyrics: Rajendra Krishna – Music: Roshan

This must rank as the only song where Roshan has used Mukesh in a comedy situation.

However, the real irony of the song being treated as a Mukesh triad comes up only when we listen the full song and find that Mukesh just gets two words – first time just ‘KahaaN Bhai?’ after the first line, Din mein sau sau chakkar kate, in the first interlude stanza and then just ‘Kis ki?’ after the first line, Baithe baithe kismet khul gayi’ of the third interlude stanza!

Haal Chaal Thhik Thhaak Hai – Mere Apne (1971) – with chorus – Lyrics: Gulzar – Music: Salil Chowdhury

I have a very sweet connection with this song.

In our BITS Pilani days, we would have one, just-released, film screened every weekend. Mere Apne was one such film. Since the story is about the restlessness of students (particularly because of paucity of jobs even after proper college education), the film had been obviously very well received in the campus. When you pass near any of hostel block, particularly after dinner time, you will invariably get to listen the whistling used in the song. Also, the cleverly split first line had tremendous popularly as an informal greetings exchange among friends – Question: ‘Haal chaal? Answer: ‘Thik Thaak Hai.’ – obviously, in the lyrical mimic of the song!

With Mohammad Rafi

Mukesh and Mohammad Rafi share the maximum number of songs together – 7 duets, 6 duets+chorus, 5 triads – one with Shamshad Begum (Hanste Aansoo, 1950), two with Lata Mangeshkar (Shree 420, 1955 and Ahuti, 1978), two with Suman Kalyanpur (Dil Ne Phir Yaad Kiya, 1966 and Vishwas, 1969), and one with Hemlata (Jaaneman, 1976), and one quartet with Kishore Kumar and Lata Mangeshkar (Amar Akbar Anthony, 1977). More important. perhaps, is that the association spans almost the entire career of both of them, with first duet in 1949 (Chilman and Thes) and the last one in 1978 (Ahuti).

I have selected one duet, which I have always relished to listen to.  Just the memory of the song has helped to me ease out any tension coiled in, any time, in my mind.

Phirate The Jo Bade Hi Sikandar Bane Hue ….. Jo Bor Kare Yaar Ko Us Yaar Se Tauba… Jis Pyar Mein Ye Haal Ho Us Pyaar Se Tauba – Phir Subah Hogi (1958) – Lyrics: Sahir Ludhiyanvi – Music: Khayyam

Mohammad Rafi so lively pulls up his friend’s legs that even the Raj Kapoor’s lady love Mala Sinha cannot hide her smile. Moreover, if you close your eyes, the way Rafi goes with his part you can imagine how Rehman, otherwise an actor who plays serious roles, must be freely acting it out on screen, while lip-synching Mohammad Rafi. Every line Sahir has penned for Rafi’s part is just enough for any friend on the other side to break up the relationship!

With Mahendra Kapoor

For the records, Mukesh and Mahendra Kapoor have three duets, however the third one, from Saathi (1968) – Jo chalaa gayaa use bhul jaa, Naushad has used Mahendra Kapoor  for just a higher-scale line being heard as echo Bhul Jaa… Bhul Jaa, as haunting memory from the past that has to be forgotten.

Of the other two, both composed by N Dutta, one is for Dilli Ka Dada (1962) and the other for Holiday in Bombay (1963). I have selected the latter one.

Ye Hasin Bambai Hamein Jam Gayi …. Holiday Holiday Holiday in Bombay – Holiday in Bombay (1963) – Lyrics: Anjaan – Music: N Dutta.

The reasons I have selected this song will sound quite trivial – one: Mukesh gets to playback for the hero (Shashi Kapoor), two: one gets a virtual tour of Mumbai in the video clip, the third: you get to see a glimpse of now totally forgotten, Lambretta scooter (@4.12) and fourth of course, it has a connection with a 2018 SoY post – Bharat Darshan Songs (2) – Metros.

It would not be out of place to record here that Mukesh and Mahendra Kapoor share a triad with Rajendra Mehta, a famous ghazal singer of 60s/70s.

Mera Rang De Basanti Chola – Shaheed, 1965 Lyrics and Music:  Prem Dhawan

This would rank as one of the best patriotic songs Hindi films have recorded.

