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

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

We once again recall loss of Bhupinder Singh with The Multifaceted Bhupinder Singh

Presently we move on to our section on tributes and celebrations for the month –

Fifteen Years! of many changes happening in the life and hence on the blog content. But the good part is that Richard S. but is not ready to call it just quits in so far as Dances on Footpath is concerned. We too take the opportunity for the blog to continue its rich, conceitful journey for many more years…..

K.N.Singh – Bollywood Gentleman Villain With A Unique Mannerism – Rare Bollywood Nostalgia – Trivia – K N Singh acted in over 250 films in 60 years career. He was an excellent athlete as well. He had almost been selected for shot put and javelin throe for 1936 Olympics.

Aayega Aanewala – Remembering Khemchand Prakash on his 72nd death anniversary.

Khayyam at the Mountain Peak (1): Songs on Pahadi – A tribute to Khayyam (18.2.1927–19.8.2019) on his third Remembrance Day

Ek Din Hum Ko Yaad Karoge – Remembering Raja Mehdi Ali Khan on his 46th death anniversary.

The National Museum of Indian Cinema A delight for the senses is located at the Films Division Complex, Pedder Road, Mumbai

Abhas versus Kishore — An Existential Reality: (Part 1) and (Part 2) – Abhas turned Kishore midway. Abhas is a felt intangibility, a suggestion from within – something not material.  Kishore is one who is young, energetic, exuberant, visible, impactful.  Vijay Kumar explores the phenomenon that was Kishore Kumar

More to read

Kishore Kumar The Actor: A Legend’s Journey Down the Years Part 1

Kishore Kumar, The Master of his Craft – Amit Kumar Remembers his ‘Baba’

Kishore kumar with his mother Gouri Devi and Amit Kumar (Pic: Twitter)

August 2022 episode of Fading Memories, Unforgettable Songs takes up Shailendra’s Songs Composed by Kishore Kumar. We started taking a look at Shailendra’s songs with “other” music directors form the year 2017. Till now we have covered Shailendra’s Songs with

Roshan in 2018,

Hemant Kumar, Ravi and Kalyanji-Anandji in 2019

S N Tripathi, Anil Biswas and C Ramchandra in 2020

Shardul Kwatra and Mukul Roy in 2021

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

We now move on to posts on other subjects –

The poignancy and power of ‘Usne Kaha Tha’ don’t make it to the screenNirupama KotruBook versus movieUsne Kaha Tha was published in 1915, in the same year that the story is set. The screen version deviated majorly from the story in portraying its protagonists as Hindus rather than Sikhs. Somewhat contrived exploration of young love, with an eye on the box office, is the film’s undoing. The original story is a far more powerful tale of love – innocent, pure and powerful – as well as a tribute to the character, bravery and fortitude of Sikhs.

The Two Worlds of Jalte Hain Jiske Liye – When Adheer offers his first song of love to Sujata, little does he know that while he is dreaming of a world with her where love is as fragile as delicate glass, Sujata’s world is imploding. Shirish Waghmode looks at the two worlds on either side of Jalte hain jiske liye.

Songs of Youth rejoices the International Youth Day (August12).

Songs of Sarcasm – If the world only comprised narcissists at one extreme, and the most polite and courteous who profusely praise others at the other end, it would be a very boring place.

Canorous Eyesores – There are many songs which are a pleasure to not just hear but also see because they are delightfully picturized. Guru Dutt, Raj Khosla and Vijay Anand belong that club of songs picturization specialists.

