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

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

Tabassum passes away at 78 due to cardiac arrest – Born as Kiran Bala Sachdev, in 1944, Tabassum had started off as a child artiste.

Her most iconic and popular show was Phool Khile Hain Gulshan Gulshan where she used to strike up conversations with celebrities. Tabassum knew how to probe without prying, with conversations that remain, to this day, a pleasure to watch.

One of the most remembered songs of her childhood acting days is Bachpan Ke Din Bhula Na Dena (Deedar, 1953), where she is playing the role of child Nargis , along with Aprikshit Sahni (as child Dilip Kumar). She recalls her role in Bahar (1951) in this clip of her talk sjow Tabassum Talkies:

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

Sanjay Leela Bhansali, Ayushmann Khurrana’s choices seem inspired by filmmaker V Shantaram. Here’s whySampada Sharma – On actor-filmmaker V Shantaram’s birth anniversary, here’s looking at how the contributions of this famed filmmaker impacted Indian cinema and how traces of those films can still be seen in our movies.

Chitragupt and Lata Mangeshkar – Magicians of Melodies – Part 2 is a follow through of Part 1

Master Ghulam Haider: A Trailblazer – DP Rangan pays a tribute to Ghulam Haider on his 69th Remembrance Day (1908 – 9 November 1953

“Hai Duniya Usi Ki Zamana Usi Ka” – Bir Sakhuja – Born in 1924, Bir Sakhuja made his entry into Bollywood via Gunah (1953) and has done around 16 films.

Zeenat Aman-Dev Anand’s Hare Rama Hare Krishna looked down upon rule-breakers, gave Hindi cinema its ‘boldest’ starSampada Sharma –  On Zeenat Aman’s birthday, here’s looking back at her debut film Hare Rama Hare Krishna that was passed on by many mainstream female actors because no one wanted to play Dev Anand’s sister.

November 2022 episode of Fading Memories, Unforgettable Songs takes up Salil Chowdhury and Shailendra’s Songs Fading From the Memory: Char Diwari (1961). Till now we have covered the years

1953-1955 in 2018,

1956 in 2019, and

1957 in 2020

1958 to 1960 in 2021

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

We now move on to posts on other subjects –

Prithviraj Kapoor to Kiara Advani—Delhi’s Delite Cinema remains a Bollywood favouriteNUTAN MANMOHAN – While many other single screen theatres have packed up due to new market pressures, Delite Cinema continues to draw crowds from old Delhi.

Romancing other miscellaneous balmas recollects the songs that would not find the popular versions anadi balma, pardesi balma, ajnabi balma, bedardi balma and jaadugar balma.

The Worldly Songs, devoted to songs which analyse the world as it is with no reference to the maker of the world – i.e. God or duniyabananewala. There is no attempt to seek refuge at the altar of god or rhetorically invoke God in any of the songs. These are songs which suggest that the world is as we make it, e.g., Matlab Ki Is DuniyaHalla Gulla, (1954) – Mohammad. Rafi & Asha Bhosle – Saba Afghani – Nisar Bazmi.

Songs Addressed to Animals / Birds, with one animal or bird having one song each.

The ‘Not-Naachnewaali’ Gaanewaali: Ten SongsThere is the occasional naachne-gaanewaali who doesn’t dance, she only sits, or, at the most, stands up a bit and languidly moves about. e.g., Badi Mushkil Se Hum Samjhe – Shamshad Begum, Asha – Zindagi Ya Toofan (1958, Lyrics: Nakshab Zarachvi; Music: Nashad)

Part 1 of the Bicycle Saga focuses on songs with bicycles in a group.

Songs of good and ill wishes, which have blessings as well as those that are proponents of the theory of retributive action.

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

What Sooraj Barjatya wanted to do with Main Prem Ki Diwani Hoon, Basu Chatterjee had achieved in Chitchor – Revisiting Chitchor recently was a strong reminder of how a filmmaker like Sooraj Barjatya, who believed in going big even before it was considered a sure shot formula for success in Bollywood, made a simple story by Subodh Ghosh into an extravagant film that felt more dated than its 1970s version.

Hrishikesh Mukherjee’s Satyakam has Dharmendra giving his most actualised performance, shows how an honest person is a danger to himself – Hrishikesh Mukherjee’s 1969 film Satyakam, starring Dharmendra, Sanjeev Kumar and Sharmila Tagore, explored the idea if living an honest and ideal life is actually worth it.

