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

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

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

Afsana Likh Rahi Hoon – Remembering Umadevi – Born in 1926, little Uma would act in Ramleela (perhaps religious plays were permitted) and listen to the radio. She was fascinated by Hindi film songs and tried remembering the names of the singers and music directors. She was selected by Ustad Allah Rakha for a film, called Wamiq Azra. The film was released in 1946. Umadevi was finally a playback singer. Here is her very sweet NFS – Naina Ban Gaye Sawan Bhado – Madhukar Rajasthani– K Murari Sharma

Sharmila Tagore, the original oomph girl who challenged India’s conservative bent: ‘When I showed 2-piece bikini to the photographer…’Sampada Sharma – Hindi cinema has seen some graceful, effortless actors in Meena Kumari, Nargis, Waheeda Rehman but it can be safely said the versatility of Sharmila Tagore remains unmatched to this day. Tagore had the rare ability to play any role with complete ease but there was one thing that remained consistent across all her roles, and that was her graceful attitude.

The Assumed ‘Curse’ Of 30: How Gendered Ageism Impacts The Careers Of Indian WomenGulbahaar Kaur – Most individuals around the country questioned the future of an actress barely past a quarter of her life. Many young actresses of the 80’s and 90’s diminished from the big screen almost overnight due to the ‘curse’ of ageing. Beyond films this phenomenon remained consistent in other fields as well. Nevertheless, the situation seems to be changing gradually….

Continuing the series, the year-wise review of Lata Mangeshkar’s career, on Lata Mangeshkar, Mehfil Mein Teri revisits favourites from the year 1955 in 1955 – Lata Mangeshkar

Shatrughan Sinha was the first ‘angry young man’ but Amitabh Bachchan walked away with that titleSampada Sharma –  On Shatrughan Sinha’s birthday(9th December), here’s looking back at his professional rivalry with Amitabh Bachchan.

25 years of Chachi 420: Kamal Haasan film is a lesson on how not to mock a man playing a woman, and still be funnyArushi Jain – One of the most endearing things about the film where Haasan plays a middle-aged woman is that the character is never reduced to a caricature. The laughs never comes from misogyny or a perverted gaze. Chachi 420 works as a story, not as a gimmick.

November 2022 episode of Fading Memories, Unforgettable Songs takes up Mohammad Rafi’s First Duet Song With The Music Director: 2nd Five-Year Period: Year 1949 – Part II. Our journey began with the 1st Five-Year Period of 1944 to 1948 in the year 2021. We then commenced the 2nd Five-Year Period of 1949-1953 with Part I of the year 1949 in July 2022.

Shailendra Sharma @ Golden Era of Bollywood has not posted the memorial tribute posts for the month till the writing for the present post.

We now move on to posts on other subjects –

Bollywood’s Saffron-clad Sadhus Are Scheming Criminals Who Deserve Violent EndsJayasri Viswanathan – In Bollywood, Sadhu is not an ascetic who has renounced worldly attachments to attain moksha by practices guided by his guru. Onscreen, he is a scheming, lusty, political mastermind in cahoots with the tilak-dhaari antagonist.

When Kundan Shah told Saeed Mirza: ‘I hope I am not doomed to keep doing funny stuff’ – Saeed Mirza’s illustrated memoir – I Know the Psychology of Rats, Tulika Books – recounts his personal and professional bond with the ‘Jaane Bhi Do Yaaro’ director.

Tempus Fugit Songs integral to the plot, that help the plot to thicken. Some songs show time passing and the attendant changes that occur with time.  The present list has songs wherein the time passes and there are attendant changes/developments that are shown.

Thinker’s Songs – thinking is so integral to mankind there are many songs that talk about thinking. Our film songs do not need to delve into philosophy or poetry, they are about problems at hand relating to love, heartbreak etc.

One Lady Sings, The Other Dances – On a few occasions, one of the characters sings while the other dances to its tune. Many songs have a male character singing and a female character dances.