With Manna Dey

The proper duet of Mukesh and Manna Dey, very surprisingly, has come up only in 1976 for the film Das Numbri. Even Mukesh, Mohammad Rafi and Manna Dey triad also came up in only 1973, for Teen Chor. As such, I thought it would be patently safe to fall back upon a quartet and a quintet from the earlier years.

Sathi Re…. Kadam Kadam Se Dil Mila Rahein Hai Ham – Char Dil Char Rahein (1959) – with Mahendra Kapoor, Meena Kapoor, chorus – Lyrics: Sahir Ludhiyanvi – Music: Anil Biswas

The song is an inspirational song, wherein multiple singers join to playback for corresponding actor on the screen. It being an Anil Biswas composition, the composition and orchestration are ideal, so are the lyrics of Sahir. It is not surprising that the overall outcome is a song that you would like listen, again and again, for its sheer melody.

I am not able to resist the temptation of including a quintet chorus song, so well-known to me, and almost of all of us for that matter, that came up in different light when I listened to it from the point of view of the present article.

Hum Bhi Hai Tum Bhi Ho Dono Hai Amane Samane – Jis Desh Mein Ganga Behti Hai (1961) – with Mahendra Kapoor, Lata Mangeshkar, Geeta Dutt and chorus – Lyrics: Shailendra – Music: Shankar Jaikishan

I always admired this song for several stunning features – Shankar Jaikishan and the team for conceiving and executing the rich orchestrion (of particular notice is the violin ensemble piece @ 5.35 -5.52 that so vividly creates the feeling of speed), meticulous details of choreography of Hira Lal, and so creative camera work of Tara Dutt that captures every expression of every actor so lively and the overall direction of Radhu Karamakar – RK’s otherwise default director of photography. Essentially, the song was a chorus song representing dacoits on one side and the reformer (Raju) on the other side.

However, I could now easily see a parallel under-current of a duet too running in the song, beginning with two lines that follow the opening skirmish between Raka and Raju, when Kammo and her friend Bijli charmingly declare Hum bhi haiN (@2.30), to which Raju responds, unwittingly, Dekh lo kya asar kar diya pyar ne. The visuals @0.45 to 0.51, where Kammo longingly eyes Raju, which Raka too does not miss to notice or that fleeting exchange of mutual appreciations @ 1.52 to 2.00 between Kammo and Raju corroborate the implicit germination of soft feelings for each other. The song virtually turns into a duet after the second interlude when Kammo directly intervenes the song with itana sa ye dil tu de de agar sara jag tera ho jaye. (@5.03)

As the songs moves on, the mood of festivity of all so beautifully morphs into acquiescence of love of the two.

We come back to our main track again.

With Talat Mahmood

As we have seen @ #3 here before, Mukesh and Talat Mahmood did get just one triad as early as in 1950. These two may be the only male singers of that period who did not even have one Hindi film duet in their entire career.

Fortunately, three Mukesh – Talat Mahmood NFS duets, composed by Murli Manohar Swaroop, fill up this void. We had had heard one duet, Kisi ko deke dil koi nawa_sanj-e-fughan kyun ho, in the earlier post, Mukesh’s Non-film Hindi Geets and Ghazals.

I have picked up the other one here –

Woh Jo Ruthe To Manana Chahiye …. Zindagi Se Rooth Jaana Chahiye – NFS – lyrics: Jigar Murarabadi + Mirza Ghalib – Music: Murli Manohar Swaroop

To the opening line from Jigar Murarabadi ghazal sung by Mukesh, Talat Mahmood joins by a Mirza Ghalib ghazal line Chahiye achchhoN ko jitana chahiye, ye agar chaahein phir to kya chahiye…  and so forth.

However, we can take consolation that they did have one more song in the Hindi films – an all-male quintet in 1966.