Amol Palekar-Tina Ambani’s Baton Baton Mein explains why relationships without labels aren’t always the best idea – Baton Baton Mein is set in the 1970s but the complicated nature of romantic relationships it tries to portray makes it obvious that we might have a more varied vocabulary today for explaining the status of our relationships but the status overall, is pretty much the same.

We have moved forward with Solo songs of Madhuri, Jahanara Kajjan, Ram Dulari,  Jayshree, Baby Madhuri, Vishni Lal, Vasanti, Gauhar Sultana, and Other Singers before concluding the Micro View of Female Solo Songs for 1943 with MY Top Female Solo Songs. We have now taken up Micro View of Male-Female Duets for 1943, beginning with Part 1.

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 –

Ek Daal Par Tota Bole Ek Daal Par Maina – Chor Machaye Shor (1974) – Indra Jeet Singh Tulsi – Ravindra Jain

Kahun Kya Tumse Apni Dastaan – Jimmy Aur Johney (1976) – Majrooh Sultanpuri – Rajesh Roshan

Janam Janam Ka Saath Hai Hamara Tumhara – Bheegi Palkein (1982) – M G Hasmat – Jugal Kishore-Tilak Raj

Shole Shole Meri Jawani – Locket (1984) – Gauhar Kanpuri – Bappi Lahiri

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 – The Duets – Male-Female Duets [1]

We now take up the third leg of the Micro View of Songs for the Year 1944 – The Duets. The over view article, Best songs of 1943: And the winners are? notes that ff the 547 songs for which singers are identified, 172 are the duets

We will explore the duets available on YT, but not covered in Memorable Songs of 1943.

We have followed the order in which the films have been listed in HFGK, except that, for the sake of ease of documentation, wherever possible, all the duets of same male singer have been grouped together.

Male-Female Duets

As has been the practice over this series, we take up Male-Female Duets first.

Nazeer (Ahmed), Sitara – Pune Se Laai Paan Re , Le Le Paan Re – Aabroo – ? – Pt. Govind Ram

Since Nazeer seems to be joining in for reciting a few dialogues only, I had included this song in Solo Songs of Sitara as well

Amritlal, Leela Pawar – Ho Mat Piyo… Mat Piyo Mere Chhaila Tambakudi – Age Kadam – ? – Master Madhav Lal, Ramchandra Pal (?)

Amritlal, Leela Pawar – Mere Chasme Wale Sarkar, Chale School, Chale School – Age Kadam – ? – Master Madhav Lal, Ramchandra Pal (?)

Motilal – Shamshad Begum – Aap KyuN KyuN Aap Kyun Aae The – Taqdeer – Maichal Kadari – Rafiq Ghazanvi B A

Motilal – Shamshad Begum – Chham Chham …..Gahanghor Ghataein Chaai…– Taqdeer – Maichal Kadari – Rafiq Ghazanvi B A

Husn Bano, Harish – PranoN Mein Gunji Prem Pukar Kisi Ki – Amanat – / – Neenu Mazumdar

Arun, Sitara – Ek Pardesi Aaya, Laaya Darein Hajhar – Andhera – Pandit Indra – Gyan Dutt

Arun, Sitara – Bhanwara Re Hum Pardesi Log, KyoN Jaye Pardesh – Andhera – Pandit Indra – Gyan Dutt

Arun Kumar, Suraiya – Karvatein Badalat Raheta Aaj Sab Jahan – Hamari Baat – Pt. Narendra Sharma – Anil Biswas

Arun Kumar, Suraiya – Jeevan Jamuna Par Milenge – Hamari Baat – Pt. Narendra Sharma – Anil Biswas

Arun Kumar, Suraiya – Saaqui Ki Nigahein Sharab Hai – Hamari Baat – Pt. Narendra Sharma – Anil Biswas

Arun Kumar, Parul Ghosh – Insaan Kya Jo Thokarein Naseeb Ki Kha Na Sake – Hamari Baat – Pt. Narendra Sharma – Anil Biswas

Arun kumar + Amirbai Karanataki – Dheere Aa Re Baadal Dheere Dheere Aa – Kismat – Pradeep – Anil Biswas

Arun kumar + Amirbai Karnataki – Ham Aisi Qismet Ka Kya Karein – Kismat – Pradeep -Anil Biswas

Carnival of Quality Management Articles and Blogs – Xth Volume – November 2022 Edition

Welcome to November 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, Sailing Unprepared in to a Storm Called the ‘Digital Age’ by Anikethan Ramakrishna V.