Consecutive Melodies are exceptions where one song is immediately followed by another.

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

We have moved forward with Micro View of Male-Female Duets for 1943, to Part 2, Part 3, Part 4 and Part 5. SoY has concluded the series with Best songs of 1943: Wrap Up 4, whereat Khemchand Prakash is adjudged the Best Music Director of 1943 for Tansen

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 had instituted a series wherein we listened to Mohammad Rafi and Lata Mangeshkar’s duet with a music director for the first time in a Hindi film, every month for the year 2022.

We pay tribute to Dilip Kumar and Mohammad Rafi with some romantic- happy mood songs:

Preet Jata Ke Meet Bana Ke Bule Na Jana – Hulchal (1951) – with Lata Mangeshkar -Khumar Barabanqvi – Sajjad Hussain

Aashiq Hai Agar Hai Pyare – Insaniyat (1955) – Rajinder Krishna – C Ramchandra

Ishq Diwana Husn Bhi Ghayal Dono Taraf Ek Dard-e-Jigar Hai – Sungursh (1968) – Shakeel Badayuni – Naushad

Peete Peete Kabhi Kabahi Yun Jam Badalate Jaate HaiN – Bairag (1976) – Anand Bakshi – Kalyanji Anandji

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.

Carnival of Blogs on Golden Era of Hindi Film Music wishes its readers a lyrically composed 2023 with happiness, health and progress in great harmony.

The episodes of January 2022 to December 2022 have been compiled as one file @ Carnival of Blogs on Golden Era of Hindi Film Music, Volume X – 2022 and can be read / downloaded by clicking on the hyperlink

The Micro View of Songs of 1943 – The Duets – Male-Female Duets [5]

Ghulam Haider and Shamshad Begum – Kya Mast Hawaien Hai, Daali Daali Najhuk Si Adayein Hai Poonji -? – Ghulam Haider

HFGK does not mention male singer, but uploader Sadanand Kamath identifies him Ghulam Haider

Mulchand, Rahamatbai – Gajarewali Najariya Miale Ja – Prarthana – Dr. Safdar ‘Aah’ – Saraswati Devi

Rafique Ghazanvi, Menka, Chorus – Tailap Ki Nagri Meing Gaan NahiN Bajana NahiN – Pt. Sudarshan – Rafique Ghazanvi

Rafique Ghazanvi, Menka, Chorus –Panchhi Ud Chala Apne Desh, …. – Pt. Sudarshan – Rafique Ghazanvi

Kishore Sahu, Pratima Dasgupta – Niraali Duniya Hamari – Raja – Rammurti – Khan Mastana

Kishore Sahu, Pratima Dasgupta – Naach Naach Kar Thumak Thumak Kar Dekh – Raja -Rammurti – Khan Mastana

Noor Mohammad Charlie, Suraiya – Ek Dilwala Ek Dilwali – Sanjog- D N Madhok – Naushad Ali

Noor Mohammad Charlie, Suraiya – Udate Panchhi Kaun Unako Bataye – Sanjog- D N Madhok – Naushad Ali

Ishwarlal, Kaushalya – Dekha Hai Ek Sapana Suhana – Zaban – D N Madhok – C Ramchandra

Ishwarlal, Kaushalya – Chal Re Chal Ab Aur KahiN Kho Jaayein – Zaban – D N Madhok – C Ramchandra

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

Welcome to December 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, What Remains by Srinivasan Raghuraman.

Here is an excerpt from the article:

The bottom line is that we have not been able to meet in person, talk in person, watch movies, go for fun trips, and the like. All these limitations have been imposed upon us by this, so-called, digital world.

So what remains in this new world? What are those things that we can still do?

The first and foremost, and probably the most important, thing that remains is our ability to help each other and ourselves. Not that people do not do this.

However, focus of many remains on limiting the changes that the digital world has bestowed on us.  In general, we focus not on what isn’t but what is. Not on what was not but what was.