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

We have inched forward to Female Solo Songs in Micro View of  1943 with Solo songs of Amirbai Karnataki

Rafi’s songs with some unrecognised composers by Sivanandam Palamadai as a tribute to Rafi on his 42nd Remembrance Day (24 December 1924 – 31 July 1980)

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 –

First a correction of the music director that was missed earlier:

Sun To Lo Mera Afsana Chahe Pyar Karo Ya Na Karo  – Raat Ki Raani (1949) – A Shah Shikar Puri – Hans Raj Bahal

And now back to the regular sequence:

Piya Kaise MiluN Tujhse Mer Paano Padi Zanzir – Saranga (1960)  – Bharat Vyas – Sardar Malik

Aaj Hua Mera Dil Matwala.. Ho Matwala – Chhote Nawab (1961) – Shailendra – R D Burman

Saaz-e-Dil Chhed De Kya Haseen Rat Hai – Passport (1961) – Farooq Kaiser – Kalyanji Anandji

Jaane Teri NazroN Ne Kya Kar Diya – Grahasthi (1963) – Shakeel Badayuni – Ravi

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 Songs of 1943 – Female Solo Songs – Amirbai Karnataki

Having completed the Male Solo Songs section of Songs of 1943 of the Best songs of 1943: And the winners are? we now move over to the Female Solo Songs.

As has been observed, the year 1943 has around 256 female solo songs for which the HFGK has been able to identify the singers. There can be a few more female songs available on YT too.

We have not repeated here the songs that have been covered in the Memorable Songs of 1943.

Solo songs of Amirbai Karnataki

Memorable Songs of 1943 has 8 solo songs of Amirbai Karnataki, of which 4 belong to ‘Kismet’  and two have Minaxi as the singer and one has Ratan Piya as the singer on th records. Here we have the songs credited to Amirbai Karnataki in HFGK and which are available on YT, except around 6/7 songs that could not traced on YT.

Hum Tumse Maangate HaiN, AahoN Ke Badale Aahein – Bansari – D N Madhok / Pt. Indra (?) – Gyan Dutt

YuN Dekhoge Agar Lag Jaaayegi Najar, O Baanke Nayanawale – Khanjarwali – Afzal – Afzal

Tore Man Mein Basoongi Ho Sajana, Tum Chanda Bano Main Chandani – Prem Sangeet – Bharat Vyas – S K Pal

Man Re Mat Ro, Mat Ro, Kaise Tujhe ManauN – Prem Sangeet – Bharat Vyas – S K Pal

KyoN Tumne Daraya, Peechhe Peechhe Prem Tu KyuN – Prem Sangeet – Bharat Vyas – S K Pal

Jeevan Ka Jug Aaya… Dekh Dekh Kar Man Lalchaya – Prithvi Vallabh – Pt. Sudarshan – Rafiq Ghazanvi

Hawa Ne Kya Baandha Hai Rang, Dekho Iski Chaal Niraali – – Prithvi Vallabh – Pt. Sudarshan – Rafiq Ghazanvi

Bholi Bhaali Ko LalachaI Re MaiN, Kaise KahuN – Shankar Pravati – Pt. Indra – Gyan Dutt

Kinko Dhundhat Nain Sakhi Ri, Kaun Tera Chitchor – Shankar Parvati – Pt. Indra – Gyan Dutt

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

Welcome to August 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, When Virtual gets Real: Screening Life in Digital Era by Kanchan Gogate.

Here is an excerpt from the article:

Today life moves so much at our fingertips, literally, that sans social media we feel out of touch, not only of outside world, but with us as well.  However, the penetrative and far-reaching technology has caused alarms for its impact on mind, brain, consciousness, and the overall quality of life.

The ‘actual’ problem of the technological era is not just limited to digital addition, but the understating of what it means to live in a time where life is technology-driven.

The Covid-19 pandemic pushed the school-going children as well as working class adults in the service industries to the increased use of internet for their studies and work respectively. In another parallel development, the teens and adults in all age groups also have turned to internet for the use of their leisure time through the streaming media content.

The net result was that these internet users got addicted to the screen of a digital device. On one hand the excessive usage of digital devices drove these people away from the human contact, making them vulnerable to loneliness, escapism, poor sleep quality and even depression but also to cyberbullying and at times to even addition to pornographic sites.

(The virtual reality of) internet technology came up a solution to constraints of location and time, but lack of poise also seems to be creating it into (a reality of) a problematic solution.

Another side effect is what is now known as Google Syndrome, wherein patients google the syndromes and also conclude not only the disease but the treatment well before the official diagnosis. In turn, they also have started distrusting the official diagnosis of a proper doctor.