Here is an excerpt from the article:

Over the time the transitions that human civilization has undergone have been with increase pace of change. But drastic changes were ‘mostly once a generation’. That gave the people necessary time to eventually reorient themselves with the change.

The digital age has been a revolution like no other in human history. Every dimension of the human society is now in constant state of rapid churn.

Our ability to find meaning in life greatly depends on the reasonable stable set of principles and ideas with which we can work towards and an identity with we can relate to. However, abundance of mostly unreliable and irrelevant information is a challenge to us in our quest for an identity and meaning. And hence the challenges in integrating the right amount of digital presence and information.

  • The ‘societal’ and ‘individual perspective – Every significant change in the society has impacts at overall societal level and other at the individual level. The human tendency has always been to go with group, despite having possibly having and exact opposite point of view, at least to begin with. In the process, we tend to forget the freedom of choice that an individual has. This freedom of choice and our ability to exercise it, in many a case, is the difference between a meaningful life and one that is otherwise. Thus, the first step towards ensuring meaningful life in this digital age is through exercising the choice to participate in the digital world to the extent that is necessary and optimal for an individual.

Further readings:

Growing up in a digital world: benefits and risks

Leading concerns about the future of digital life – Kathleen Stansberry, Janna Anderson and Lee Rainie

  • The challenge of ‘How much to’ and ‘How to’ communicate and participate – Historically, owing to geographical and technical constraints, a person’s interactions on a regular basis were mostly limited to the people one would meet in person or could communicate via traditional mail or telephone services. More the level of interaction, stronger was the overall sense of community. However, the seamless communications that the digital world have rapidly ushered in has trivialised the inter-personal communication.

Further readings:

How to overcome 14 common communication challenges in the workplaceAleksandar Olic

  • The challenge of ‘What to’ and ‘What not to’ be influenced by – A unhealthier aspect of information overload is to influence our ideas and actions, generally without much contemplation. Consequently, the ability to critically dwell on the idea, internalize it if relevant and then if necessary to act on it gets lost. As result, Attention Deficit and Satisfaction Deficit have gained prominence now.

Further readings:

The Challenges of Countering Influence Operations – Elise Thomas,  Natalie Thompson,  Alicia Wanless

How to Increase Your Influence at WorkRebecca Knight

ADHD:  Symptoms, Causes and Natural Support StrategiesDr. Jockers

Maslow’s Hierarchy of Needs – Saul McLeod, PhD

In the end, one must remember that society and individuals will have to live with the on the unending exposure to the information in the digital era. It is for the individual to exercise the choice of the extent and type of information that he would like to be exposed to and how he wants to act on it.  Leveraging this choice is the only means to ensure that we make life meaningful, on the daily basis as well as overall.

We will now turn to our regular section -.

We now watch ASQ TV episode on –

New Job Opportunities for Quality Professionals in Cloud Management – Alka Jarvis is the co-author of Successful Management of Cloud Computing and DevOps (ASQ Quality Press) with Prakash Anand and Johnson Jose. Along with discussing the benefits of cloud storage and how to align your cloud computing strategies with the business objectives, Alka discussed important skills quality professionals already have for getting into this new field.

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

  • The Real Value is in the Effort: The effort that we expend to reach a goal or a target is critical to our growth, both professionally and personally. Whether we accomplish the goal or target, perhaps is not the point-it is the learning, strength, confidence and fulfilment that is gained on our journey that is the real value to us and to those who surround us.
    • Anything worth accomplishing usually takes long, difficult and sustained effort to accomplish
    • The real value of accomplishment is in the journey toward reaching our goal.
    • No matter how difficult the journey may be, it makes all the difference in the world when that journey is leading to a destination we have chosen.
    • The commitment, discipline, focus and effort are indeed their own rewards.
    • It is precisely the effort and the value we put into the accomplishment that gives it value to us.
    • We need to commit to make the most of every opportunity and to give our best effort, and we’ll find ourselves surrounded by real, lasting value.