Mujhko Muhabbat Ho Gayi Hai, Bas Muhabbat Ho Gayi Hai …. Anhoni Baat Thi Ho Gayi Hai – Biwi Aur Makaan (1966) – with Joginder, Manna Dey and Hemant Kumar – Lyrics: Gulzar – Music: Hemant Kumar

Normally Mukesh and Talat Mahmood are put at the slow paced, serious film-song-moods spectrum. Another singer, Hemant Kumar also is considered to be the singer of that part of the spectrum. However, Hemant Kumar, the music director, seems to have helped Talat Mahmood switch the role and join him (in the role of the playback singer) in the fast-paced jest-cum-scolding session with that love-infested friend among the ‘five pandav’ friends who have vowed to remain unmarried till everyone gets a job. Talat Mahmood plays back to Keshto Mukhrjee who impersonates a girl along with Biswjeet who lip syncs Hemant Kumar!

I conclude here my part of the choices of Duets(+) of Mukesh with Male singers so as to start pondering over what subject we should take up for the celebration of Mukesh’s 100th birth anniversary post next year…….

Acknowledgement and disclaimer:

  1. Mukesh Geet Kosh, 2020 edition – Harish Raghuvanshi: For the basic data and the information of the songs selected in the present article.
  2. The song links have been embedded from the YouTube only for the listening pleasure of the music lovers. This blog claims no copyright over these songs which vests with the respective owners.

Reproduction of the article originally published on Songs of Yore on 22 July 2022

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

Welcome to July 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, Living in the Digital Age – Enslaved or Free by Anju Murari-Narula.

Here is abridged version of the article:

The ubiquity of digital information and the connectivity made life bearable during the Covid-enforced lock-down. We could not get out in the world; but the world could come to us. During that period, we shifted our lives from physical world to virtual world.

Grandmothers read to the grandchildren online, musicians discovered apps to play and connect to other musicians across the globe. Online libraries of movies, music and books were a click away, accessible 24×7.

However, the western concept of digital connectivity did not mention our third -inner- world – the source of sustenance.

Cezanne’s ‘Bathers’ enjoying free time Photograph: Corbis – Source: Are we liberated by tech – or does it enslave us? – Jenny Judge

Despite the positive and enriching experiences, the undercurrent of longing for the human connect remains strong.

The question is not about digital or real world-connectivity. It is about how best we use the connections in both worlds to further our inner world. In William Wordsworth’s words, ‘The external (world) is to much with us; late and soon. Getting and spending, we lay waste of our powers.’

At some point of time, a deafening roar grows from within, ‘to manifest our divinity within’. Only a Vivekanand can explain, with deep humanity, the cry of the soul –

Oh! I am sick of this unending force;
these shows they please no more.
This never running, never reaching,
Nor e’en a distant glimpse of shore.

All the knowledge we glean from the real world is but the first step, Shravana. For Manana and Nididhyasana [1] to follow, s deep dive into the inner world becomes imperative – becoming and experiencing are the real goals and a lifelong struggle.

Any amount of access to the digital information and knowledge is just a primer for the hard work waits for getting immersed in the work, that you like doing yourself or has to be done to discharge your duties, waits you in the solitary confinement with your own self.

Let us use the WORLD freely, but ready to shelve, store and even walk away when the actual practice begins.  For in the unambiguous words of God Himself (in Bhagwadgita Karma Sanyāsa Yoga, 5.2.4)

He who’s happiness within, whose rejoicing is within and whose light is within
That yogi, established in Brahman, attains mergence in Brahman

In effect, this means that Renunciation of Action (सांख्य–सन्यास- योग) and Yoga of Action (कर्म योग), both lead to the highest bliss. But of these two, Yoga of Action is superior to the renunciation.

Some additional readings:

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:

  1. Treat Employees As External Customers. In Tom Peters’ book, “Thriving on Chaos,” he stressed that it is impossible to get people’s best effort if they aren’t treated with respect, honesty, and trust.
  2. Select And Train Frontline Employees Carefully. Frontline personnel need to be selected from key behavioural characteristics, trained, and retrained, and the frontline level should be involved in the training effort.
  3. Defuse The Situation, and let cooler heads prevail to resolve the situation.
  4. Measure Your Words Carefully.  Avoid saying anything that sounds like a command or contradiction.
  5. Strive For A Partnership. Make your challenge the customer’s challenge.
  6. Get Personal, create a personal affiliation, support a partnership relationship, and can help defuse the situation.