Some more readings:

Don’t Focus on What You’re Not. Focus on What You Are. | Judy John

Stop Chasing Purpose and Focus on Wellness | Chloe Hakim-Moore

Such a predisposition may not be entirely our doing. But, nonetheless, it is our duty to correct this predisposition of ours. Focus not on what isn’t but what is. Not on what was not, but what was. Not on what won’t be but what will be. Not on what one cannot, but on what one can. Not on one’s limitations, but on one’s strengths. Not on life’s sorrows but on life’s joys. Not on what has gone but on what remains.

This, indeed, is not to paint the picture of the ideal callous individual who cares not for any faults and simply revels in the simple pleasures. What is implied is that rather than brooding over the negatives may not be a good, and sufficient or necessary, way for o[possible motivation to turn them into positives. Love for something for what is, what it was and what it can be, what remains?

Some more readings:

Focus on what remains, not what we’ve lost – Samantha Dosso

At varying stages in one’s life, many ponder the purpose of their existence, of their role in this macrocosm, on what will outlast over one’s mortal being. Memories fade, wealth diminishes, fame is fickle. what is that really remains? Would it not be more purposeful to lead as more meaning life, now, in the present.

Such a thought has buried inside the potential for leading, not just a more practically joyful life, but s much deeper, spiritually stronger and meaningful life. That, in turn, would draw our attention to a little close to the word ‘remain’ This tiny two-syllable packs within itself a host of implications, the most notable among those being that of TIME.

Indeed, for something to remain, firstly there must have been something that did not really remain. For that something else not to remain, there must have been else must have been in the state of being for some amount of time, and then, at some other point of time, transitioned into a state of non-being.

So, let our search for what remains, let us strive to live a meaningful life as we work towards our goals and aspirations in the new normal, just as we did, just as we have always done and will always do, independent of the TIME.

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:

  • Megafamous – The problems with being superfamous or megafamous are varied and persistent:

First, it can corrupt the work. By ignoring the smallest viable audience and focusing on the masses, the creator gives up the focus that can create important work.

Second, the infinity of more can become a gaping hole. Instead of finding solace and a foundation for better work, the bottomless pit of just a little more quickly ceases to be a stimulus and becomes a burden instead.

Trust is worth more than attention, and the purpose of the work is to create meaningful change, not to be on a list.

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.

Carnival of Quality Management Articles and Blogs wishes everyone the year 2023 to provide the Meaningful Life in the new normal of Digital World.


Please click the hyper link to read /download January 2022 to December 2022 articles on the core subject of Living a Meaningful Life in a Digital World @ Xth Volume of Carnival of Quality Management Articles and Blogs

The Micro View of Songs of 1943 – The Duets – Male-Female Duets [4]

Khan Mastana, Rajkumari, Chorus – Dekho Raar Karo Na, Mil Ke Raho Ji – Nagad Narayan – Kavi Beqal – Shreedhar Parsekar

Khan Mastana, Amirbai Karnataki – KyoN Bas Gayi Aankhein AakhoN Mein – Nagad Narayan – Kavi Beqal – Shreedhar Parsekar

HFGK mentions Rajkumari as the singer.

  1. Banerjee, Rajkumari – DhuyeN Ki Gadi Udaye Liye Jaye – Nai Kahani – Wali Shab – Shyam Sundar

P. Banerjee, Rajkumari – Man Mandir Mein Aaye Balam – Nai Kahani – Wali Shab – Shyam Sundar

Ashok Kumar, Mumtaz – Najhar Kuchh Aaj Aisa Aa Raha Hai – Najma – Anjum Pilibhiti – Rafiq Gazanvi, B A

Surendra, Sadhana Bose – Zindagi…..Paigam Lai Hai – Paigam – ? – Bulo C Rani

S N Tripathi, Sumati – Door Chala Chal Tu, KahiN Door Chala Chal – Panghat – Ramesh Gupta – S N Tripathi