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

  • Roko’s Basilisk: The Scariest Thought Experiment Ever – This thought experiment[1] posits that the creation of an artificial intelligence will lead to an all-powerful, future artificial intelligence that will retroactively punish anyone who did not help bring it into existence. It’s been described by many as the scariest thought experiment ever. The really scary part is that it is grounded in actual rational thought and game theory. … It has been associated with Blaise Pascal’s argument that one should believe in God, even if God’s existence cannot be proved or disproved through reason. Taken to what some would agree is a satirical extreme, it has also been referred to as “Believing in and searching for kryptonite on the off chance that Superman exists and wants to kill you.” ….. Whether bolstered by a legacy of fantastic stories or not, because of the progress of the technology, these kinds of arguments have thrust themselves into real-world discussions of late…. For quite some time in manufacturing, the question was, “Are robots coming to take our jobs?” The answer, then and now, is that robots and AI stand ready to do the job side-by-side with humans, who can relinquish the mundane and repetitive jobs to concentrate on the aspects of the job machines just cannot do. Which means that addressing the skills gap is just as important as it has ever been for manufacturers.

Further readings:

How to Defeat Roko’s BasiliskKyle Hill

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.


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

The process of selecting the TOP song / singer for the year 1943 is absolutely subjective, since most of the songs I had got to hear for the first time. In any case, from the point of view of my limited knowledge and basic taste in so far as the vintage era songs, I could not find any other method.

I have not repeated here those singers whose only one solo song could come up during the Micro Analysis.

So, here are the songs that would call for MY TOP slot from the female solo Songs for 1943, in the order in which the singer has appeared in the detailed Micro View earlier.:

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

Husn Bano – Kya Jhamane Ki Kahani Ho Gayi – Amanat – ? – Neenu Mazumdar

Sitara – GaauN Khushi Mein GaauN…  Ha Ha Ha .. – Najma – Anjum Pilinbhiti – Rafiq Ghazanavi B A

Vatsala Kamthekar – Prem Ke Hindole Dole – Ashirwad – ? – Anna Sahab

Rajkumari – Main HuN Kali Matwali Liyaqatwali – Panghat – Ramesh Gupta – S N Tripathi

Kaushalya – Jholi Meri Bhar Do Baba – Chirag – Wali Sahab – Khemchand Prakash

Nalin Jaywant – Kaheta Hai Ye Dil Baar Baar – Adab Arz – Kailash Ji ‘Matwala’ – Gyan Dutt

Sardar Akhtar – Har Cheez YahaN ki Hai Tasalli Ka Sahara, Tum Pyare Ho Jab Dil Ko – Fashion – Arzoo Lakhnavi – Shanti Kumar

Parul Ghosh – Papiha Re Mere Piya Se Kahiyo Jaa  – Kismet – Kavi Pradeep  – Anil Biswas

Leela Sawant – Jivan Sapana Jag Sapne Ki Chhaya – Nurse – D N Madhok – Gyan Dutt

Noor Jehan – Dil Dun Ki Naa Dun – Nadan –Zia Sarhadi – Datta Koragaonkar

Suraiya – Ek Tu Ho Ek Main HuN Aur Nadi Ka Kinara Ho – Kanoon – D N Madhok – Naushad Ali

Khursheed – Ghata Ghanghor Ghor Mor Machve Shor – Tansen – Pt. Indra – Khemchand Prakash

Shamshad Begum – O Bhoolanewale Main Tujhe Kaise BhulauN – Pagli – Qamar Jalalabadi / Melaram ‘Wafa’ (?) – Pt. Govind Ram

Snehprabha Pradhan – Aai Meera Prabhu Ke Paas, Nainan Ke Sagar Mein Lekar Darshan Ki Pyas – Naya Tarana – Wali Sahab – Amir Ali

Nirmala – SaiyaN Khade More Dwar Kaa KaruN, Kaa KaruN – Kanoon – D N Madhok – Naushad Ali

Radharani – Manmohan Mukhada Mod Gaye Aur Base Bides Jaye – Kashinath – Pt. Bhushna – Pankaj Mullick

Madhuri – Diyasalai…. LaauN Diyasalai – Vakil Sahab – ?- – Anna Sahab  Mainkar / P Madhukar (?)