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

  • Ain’t Nothing Like the Real Thing – Technology asks, is there really?Ain’t Nothing Like the Real Thing is a song by Marvin Gaye and Tammi Terrell from 1968. The lyrics describe looking at a picture and reading a letter and that these things, while comforting, are no substitute for looking upon someone in real life or hearing their voice speaking the words, hence the title of the song. The sentiment of the song, further begs the question, when did we start substituting for the real thing, and why?  …. There have been things purists would say there is simply no substitute for—hands-on learning. Managing Editor (Quality Mag) Michelle Bangert writes, in the article ‘Future of Quality – How will you use Quality 4.0 ideas at your location?’,  Quality 4.0 technology is only one element in a broader quality transformation. It is transformational, it takes people – “It’s about telling stories with the data and solving problems.”

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.

[1] The three of the four stages of practice:

  • Samanyasa or Sampattis, the “fourfold discipline” (sādhana-chatustaya), cultivating the following four qualities
    • Nityānitya vastu viveka(नित्यानित्य वस्तु विवेकम्) — The ability (viveka) to correctly discriminate between the eternal (nitya) substance (Brahman) and the substance that is transitory existence (anitya).
    • Ihāmutrārtha phala bhoga virāga(इहाऽमुत्रार्थ फल भोगविरागम्) — The renunciation (virāga) of enjoyments of objects (artha phala bhoga) in this world (iha) and the other worlds (amutra) like heaven etc.
    • Śamādi ṣatka sampatti(शमादि षट्क सम्पत्ति) — the sixfold qualities,
  • Śama(control of the antahkaraṇa).
  • Dama(the control of external sense organs).
  • Uparati(the cessation of these external organs so restrained, from the pursuit of objects other than that, or it may mean the abandonment of the prescribed works according to scriptural injunctions).
  • Titikṣa(the tolerating of – adhyatmik, adhibhautik and adhidaivik – tāpatraya).
  • Śraddhā(the faith in Guru and Vedas).
  • Samādhāna(the concentrating of the mind on God and Guru).
    • Mumukṣutva(मुमुक्षुत्वम्) — The firm conviction that the nature of the world is misery and the intense longing for moksha (release from the cycle of births and deaths).
  • Sravanalistening to the teachings of the sages on the Upanishadsand Advaita Vedanta, and studying the Vedantic texts, such as the Brahma Sutras. In this stage the student learns about the reality of Brahman and the identity of atman.
  • Manana, the stage of reflection on the teachings.
  • Nididhyāsana, (निदिध्यासन) the stage of meditation on the truth “that art Thou”


Fading Memories…. Unforgettable Songs : July 2022

Mohammad Rafi’s First Duet Song With The Music Director

Second Five-Year Period: 1949 -1953

Many historians of Hindi Film Music consider the year 1949 as the transition year when HFM can be positively seen to be entering era of Golden Period, with Lata Mangeshkar and Mohammad Rafi, the two major singers of Golden Era, occupying the undisputed center stage. One indicator which perhaps validates this hypothesis is presence of more and more music directors who remained active during the Golden period in so far as the duets of Mohammad Rafi during the presently under consideration 5-year period of 1949 to 1953.

To commemorate the birth and death anniversaries of Mohamad Rafi, we have commenced a series on Mohammad Rafi’s first duet with a music director.  Our journey began with the 1st Five-Year Period of 1944 to 1948 in the year 2021. We take up the Male-Male or Triad as well as a regular Male-Female duet in the present series because our main purpose to revisit maximum possible duets of Mohammad Rafi.

Presently we will take up the 2nd Five-Year Period of 1949 to 1953.


The year has Mohammad Rafi’s duets, almost, in the proportion of 2: 1 as compared the solos. Even with the Mohammad Rafi duets with two music directors for the year 1949 not available for these two music directors, we have been able to cover 14 music directors in 1949!

As such, we will cover the year 1949 in two parts, to be able to relish the songs thoroughly.