S N Tripathi, Rajkumari – Panghat Par Paani Bharane -Ramesh Gupta – S N Tripathi

S N Tripathi, Rajkumari – Tum Meri Jeevan Naiya Ho  – Pt. Indra – S  N Tripathi

Fading Memories…. Unforgettable Songs : December 2022

Mohammad Rafi’s First Duet Song With The Music Director: 2nd Five-Year Period: Year 1949 – Part II

To commemorate the birth and death anniversaries of Mohamad Rafi [B: 24-12-1924 – D: 31-71980], we have commenced a series on Mohammad Rafi’s first duet with a music director.  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.

Our journey began with the 1st Five-Year Period of 1944 to 1948 in the year 2021. We then commenced the 2nd Five-Year Period of 1949-1953 with Part I of the year 1949 in July 2022.

Presently we will take up Part II of the year 1949.

1949 had as many as 16 music directors who had Mohammad Rafi for the first time for a duet. We have covered six music directors – Naushad, Husnlal Bhagatram, Shyam Sundar, Hanuman Prasad, and Snehal Bhatkar – in Part I. Vasant Desai is one of the highly respected music directors who has given innumerable songs to remember forever. However, the two Mohammad Rafi- Lata Mangeshkar duets that seem to have been composed by him for the film Narsimha Avatar are not traceable on internet. Similarly, I could not find the song – Na Thehar Sake, Na Tadap Sake (with Zohrabai Ambalewali; Film – Aakhari Paigam) composed by Abid Hussain Khan)

Presently, we will take up the rest of the eight music directors.

Vinod (a.k.a. Eric Roberts) was known for his catchy tunes one end and melodious compositions on the end had had a very wide creative range. For the year 1949, for Ek Thi Ladki, he has used Mohammad Rafi and Lata Mangeshkar in three duets and two triads(+). Of the triads, Lara Lappa-… Laai Rakhada, Aadi Tappa …. (Lata Mangeshkar, Mohammad Rafi, G M Durrani; Lyrics: Aziz Kashmiri) was an instant raze and continues to remain so even now. The other triad(+) was Hum Chale Door …  Dil Hua Choor (Lata Mangeshkar, Mohammad Rafi, Satish Batra; Lyrics: Aziz Kashmiri)

Ab Hal-e-Dil Ya Hal-e-Jigar Na Puchhiye – Ek Thi Ladki – with Lata Mageshkar – Lyrics: Aziz Kashmiri

Rafi and Lata are so at ease in the conversational tone of this romantic duet. Introduction of catchy yodeling in the first interlude is typical of Vinod’s style of mixing catchy part in a serious composition or vice versa

The other two Rafi- Lata duets were:

Mohammad Shafi was a highly talented and musically trained music director. Two noteworthy records that stand on his name are – Suman Kalyanpur (Hemadi, then) sang her maiden Hindi film song, Koi Pukaare Dheere Se Tujhe (Mangu, 1954) and Hemlata debuted either with Main Jaan Ke Badale Mein or  SadiyoN Ki Nishani Main Ankahi Kahani in Iraada (1971) under his baton.

Fariyaad Na Karna Haye Kahin Fariyaad Na Karna – Gharana – with Shyama Bai – Lyrics: Alam Syahaposh

The song so effectively epitomizes Mohammad Shafi’s musical prowess – soothing opening notes, Shyama’s opening in slightly higher scale and then to settle to pathos, rounding up by Mohammad Rafi in soulful climbing up the scale and reverting to the normal scale, and ending the song with Shyama joining Rafi.

Mohammad Shafi goes onto pair Paro Devi with Mohammad Rafi in the second duet – Tu Kahan Hai Baalam Mere Aaja (Lyrics: Bahzad Lakhnavi).

S Mohinder (a.k.a. Bakshi Mohinder Singh Sarna) composed music for some 50 films, but many of his compositions have achieved the status of evergreen classics. Even though he came from a very strong classical background, he was at ease while composing easy songs that the films demanded.