Jahanara Kajjan – Aaja Saajan Aaaja Sajan Suni Sijariya – Prarthana – Dr. Safadar ‘Aah’ – Sarasawti Devi

Ram Dulari – Chahana Hamako To Usako Chahiye, Woh Hamein Chahe To Phir Kya Chahiye – Manchali – G A Chisti / Kashyap (?)- G A Chisti

Jayshree – Jhoolongi Jhoolingi Jeevan Bhar Yah Jeevan Jhoola – Shakuntala – Ratan Piya- Vasant Desai

Baby Madhuri – Bhojan Ke Nazare Hai – Vishwas – Munshi Sham Jilani – Phiroze Nizami

Vishni Lal – Barbad Hai Hum, Ye Kismat Hamari – Chirag – Pt. Indra – Khemchand Prakash

Vasanti – Kaisa Sundar Samaa Suhana, Ahaa Ahaa – Bhakta Raj – D N Madhok – C Ramchandra

Gauhar Sultana – Hamein Gam De Ke Na Jao Sajan, More Aao Sajan – Ishara – D N Madhok – Khursheed Anwar

In its comprehensive review, Best songs of 1943: Wrap UP 2, SoY also has presented a comprehensive numerical summary of total number of female singers and their solo songs for the year 1943.

The summary of readers’ views on their TOP choices is also presents a wide range of other songs, with Special Songs and Best Ten presenting further choices.

Best songs of 1943: Wrap UP 2 truly has described the year 1943 as a goldmine of many colours of vintage female singing. SoY has conferred the honor of Best Female Singer for the Year to Amirbai Karnataki

Fading Memories…. Unforgettable Songs: November 2022

Salil Chowdhury and Shailendra’s Songs Fading From the Memory: Char Diwari (1961)

If Salil Chowdhury – 10 November 1922 – 5 September 1995 – is said to have created his music is not design but to express himself in his own way, then Shailendra (B: 30-8-1923/ D: 14-12-1966) lyrics for Hindi films truly reflected his grasp of the context of situation which was expressed in lyrics that flowed out naturally.

rafi_recording shown to user

Shailendra’s association with Shankar Jaikishan can be considered as an accident that the destiny had planned for the benefit of Hindi Film Songs. However, the association of Salil Chowdhury and Shailendra can be said to be more a meeting of two artists who were molded in a similar template – of originality, creativity and imagination. That Shailendra knew Bangla and had the knack of creating original feelings in the lyrics that were set into a pre-cast tune further cemented the bond between the two.

To commemorate the memory of Salil Chowdhury, we have been devoting our November episode to Salil Chowdhury’s compositions receding from our memory. We had remembered Salil Chowdhury’s Hindi Film Songs in Other Languages in 2017. We then commenced a series of Salil Chowdhury and Shailendra’s Songs Fading From the Memory, wherein we took up their films together in the chronological order of release for remembering the songs receding from the memory from these films.  Till now we have covered the years

1953-1955 in 2018,

1956 in 2019, and

1957 in 2020

1958 to 1960 in 2021

Presently we will take up Salil Chowdhury- Shailendra’s films for the year 1961. Salil Chowdhury had had six films – Char Diwari; Chhaya; Kabuliwala; Maya; Mem Didi and Sapan Suhaane – in the year 1961. Shailendra had penned songs for three of these – Char Diwari, Mem Didi and Sapan Suhane – films. Quite a few of the songs from these films had caught the attention of the general listening audience. However, when we look at these songs today, we find that each of the song has some or other signature impression of either Salil Chowdhury, or Shailendra or, even both. As such we will dedicate ne episode to each of these three films.

Char Diwari (1961)

Char Diwari was old-fashioned social melodrama, based on the theme of traditional role of the Indian women in the Indian society – be totally dedicated to the domestic duties of her husband’s household, even in the face of all kinds of hardships. It is the maiden movie for Shashi Kapoor as the lead actor as well as the first among many subsequent hits for the leading pair of Shashi Kapoor and Nanda

Gori Babul Ka Gharwa Ab Hai Bideshwa, Saajan Ke CharanoN Mein Hai Ghar Tera – Lata Mangeshkar and chorus

The opening line of the farewell song for the daughter (now a bride, and then a wife) sets up the tone of role of an Indian woman in the Indian society. Shailendra then immediately embeds the title of the film in the next line while further defining the aim of the woman in that life –

ho gori chaar deewaari angana atari
yehi teri duniya ye jag hai tera

Kaise Manaoon Piyawa Goon Ek Hu Mere NahiN, Ayi Milan Ki Bela GabarauN Man Maanhi – Mukesh

Shailendra once again draws up the picture of a woman’s mind as he readies herself to step into the home and life of her husband.