Naushad had composed first two duets for Mohammad Rafi in 1944 for the film Pahele Aap. Both were Male-Male duets. Naushad has since then deployed Mohaamad Rafi for the male-female duet only during 1949.  Even then, in the year 1949, for Andaz, Mohammad Rafi still was not the playback voice for major lead, Dilip Kumar, of the triangle Raj Kapoor and Nargis. However, the film did have two duets wherein Rafi plays back for Raj Kapoor. Of the two Yun To Apas Mein Bigadate Hain Khafa Hote Hain is a light composition, and is retained in the film

Sun To Dil Ka Afsana – Andaz – with Lata Mangeshkar – Naushad – Majarooh Sultanpuri

This song was finally not included in the film

Naushad had two more films in 1949 Chadani Raat and Dulari. Chandani Raat had three Rafi-Shamshad Begum duets – Chhin Ke Dil KyuN Pher Li Aankhein, Kaise Baje Dil Ki Sitar and Khabar Kya Thi Ki Gham Khana Padega whereas Dulari has two Rafi -Lata duets Mil Mil Ke Gayenge Do Dil Yahaan and Raat Rangili Mast Nazare Geet Sunaye Chand Sitare. The first two duets of Chandani Rat and both the Dulari duets had become quite popular.

Husnlal Bhagatram had as many as five duets and five triads for Rafi 1949 over. Of these we have picked up one duet with Suraiya, and one triad with Lata Mangeshkar and Geeta Dutt, so that we get as many duets  / duets+ songs different the co-singers.

Aataa Hai Zindgi Mein Bhala Pyar Kis Tarha – Baalam – with Suraiya – Lyrics: Qamar Jalalabadi

I had not heard this song before, but once I did, I liked it even though it has many strapping of vintage era. Of course, Rafi sounds his normal – what we get to hear in the 50s and Suraiya is, as always, so sweet to listen to.

Husnlal Bhagatram have two more duets with Suraiya, for the film Naach – Ae Ishq Hamein Barbad Na Kar (Lyrics: Sharshar Sailani) and Chhaya Sama Suhana (Lyrics: Kaif Irfani).

‘Jaltarang’ had one duet with Lata Mangeshkar – Zara Tumne Dekha To Pyar Ho Gaya (Lyrics: Kaif Irfani) and one with Shamshad Begum – Musafir Sada Geet Gaye Chala Chal (Lyrics: Sudarshan Faakir)

And now triads:

Lab Pe Fariyad Hai Dil Barbad Hai – Naach – with Lata Mangeshkar, Geeta Dutt – Lyrics: Mulk Raj Bhakri

It may not be inaccurate to assume that the dancing singers may be performing a street dance, because in (only) Hindi films these people can so accurately read the thought of the protagonist’s mind and put them in words on his /her behalf. The hero sems to perform the soliloquy of spelling out his mind, perhaps on the push by the force of the line these dancers sing. Even as hero is in pensive mood and the two female actresses sing in a very energetic mood, the song was well received in those days. Rafi goes in hyper-drive tone at the end!

It would be interesting to see the way the song would have been filmed.

Two other triads in the film were Kyun Karata Maan Jawani Ka (with Lata and Geeta Dutt; Lyrics: Mulk Raj Bhakri) and Namaste Ji Namaste Ji Hamara Tumhara Jeevan Beete Hansate (with Shamshad Begum and Zohrabai Ambalewali; Lyrics: Nazim Panipati).

For the songs of Hamari Manzil, HFGK mentions Geeta Dutt and Mohammad Rafi and chorus as singers for Badla Hua Duniya Mein Ulfat Ka Zamana Hai, Woh Aur Zamana Tha Ye Aur Zamana Hai and Geeta Dutt, Mohammad Rafi and other voice for Andhere Se Na Dar Kaante Banegi KaliyaN, but both these songs have S D Batish as third singer.

Shyam Sundar is widely credited with offering Mohammad Rafi his first ever song, a triad, in the Hindi films, that for Gaon Ki Gori (1945). Presently we have Shyam Sundar composing two duets for Rafi, both with Lata Mangeshkar, a triad – Chhalla De Ja Nishani Teri Meharbani (with Shamshad Begum and Satish Batra: Lyrics Qamar Jalalabadi) for Bazaar.

Ae Mohabbat Unse Milne Ka Bahana Ban Gaya – Bazar – Lyrics: Qamar Jalabadi

This as well as the other duet Apni Nazar Se Door Woh should rank among the finest duets by Rafi and Lata.