This can still be termed as tip of the iceberg, with AI, VR technologies increasing digitization and automation coverage of homes, personal and social entertainment and work. Even though AI technologies can be superior and competent to a human brain on several parameters, it does not have the capability of the brain to evoke that consciousness which takes the mind beyond the material process.[1]

How can we understand our true self if we are disconnected even from our functional reality.

The solution lies in the practice of tapas / discipline to recognise that however intelligent or qualified, Time is the only resource that we can never get back once its is lost. The pertinent question that we need to ask ourselves is – is our use of digital technology improving the (real) quality of our life?

We also need to question ourselves – what is the change you want to make in this world?

The way we answer these questions will guide us towards (self)discipline/ swadharma and a meaningful life of contribution – towards the self-first, and then to the society.

Some more readings:

    • THE BRAIN WITH DR. DAVID EAGLEMAN (w.t.), six one-hour episodes that tell the story of the inner workings of the brain and take viewers on a visually spectacular journey into why they feel and think the things they do.
  • @ TEDxAlamo 10/29/09, Dr. Eagleman gave compelling examples of how reality is a matter of individual perception and how Nature’s adaptions function as “plug ins” for the brain.
  • David Eagleman, in conversation with Sadguru as they discuss a variety of subjects, ranging from different parts of the mind, the concept of time, quantum mechanics, religion, and meditation.
  • Mind the Gap Between Perception and Reality | Sean Tiffee | TEDxLSCTomball

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:

Tips for success (Part 1 and Part 2) – focus on important actions:

  • Focus on end goals.
  • Make crisis an ally
  • Solicit input
  • Do not trust non-statistical metrics
  • Focus on vital metrics
  • Cost of Poor Quality (CoPQ) must be known
  • Improvement does not always centre on hard assets
  • Enhance employee worth
  • Take action

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

  • Focus More or Less – In science, Focal Point is the point at which rays of light, heat, or sound meet after being reflected. In geology, it is the place inside the Earth’s crust where an earthquake originates. … When applied to the human brain, focus is defined as a centre of activity, attraction, or attention, or a point of concentration. … However, the same amount of fanfare surrounds a somewhat diametrically opposed idea, that of multi-tasking – the opposite of hyper-focus. … A rather famous experiment – called The Invisible Gorilla – attempts to address some aspects of hyper-concentration versus multi-tasking by revealing the numerous ways that our intuitions can deceive us.[2] The authors, Christopher Chabris and Daniel Simons, concluded that the experiment reveals two things, “that we are missing a lot of what goes on around us, and that we have no idea that we are missing so much.” … Some recent studies… suggest that our brains don’t really have the ability to concentrate on many things at once, but some of us are better at turning our concentration quickly from one task to the next and are simply better at organizing the thoughts and attention to be able to “bounce” from one task to another and back again with seemingly more ease than others.

Further Reading:

    • Seeing the world as it isn’t | Daniel Simons | TEDxUIUC
    • TEDxUIUC – Daniel Simons – Counter-Intuition

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] Swami Sarvapriyananda | Consciousness — The Ultimate Reality | Talks at Google


Fading Memories…. Unforgettable Songs : August 2022

Shailendra’s Songs Composed by Kishore Kumar

Shailendra’s – a.k.a. Shankardas Kesarilal (B: 30-8-1923/ D: 14-12-1966), though formally trained as a welding specialist during the course of his study of mechanical and electrical engineering diploma, was a natural poet. Many of his songs have been inspired by small, seemingly insignificant, real-life situations. His deep concern for the basic human values then transformed those sparks of inspiration of the songs that were so meaningful and delivered through the medium of so simple lyrics, that songs of Shailendra not only were liked by the masses but were also appreciated by the critics.