Chanda Ki God Mein TaaroN Ki Chaanv Mein Ruthe Hue Hum Manaye Re – Jeevan Sathi – with Chand Wirk – Lyrics: Hamid Khumar

S Mohinder has presented with such a lilting melody, even when he has used an almost unknown Chand Wirk to pair Mohammad Rafi in this duet.

The film had one more duet with Amirbai Karanataki – Main Kaise Keh Doon (Lyrics: Surjeet Sethi) and two with Shamshad Begum – Mil Kar Jaayen Hum Preet Ke Deewane and Muhabbat Rog Bankar Dil Ki Har Dhadkan Mein Rehti Hai (Lyrics: Hamid Khumar)

Krishna Dayal is not a well-known name, but he had composed music for five films. Many keen followers of old films songs may well remember Mukesh and Suraiya duet – Badra Ki Chhaon Tale Nanhi Nanhi BundiyaN (Lekh, 1949) – that was composed by Krishna Dayal.

Kar Le Kisi Se Pyar Jawani Do Din Ki – Lekh – with Asha Bhosle – Qamar Jalalabadi

I have heard this song for the first time. The duet is set to lower scale and is difficult to sing.

We have had a triad – Chhoti Si Ek Banaayenge Naiyya… Khud Hi Banenge Us Ke Khewaiya (with Shamshad Begum, Zohrabai) – composed by Pt. Govindram for the film Hamara Sansar (1945) earlier. For the year 1949, he gives a duet of Mohammad Rafi with Shamshad Begum

Taaron Ka Ye Khazana Ye Chaandani Suhani – Nisbat – with Shamshad Begum – Lyrics: Majrooh Sultanpuri

Here is one more song that I got to listen first time. Govindram has presented both singers in quite different than the normal style we are familiar with.

Khemchand Prakash can be attributed to giving a big push to the opening up the space for the Golden Era to get into the center stage, replacing the vintage era, through Lata Mangeshkar’ Ayega Aanewala (Mahal, 1949). We have seen Khemchand Praksh using Mohammad Rafi first time, in a triad, Aji Maat Poochhco Baat Ki College Albeli, Indrapuri Sakshat Colege Albeli, for Samaj Ko Badal Dalo (1947).

Hawa Tu Unse Jaakar Keh De Ek Deewana Aaya Hai – Rim Jhim – with Ramola – Lyrics: Moti B A

Khemchand Prakash composing such a light-toned song should stand up as more noteworthy part of the song.

1949 had one more Mohammad Rafi duet- with Shamshad Begum- under the baton of Khemchand Prakash – Ae Dil Na Mujhe Yaad Dila Baaten Purani (Sawan Aaya Re; Lyrics: Bharat Vyas) – which was heard often on radio at least till ‘60s, when I had  taken up listening to Hindi Film Songs as a conscious hobby.

Khan Mastana was another highly respected music director as well as playback singer of the 40s period.

Tum Ho Jaao Hamare Hum Ho Jaaye Tumhaare – Roop Lekha – with Surinder Kaur – Lyrics: Khumar Barabanqvi

We have here a path breaking composition from Khan Mastana whom we know as a music director steeped in vintage era style music compositions.

Sudhir Phadke brought in Marathi folk composition styles to Hindi Film Music,

Hari Hari Mere To Shri Hari Naahi Dooja – Sant Janabai – with Lalita Deulkar – Lyrics: Narendra Sharma

Mohammad Rafi is all persona dignified as a committed devotee in the duet.

Azeez (Khan) Hindvi has had a few films in ‘40s.

Mehaman Banke Aaye The .. Armaan Ban Gaye – Shoharat – with Hamida Banu – Lyrics: Gulshan Zama / Madhup Sharma

The duet also seems to follow the composition style of the solo version. Both versions can be heard in the clip here.