Haaye Yeh Bholi Suratwale – Chaar Din – with S D Batish, Iqbal, Rajkumari, Lata Mangeskar, Johrabai Ambalewali – Lyrics: Shakeel Badayuni

This hexad is essentially composed in qawwali style.

Hanuman Prasad is also well-known music director vintage era.

Jale Jalaane Wale Humko Jaise Mombatti – Chilman – with Mukesh – Lyrics: P L Santoshi

Two friends merrily laugh away the world’s critical view of their carefree way of living.

What a coincidence! 1949 has one more Mohammad Rafi, Mukesh duet

Snehal Bhatkar is the music director who has composed that Mohammad Rafi – Mukesh duet.

Baat To Kuchh Bhi Nahin Dil Hai Ki Bhar Aaya Hai – Thes – with Mukesh – Lyrics: Kedar Sharma

Mukesh is assigned the pathos part of the song and Rafi with the role of counseling him!

We will take up the rest of 1949’s Mohammad Rafi’s First Duet Song with eight other Music Directors in our December 2022 episode.

We will continue remembering Unforgettable Songs that seem to Fading away from our Memories every second Sunday of the month next year too……..

Disclaimer: All images are sourced from net. All copyrights of the respective image remain with the original owner of the image.

The Eponymous Principles of Management : Parkinson’s Law, Its Variants & Time Management – Parkinson’s Law

Parkinson’s Law is essentially a thumb rule which states that “work expands so as to fill the time available for its completion”. It is used as a criticism against the inefficiencies of bureaucracies in large organisations. Parkinson’s law refers to the tendency among people at work to finish their tasks only just in time for the deadline even though they are capable of completing it earlier. Over the period of time, it came to be identified the usual procrastinating tendency in, almost, everyone.

Parkinson’s law is attributed to British naval historian Cyril Northcote Parkinson who wrote about it in a satirical article published in The Economist in 1955. It was later reprinted in the 1958 book Parkinson’s Law or the Pursuit of Progress. The line which is now accepted as rule was in fact the first line of that article- “It is a commonplace observation that work expands so as to fill the time available for its completion.”

Parkinson did not name the current law as such in that article. He in fact observed that what really can occupy a busy person for not more than three minutes can leave another person prostrate for the whole day, with all incumbent doubt, anxiety, and toll. His main interest still was in the effect this elasticity of time had with reference to the quantum work had on the rising number of civil servants. He went on to explain this phenomenon by two axiomatic statements:

(1) “An official wants to multiply subordinates, not rivals,” and

(2) “Officials make work for each other.”

He noted that the number employed in a bureaucracy rose by 5–7 per cent per year “irrespective of any variation in the amount of work (if any) to be done.” Parkinson states that,  ‘in any public administrative department not actually at war the staff increase may be expected to follow this formula” (for a given year), which he called as The Law of Multiplication of Subordinates :

x = (2km+P)/n

    • x – number of new employees to be hired annually
    • k – number of employees who want to be promoted by hiring new employees
    • m – number of working hours per person for the preparation of internal memoranda (micropolitics)
    • P – difference: age at hiring − age at retirement
    • n – number of administrative files actually completed

It was this multiplication of subordinates that necessitated work distribution such that each one of them remained busy, which was perhaps possible by only through completing the task only when it was finally due.

Parkinson states at the end of his article that discovery of the law (of multiplication of subordinates) is purely scientific delivery.  As botanist’s business is to only eradicate weeds, not to tell us how fast they can grow, so is the case with his law.

One scholar who has taken a serious look at Parkinson’s Law is Stefan Thurner, a professor in Science of Complex Systems at the Medical University of Vienna. He happened to read Parkinson’s book around the same time when he was perplexed with increase in the number of administrative employees and was inspired to turn it into a mathematical model that could be manipulated and tested, along with co-authors Peter Klimek and Rudolf Hanel. In fact, studies in the decades since Parkinson wrote his essay have shown it has some merit.

In his book, Scarcity: Why Having Too Little Means So Much, Eldar Shafir and co-author Sendhil Mullainathan talk about focusing deeply on a project at the cost of other things. “When you have a deadline it’s like a storm ahead of you or having a truck around the corner. It’s menacing and it’s approaching, so you focus heavily on the task.” And you may well pull off a great job, but the problem is that everything else gets moved to the periphery. And there’s always the chance that rushing to accomplish something in too few hours can have drawbacks as well, particularly if your deadline is set by somebody else.