However, the poet at the core of Shailendra also does not miss the opportunity of vividly narrating any woman as she readies herself to the new phase of a married life –

saajan mere aaye
dhadkan badhti jaaye
naina jhukte jaayen
ghoonghat dhalta jaaye
tujhse kyun sharmaaye
aaj teri parchhaayi

Salil Chowdhury indeed has so exceedingly weaved in the tenseness and eagerness of that woman’s feelings in this background songs composition, and in the process has given Mukesh one of his best songs.

Aside Trivia:

Salil Chowdhury has used this tune and composed a NFS – Beete Dino Ke Sapne Hamein Yaad Aane Lage Hai ( Lyrics: Yogesh)  that he used to compose for Door Darshan and conduct the orchestra himself live on the TV, during his tenure with DD, Delhi, screen in sometime in ‘80s in the voice of Arundhti Holme-Chowdhury

Jhuk Jhuk Jhuk Jhoom Ghata Aye Re, Man Mora Lehraye Pihu Pihu Pihu Papeeha Gaaye – Lata Mangeshkar

Salil Chowdhury is as scintillating mood as the Indian housewife who enjoys the onset of monsoon. The song’s fast pace is so effectively accentuated by all round use of flute – Salil Chowdhury’s preferred instrument –

Akela Tujhe Jaane Na Doongi … Banke Chhaiyan … Main Sang Sang Chaloongi – Lata Mangeshkar

The young girl, be it from any society or region, sees dreams of being with her love always. The girl who will transform into a dutiful wife after her marriage can not be expectation from having similar feelings. Shailendra’s lyrics ably reflect these effervescent feelings duly composed and orchestrated by Salil Chowdhury

Neend Pari Lori Gaaye MaaN Julaye Paalana, So Ja Soja Mere Laalnaa…. Meethe Meethe SapnoN Mein Kho Ja Mere Laalna – Lata Mangeshkar

Lullaby was a very popular genre in Hindi film songs. Most of te music directors have grabbed he opportunity to compose a lullaby by fully deploying the creative skills they had had at their command.

Salil Chowdhury has so imaginatively reused the tune he had first used in Bengali NFS  Praantarer Gaan Amar[1] (Utpala Sen, 1953 / The Song of wilderness is mine) to recreate one of the most haunting lullaby.

Humko Samaj Baithi Ye Duniya Deewana …. Par Main Agar Pagal HuN to Ye Duniya Pagalkhana – Mukesh

Apparently, a drunkard song that Salil Chowdhury has transformed into a wonderfully melodic composition. Shailendra also has not missed capitalizing the opportunity to spell out his core philosophy of an egalitarian utopian world

We will take up Salil Chowdhury- Shailendra’s songs for Meme Didi (1961) in our next 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.

[1] The song ‘Prantarero gaan amaar’ made immortal by Utpala Sen was originally recorded by Kanika Banerjee, the famous Rabindrasangeet singer. However, as Salil writes in his book ‘Jibon Ujjibon’, Biswa Bharoti didn’t allow Kanika to sing non-Rabindrasangeet and as a result Kanika’s record was never released.Utpala Sen recorded it later. Rumour has it that Kanika’s record, although never released, is still in existence. So, who knows. May be one day some fanatic collector may find it. –  Other Singers @ World of Salil Chowdhury

The Micro View of Songs of 1943 – Female Solo Songs – Jayshree, Baby Madhuri, Vishni Lal, Vasanti, Gauhar Sultana, and Other Singers

Solo Songs of Jayshree

Jeevan ki naao na dole, haan ye hai tere hawale and Mere baba ne baat meri maan li are covered in Memorable Songs of 1943.

Kamal Hai Mare Samne , Kamal Hai Mere Saath – Shakuntala – Dewan Sharar – Vasant Desai

Jhoolongi Jhoolingi Jeevan Bhar Yah Jeevan Jhoola – Shakuntala – Ratan Piya- Vasant Desai

Solo Songs of Baby Madhuri

Aurat Ek Kahani – Vishwas – Pt. Indra – Phiroze Nizami

Bhojan Ke Nazare Hai – Vishwas – Munshi Sham Jilani – Phiroze Nizami

Solo Songs of Vishni Lal

Barbad Hai Hum, Ye Kismat Hamari – Chirag – Pt. Indra – Khemchand Prakash

Jogan Teri Nagari Kahaan, Tu Kaun Si GaliyaN Chali – Kurabani – Wali Sahab –  Khemchand Prakash

Solo Songs of Vasanti

Kahan Kala Kala, Main Tera Matwala, Bansariwala – Bhakta Raj – D N Madhok – C Ramchandra

HFGK notes that this song was finally removed from the film.