Out of the total songs that Shailendra penned for the Hindi films, obviously Shanker Jaikishan’s compositions have lion’s share. Then, Salil Chowdhury, S D Burman, and Roshan also have had substantial body of work with Shailendra.  Equally interesting is Shailendra’s work with ‘other’ music directors with whom he did mostly one or at best two or three films. We started taking a look at Shailendra’s songs with “other” music directors form the year 2017. Till now we have covered Shailendra’s Songs with

Roshan in 2018,

Hemant Kumar, Ravi and Kalyanji-Anandji in 2019

S N Tripathi, Anil Biswas and C Ramchandra in 2020

Shardul Kwatra and Mukul Roy in 2021

Presently, we will take up Shailendra’s songs composed by Kishore Kumar.

The core inner artist in Kishore Kumar can be seen in many incarnations of singer, actor, producer, director, music composer, dialogue writer and even a lyricist in his 1.0 phase of pre-Aradhana (1969) career. Like himself, the films he made, and therefore the songs that he composed wavered around serious, philosophical subjects and moods at one extreme to ‘loony’ clownish light subjects. Kishore Kumar composed around 120 songs for 7 films, of which lyrics for 14 songs (3 films) have been penned by Shailendra.

The songs selected here attempts to present as many varieties of compositions and moods as it tries to include variety of the playback singers.

Door Gagan Ki Chaon Mein (1964): –

Door Gagan Ki Chhaon Mein remains Kishore’s most mature artistic venture- as a filmmaker, as an actor and as a composer. It is therefore no surprise that we find Shailendra also in so natural mood in the songs for the film. If Aa Le Ke Chale Tujhe Us Door Gagan Ke Tale has undercurrent of hope, Jin Raaton Ki Bhor NahiN Hai has forlorn sense of despair.

Albele Din Pyaare Mere …. ….  Koi Lauta De Mere Beete Hue Din – Kishore Kumar

It is said that when Kishore Kumar explained the situation of the song to Shailendra it was with so much of pain and pathos that Shailendra simply walked off for a solitary stroll along the seaside. When he returned, he penned out this song. The sakhi of the song has that innate sense of nostalgia that brings up the main body of the song with an undercurrent of hope.

Kishore Kumar presents Asha Bhosle in three moods in the film – the melodious and soothing lullaby-genre Khoya Khoya Chanda Khoye Khoye Taare on one end and Path Bhoola Ek Aaya Musafir of deep pathos at the other end  with an erotic mujra dance song at the center

Chhod Meri Baiyan Balam Beiman, Aate Jaate Dekh Lega Koi – Asha Bhosle

It seem that song was finally not included in the film.

O Jag Ke Rakhwale, Humein Tujh Bein Kaun Sambahle –  Manna Dey, Kishore Kumar and chorus

Father and son find solace in the soothing words of the devotional song being sung at a nearby temple, and also place themselves at the mercy of that Almighty.

Kishore Kumar has so effectively used chorus in the composition of the song.

Rahi Tu Ruk Mat Jaana, Toofan Se Mat Ghabarana – Hemant Kumar

The song captures the essence of the story of the film, in that it enjoins the traveler that a human being must keep moving on under all types of circumstances.

Spread over three different situations in the film, Kishore Kumar has so rightly chosen Hemant Kumar for this bhatiyali-based composition.

Hum Do Daku (1967)

Hum Do Daku is a comedy film

Pag Gungroo Badh Guru Naache Re  – Kishore Kumar,chorus)

We have a here a pure parody song, which probably was not released.

Allah Allah Bande Bandagi Mein Allah – Kishore Kumar-Anoop Kumar

It seems that Kishore Kumar  and Anoop Kumar have adopted some make-over of two fakirs and then sing this song a s prank.

Ae Haseeno Nazneeno Nazar Chura-Chura – Kishore Kumar, Asha Bhosle, Usha Mangeshkar, chorus

The pranks of two masquerading comedians seems to have landed them in the club.

Door Ka Rahi (1971): –

Door Ka Rahi is in many senses what Kishore Kumar himself was, like an iceberg. Singing which was only its tip. That Kishore Kumar was far to ahead of his most popular face of a singer is evident in the titles of the film, wherein we see him as story and screenplay writer, music composer, producer, and director, and of course the actor over and above as a singer. Shailendra too moved on to his final sojourn into the world where the mortal life ends. That is why he has penned just two songs for the film, all other songs written by A Irshad. As if this was not enough, his second, Madhubbala, breathed her last while making of the film.