Elizabeth Tenney, an assistant professor at the University of Utah’s Eccles School of Business, in her book – co-authored with Don A Moore – Time Pressure, Performance and Productivity, states, inter alia, that “When people sit down to do a task, they’ll put in a lot of effort initially. At some point there’s going to be diminishing returns on extra effort. To optimise productivity, you need to maximise benefits and minimise costs and find that inflection point, which is where you should start to wrap up.”[1]

Similar other studies have established Parkinson’s Law, in the form as is now well-known, as the cornerstone of productivity of time.

[1] The ‘law’ that explains why you can’t get anything done – Tiffanie Wen

The Micro View of Songs of 1943 – MY Top Male Solo Songs

To someone like me who has been brought up in the environment of post’50s/’6os composition styles, one or two hearings of these songs appear to be not enough to appreciate the vintage era style.

Barring songs from films like Tansen, almost all the songs that I get to listen for the year 1943 are my first exposure to these songs. As such, from the year 1946 backwards, I have been following the practice of choosing the song(s) that appeals me in these limited number of hearings. I do that for each singer and then present here one song for each singer from among the ones that did appeal me. Where there is only one song, since I have no means of this intra-copmparision, I straightaway include such songs in this list.

In the case of solo songs of K L Saigal, for the film, I have purposefully not considered the songs that have remained very popular even now, and therefore I have had occasions to listen to them many times.

So here is list of the songs that I liked for a given singer, presented in the alphabetical sequence of the name of the film.

Yakub – Inhin Logon Ne Chhina Hai Dupatta Mera – Abroo – Traditional – Pt. Govindram

Pandeji (Vasant Desai) – Bhai Bhaj Le Shri Bhagwan – Aankh Ki Sharam – Pt. Indra – Vasant Desai

G M Durrani – Pee Kahan .. Gaaye Ja Baanware… – Chhed Chhad – Tanveer – Mustaq Hussain

Asit Baran – Ham Chale Watan Ki Or – Kashinath – Pt. Bushan – Pankaj Mullick

K C Dey – Chandani Raat Hai Chandani Raat – Manchali – ? – H P Das

Vishnupant Pagnis – Jagat Mein Khili Prem Phulwari – Mahatama Vidur – Narottam Vyas – Harishchandra Bali

Khan Mastana – Fasle Bahar Aa Gai, HaNsane Lagi Kali-Kali – Mohabbat Ki Jeet – Ehsan Rizvi – Vasant Kumar

Ashok Kumar – Kya Muhabbat Ka Yahi Anjam Hai– Najma – Anjum Pilibhiti – Rafiq Ghazanavi, B A

S N Tripathi – Panghat Pe GhayaloN Ka Hai Hai Thikana – Panghat – Ramesh Gupta / Pt. Indra(?) – S N Tripathi

Manna Dey – Ajab Hai Vidhi Ka Lekh Kis Se Padha Na Jaye – Ramrajya –  ? – Sahnkar Rao Vyas

Noor Mohammad Charlie – Kis Taraf Hai Dhyan Hai Tera – Sanjog – D N Madhok – Naushad Ali

Shyam Kumar – Jaan Bachi To Lakho Paaye – Sanjog – D N Madhok – Naushad Ali

K L Saigal – Bina Pankh Ka Panchhi Hun Main – Tansen – D N Madhok / Pt. Indra )?) – Khemchand Prakash

Surendra – Musafir Hansi Khushi Ho Paar – Vishwas – Dr. Safdar ‘Aah’ – Firoz Nizami B A

Ishwarlal – Piya Desh Hai Jaana …. – Zuban – Mahrul Kadari – C Ramchandra

After a very lucid analysis – Best songs of 1943: Wrap Up 1  – the SoY Award for the Best Male Playback Singer of 1943 goes to KL Saigal for his songs in Tansen.

MY Top Male Singer for the year 1943 is GM Durrani, for the sheer number of solos that he has got this year, that also includes a variety of moods, singing styles  and even wide range of his singing. tones.