Kaisa Sundar Samaa Suhana, Ahaa Ahaa – Bhakta Raj – D N Madhok – C Ramchandra

Solo Songs of Gauhar Sultana

Shabnam kyun neer bahaye (Ishara) is covered in Memorable Songs of 1943.

Hamein Gam De Ke Na Jao Sajan, More Aao Sajan – Ishara – D N Madhok – Khursheed Anwar

Solo Songs of MeenaxiAankh Milate Hi Muhabat Ho Gai, Pyar Karane Ke Taiyar Ho Gai and Bjiali Chamkane Lagi, Lagi Rama Bjiali Chamkan Lagi  (Ankh Ki Sharm – Pt. Indra – Vasant Desai) are covered in Memorable Songs of 1943.

Now we have the long tail of the Micro view of the Solo Songs of Female Singers for the year 1943.

Here are some instances wherein only solo song of the respective solo singer was available on YT.

One solo song of K Sundarama –  Ek bewafa se pyar kiya, haye kya kiya – Duniya Diwani – Arshad Gujarati – K Narayana Rao is covered in Memorable Songs of 1943. Another song from this film – Ummid Nahi Vasl Se Dilshad Karenge  –  could not be located on YT.

VrujmalaSaanware Sata Naa, Bansari Bajaa Naa – Gauri – Kedar Sharma – Khemchand Prakash 1 song

Anjali Devi – Ye Kaisa Hai Dharm Tumhara, Ye Kaisa Insaan – Age Kadam – Kailash Matwala – Master Madahv Lal / Ramchandra Pal (?)

KalyaniKyoN Dil Mila Hamara Tumara Jawaab Do – Kaushish – ? – Basheer Dehalavi

These solo songs  –Manua kaahe phir tadapayeBinota Roy (lyrics Akhtar Chugtai), Albela mastana ek hans ka jodaSuprova Sarkar (lyrics Pt. Bhushan). Jeevan hai bekar bina tumhare – Unidentified female singer (Wapas, Music: RC Boral) are covered in Memorable Songs of 1943.

For several female singers, like Mumtaj Shanti (Badalti Duniya  – 3 songs), Shanta Apte (Duhai – 2 songs), Gauhar Sultana (Ishara – 3 songs), Ramola (Manchali 3 songs), Aarti Bose and Dina Gandhi – 1 solo each and one song with chorus that of Dina Gandhi (Paraya Dhan), are could not be traced.

And, there could be even some more which in spite of being known and being available on YT, may not have been noticed by me during this Micro Analysis of Solo Songs of 1943., mainly because of inadequate knowledge of the vintage era Hindi film songs.

Sudhir G Dandnayak – is always around

That in nutshell is how I would always recall Sudhir Dandnayak. As colleagues, our relationship, apparently, was always at the level of our official matters, but as a person he was always around whenever I sought his support, even when he may physically be not there.

Sudhir and I started our careers almost simultaneously, at Gujarat Steel Tubes Ltd., Ahmedabad. He had joined the Exports department after completing his post-graduation studies in export management whereas I was entrusted the role of setting up company’s first ever green-field diversification into manufacture of welded stainless tubes. As such, we hardly had any common ground that would provide a platform for us to know each other, even as colleagues. However, the fact that we were two formally educated novices naturally did connect us. As a result, we did interact with each other whenever some opportunity was available.

After a couple of years, I was entrusted the role of developing vendors of products other than steel pipes and tubes for exports, so that the company could attain the status of a ‘merchant’ export house. Sudhir was allotted the corresponding responsibility of developing the exports for such products. However, after some efforts, the company lost interest in this area. So, our relationship, too, could not go further. But, whatever few months we did get to work together, it was that unique charm of his personality that we had been able to build a rapport beyond the natural affinity that two professionally educated novices would have for each other.

After a decade or so, the destiny again brought us together – at Ratnamani Metals and Tubes Ltd. Here too he oversaw the developing the exports of stainless tubes and pipes, but initially, my area of work related to altogether a different product. But as the fate had indeed scripted some years of our lives when we could really work together, I was assigned the role of managing the plant operations of stainless-steel pipes and tubes.