Chali Chali Jaaye Zindagi Ki Dagar… Kabhi Khatm Na Ho Ye Safar, Manzil Ki Use Kuchh Bhi Na Khabar, Phir Bhi Chala Jaye, Door Ka Raahi – Hemant Kumar-chorus

As we look at the video clip, we do realize the keen sense that, as a director, Kishore Kumar had to present the mood and message in the right frame. Moreover, what a composition he has been able carve out for those prophetic lyrics of Shailendra!

Ek Din Aur Gaya Haye Roke Na Ruka, Chaayaa Andhiyara Aaj Bhi Naav Na Aaai, Aaya Na Khevan Haaraa, Ek Din Aur Gaya – Manna Dey

Kishore Kumar has used Bengali folk tune to telling effect.

Aside Trivia: The Bengali version of the song was rendered by Kishor Kumar himself.

Wow! What a stunning effect Shailendra and Kishore Kumar have been able to create in seemingly so short association!

On that note, we await what our next episode of Shailendra’s songs composed by ‘other’ music directors has in store for us………….

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

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

Adieu to Late Shri P P Vora – Refreshing the Memories from The Early Phase of My Career

01-10-1943 | 05-08-2022

As I read the news of demise of Shri P  P Vora, my mind silently slipped in to time machine and went back to the period of 1974 -1976.

Gujarat Steel Tubes (GST)Ltd was directed by ICICI Ltd to approach GIIC Ltd for their term loan finance requirement of around Rs 40 lacs. GST’s approach to GIIC then led to further GST’s additional relationship(s) with GIIC., one of which was the term finance for a green field project for manufacture of Welded Stainless (SS) Tubes at GST’s wholly owned subsidiary Neeka Tubes Ltd (NTL). The fate had destined me to steer these activities as the then incumbent Project Officer at GST.

That project envisaged in-house manufacturing of the tube mill line, and as I had expected soon became the core discussion topic during the project finance appraisal process. I had just been able to present the case in a manner which paved the way to look at that matter now from financial angle as well. The then Technical Head of R S Dixit (I believe I remember the initials correctly), himself introduced the subject, and me, to Mr. P P Vora – the then Head of Finance at GIIC Ltd.

Mr. P P Vora very carefully, but fully professionally, guided me to develop a model of recording and documenting the cost of in-house manufacturing the SS tube mill that would be not too to complicated for us to build and maintain and which will also be independently verifiable while also meeting the points of views of accounting norms of the Companies Act and the Income Tax Act.

Mr. Dixit and Mr Vora both led the entire appraisal process in such a manner that I never felt any discouragement at any stage and was also in position to show the management and colleagues of NTL that it was I who was successfully navigating the whole process.

The way that process was so naturally executed, I was also able to realize then that even as I have been successful in bringing up my theoretical knowledge so effectively to steer a highly unconventional idea to the world of hard-core reality, I always could maintain myself to the planes of reality that whatever I was able to accomplish was not because I was right , it was the right sagacity of vision of these professionals who held the torch of guiding, supporting and encouraging the entrepreneurship, that created environment where I could see my ideas fructifying into reality.

Moreover, the way these two gentlemen expounded our the then limited perspective of the macro world of SS Tube industry also was to play key role in the way we navigated through those uncharted waters.

In the retrospect I do realize now that their whole holistic approach of evaluating the viability of the project over the life span of the duration of the term loan, unconsciously instilled that habit of looking at any given issue from angles different than the obvious.

When I read the news of passing away of Shri P P Vora, it was perhaps natural that these memories would come to the surface of my mind as my humble tribute to that true to the core entrepreneurship development professional.

I also take this opportunity to record my most sincere acknowledgement of the roles that all those individuals have played at different stages of my 38-years of career wherein the destiny was to help me to groom that idiosyncratic ideal spirit of creativity of mine throughout the career such that I am able to look back at all my failures not with a sense of despair but with the satisfaction that I did I sincerely felt was right for me to do then.