That is the period when I came to know of the unique side of the personality of Sudhir Dandnayak. Professionally, we were two streams moving at cross currents.  The products that Sudhir could present for the exports required the mindset of goldsmith, whereas we, the production team, had the strong mind set of ironsmiths. In many instances, we could not measure up to the levels of performance that Sudhir would have expected of us in so far as developing the soft skills to manufacture the types of stainless-steel pipes and tubes that export markets he was trying to develop. When these differences would go too far, Sudhir would be quite firm in putting across his views, while fully empathising with our state of mental make-up and the physical infrastructure which we then had. Many a times when we would be put to extremely hot-bed positions, even when he would naturally be on the opposing side of the table, he never allowed any trace of bitterness into his approach with us, either during or after the incident. In fact, he would remain so equanimous that we too never felt any distance from him.

In my personal case, there were many instances, where he had no formal role to take my side or help me, but I found lot of encouragement by his apparently nonvisible presence around me. In many of the such cases, I was clearly able to discern his capability to smoothly navigate through the extremely unfavourable environment with deep calm and patience. It was tis unique side of personality that gravitated me to seek his counsel. He was always there to help me in such situations by enabling me to look at the situation form totally different perspective.

After I had left Ratamani Metal, we had had very few occasions to meet each other either professionally or personally. But whenever I was in extremely distressed state of mind, I always remembered his ways of remaining untouched by the storms around and could always find that solace that helped me to weather my storms.

It cannot be a mere coincidence that his photograph in the obituary – which I have morphed in this article – epitomises his that facet of the personality, of being able to maintain that faint smile (of hope, composure and being at peace) even when the subtle lines of inherent tensions of the modern-day life could be discerned on his forehead.

We, the ordinary mortal ‘friends’ of Sudhir Dandnayak will be able to take solace that he was sent as an emissary by Him to provide peace, composure and commitment of conviction amid the turmoil’s of mundane life and has been recalled by Him for some larger mission there, because we always found him and will find him even now or in future, around us. However, the void that his immediate family will face of his that very personality would be impossible to be filled up even his presence will always be felt around them. If he was here, may be he would have some solution for it!

The Micro View of Songs of 1943 – Female Solo Songs – Madhuri, Jahanara Kajjan, Ram Dulari

Solo Songs of Madhuri

Even though HFGK lists all the solo songs to Madhuri, the uploader Shalin Bhatt credits these songs to Rajkumari

One solo song from Vakil Sahab does not seem to have a digital version available.

CharanoN Ki Dasi HuN Main, Ghar Ki Laaj Sambhalungi – Vakil Sahab – ? – P Madhukar

Aaya Aaya Khushi Ka Din Aaya – Vakil Sahab – ?- – Anna Sahab  Mainkar / P Madhukar (?)

HFGK credits the song to Madhuri and Khan Mastana, but the clip shows only the female singer (Rajkumari?) and chorus.

Hans Le Hans Le Tu Man Hans Le – Vakil Sahab – ?- – Anna Sahab  Mainkar / P Madhukar (?)

Diyasalai…. LaauN Diyasalai – Vakil Sahab – ?- – Anna Sahab  Mainkar / P Madhukar (?)

Solo Songs of Jahanara Kajjan

HFGK mentions her name as Mis Kajjan.

Kaahe neha lagaye sajaniya and  Tumhre darsan ko naina taras gaye ho (Prarthana, Saraswati Devi) are covered in Memorable Songs of 1943.

Aaja Saajan Aaaja Sajan Suni Sijariya – Prarthana – Dr. Safadar ‘Aah’ – Sarasawti Devi

Mohabbat Ka Rasta Dikhaya Hota – Prarthana – Dr. Safadar ‘Aah’ – Sarasawti Devi

Ek Dhundhla Sa Mohabbat Ka Hai Naksha Baki – Prarthana – Dr. Safadar ‘Aah’ – Sarasawti Devi

Solo Songs of Ram Dulari

Dard-e-Gam Ulfat Se Labrej Hai Paimana, AankhoN Se Koi Padh Na Le – Manchali – G A CHisti / Kashyap (?)- G A Chisti

Chahana Hamako To Usako Chahiye, Woh Hamein Chahe To Phir Kya Chahiye – Manchali – G A CHisti / Kashyap (?)- G A Chisti

Mera Jo Haal Ho So Ho, Barq-e-Najhar Giraye Ja – Manchali – G A CHisti / Kashyap (?)- G A Chisti