1966 to 1971 – Those Anecdotal Five Years …. – Commuting – to and from the college : The Walk Commutes

Walk commuting to the college was not uncommon to the college-going class of our H/L government-servant colony locality in those days, since most of the colleges like St. Xaviers and MG Science Colleges or Gujarat College; LD Arts or H L commerce College or even HA Commerce college were within a distance where travel by AMTS bus or walking probably would take the same time. Those who could afford a bicycle did opt for that mode.

When I joined LD Engineering (1966), my close childhood friend, Kusumakar Dholakia, three years senior to me, had already entered SE (the second year of 3-year degree course). And of course, our other close friend, Mahesh Mankad too was pursuing his Diploma in Mechanical Engineering, So, he too was a natural member of the walk-group.  Since they walked to the college, it was natural that I join them too.  I think we had couple of more friends from our area who also used to join the walk-group commuters to LD Engg.

In those days, LD Engineering was almost a crow’s flight path-like walk form our homes at H/L Colony. What is today a densely packed residential area was a barren ground those days. As such, once we crossed the first man-made modern landmark, a main road connecting (the then) Sachivalaya – The Secretariat – presently the Government Polytechnic – with ATIRA, then a bloc of Senior Government Officer’s flats would come into the sight. Our L D college was just behind these flats. As result, our walk would traverse the shortest possible straight line thereafter.

The walks used to be so casual to us that I do not even remember whether it took us half an hour or even some more, nor do I remember what topics we had had every day to keep us so mentally occupied during that walk that we did not feel the distance. When I reflect over it now, I realize it was that strong, informal, bond of (real) friendly comradery among the same-age group persons of those times that bonded us so cohesively during our walk to the college. I would positively recollect that the topics never touched shoptalk of either our studies or our residential area issues. Even though we hardly could have major other- extracurricular – interests in common, our small talks would keep us so occupied that before we would realize, we would be entering the LD Engg campus from the rear side.

Another very striking feature of the bond among our walk-commuter group was the sense of timing, In the days when even now the almost the relic of the bygone area, landline phones, was a rarity, beyond most of us, each one would invariably reach the usual meeting point simultaneously, with a clockwork precision a minute or two gap. If someone had not made it till that time, it was simply presumed that he would have some other plans for the day. So, the group would never wait for that person, or even would not casually inquire the reason thereof the next day. It was ‘time and tide do not wait for anyone’ in real practice.

The current oft-heard phrase – water-logging – was almost unheard of in those days. Wherever the human intervention of planned town planning had not spread its shadow, most of the rainwater would easily flow away through the natural waterways. The open ground between end of L Colony and Sachivalay-Atira main road did become too muddy sometimes. When that would happen, we so easily ‘suffered (😐)’the inconvenience of taking up the ‘little longer’ route of Sachivalay- L Colony caol-tar-paved road !

Most of the walk-rides back home in the evening would be solitary. If there would a couple of others in the company, it was more a matter of chance than that of design. I now wonder, why the members who would so automatically get together at one informally appointed time would never have attempted to ascertain who would be leaving when in the evening so that there would be some company in the back-home journey. I think the real answer lies in the strength of that informal bonding of those friends.

These small pleasures of life then that had made our lives so wonderful to live!

If my recollection is right, it was from second year that on some random occasions I would get to coast along anyone of our professors S/Shri N V Vasani, P K Patel or N R Dave who also used to live in our area. Of course, the chance meeting would hardly last more than a few minutes of formal expression of our respect and then a deliberate increase in speed of our walk so that we would drift away as naturally as we had coasted along.  To the best of my memory, ono one our daily-walk-commute group had ever tried to reach these professors at their home for seeking any help or favour or even for a social call on the traditional festival days of New Year. Neither these professors had expected that of us.

That was the level of respect we the students would have had for our teachers and that was the level of decorum befitting their status that the teachers those days would so easily maintain!

Even after I was bestowed with a bicycle in second year, I used to walk with our group. If I had some planned need for the bicycle in the day at the college – which I plan to take up separately a little later – I would walk with group with my cycle too ‘walking (!)’ alongside!