We will continue with listening to Mohammad Rafi’s First Duet Song With The Music Director for the year 1950 of the 2nd Five-Year Time Period of 1949-1953 in the next episode of the series.

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.

All episodes of the series Fading Memories …  Unforgettable Songs – Volume VII – 2022 can be read /downloaded by clicking on the hype link.

The Micro View of Songs of 1943 – The Duets – Male-Female Duets [3]

Ishwarlal, Kaushlya – Do Bol Mohabbatwale Koi Bolo ….  – Chirag – D N Madhok – Khemchand Prakash

Ishwarlal, Kaushalya – Aao Aao Sajan Tohe Jhula JulauN – Qurbani – Wali Sahab – Khemchand Prakash

B S Nanji, Leela Sawant – Diwani Diwani Ye Duniya Diwani – Duniya Diwani – Arshad Gujarati – K Narayana Rao

Shamim, Brijmala – Jawani Ki BaatoN Mein Aati Hai Tu, Wo Uljhan Mein Dil Fasati Hai Tu – Gauri  – Kedar Sharma – Khemchand Prakash

Shyam Sundar, Ranibala – O Gori, O Gori, Main Tumse Milane Aaunga – Hunterwali Ki Beti – A Karim – Channalal Naik

Shyam, Suraiya – Ek Dil Tera Ek Dil Mera, DonoN Ka Ek Basera – Kanoon – D N Madhok – Naushad Ali

Shyam, Suraiya – Toot Gaya Ek Taara Man Ka – Kanoon – D N Madhok – Naushad Ali

Shyam, Suraiya –Aae Jawani Jaye Jawani, Ja Ke Phir Na Aaye – Kanoon – D N Madhok – Naushad Ali

Yashwant Bhatt, Naseem Bano – Badnaam Na Ho Jaana – Khooni Laash – Shewan Rizvi – K Narayana Rao

1966 to 1971 – Those Anecdotal Five Years …. – The Practical(s) : The Encounters with Practical Electrical Engineering

As I started writing down this piece, I had had quite serious introspection about what would have happened if I had to continue my studies for the graduate degree of Electrical Engineering.

I must candidly admit that my introspection remained at the surface level only, One reason perhaps is that, at the back of my mind, I always thought that I am writing memoirs here, not the treatise on how I should, or should not, have taken up my studies. Another reason seems to be the fact that electrical engineering has always remained an abstract subject with me, even when I had had occasions to deal with the subject later in my career, so why to rationalize , or justify, that rightly or wrongly perceived abstractness!

So, rather than digressing into not-so-relevant areas, I will come back to the subject –

As I started ruminating into my memories of the electrical engineering practicals, the first thing strikes me even today is the awe that large swathe of space that the electrical lab presented, every time stepped into the lab building. Even today, I do not have any rational explanation for that feeling, because I already had had sufficient acclimatization with huge expanse of the LDCE campus, that of very large classrooms, large library and such other infrastructure as compared to my previous experience with the environment that I had had experienced at the schools.

I will take the help of experiences that Dilip Vyas has shared to build the base of my narrative:

“For me Electrical lab was a mysterious and a little scary place. My earliest memory of an experience with electricity was at about seven years old when during a Vastu – house-warming – ceremony at my Mama’s (mother’s brother) newly constructed home in Rajkot, a relative touched some switch and was immediately thrown off on the floor. People said Ramnikbhai was lucky because Rajkot had recently switched to AC current from DC, otherwise he would have been stuck to the switch and may have died!

“With that childhood traumatic memory, I walked into large Electricity lab on the east side of campus with some awe and lot of trepidation. Fortunately, our instructors also were either aware of our awe and inexperience or were scared that some stupid guy touching something and burning him or a machine. (By the way, it was all HIM at that time. No HER. ) And so, they were very insistent on not turning anything up without someone from staff did the final check on wiring connections and, even then, instructor will be the one who will do the honour of flipping the switch. I don’t know about the others, but I was more than OK with that arrangement.

“I do not recall any major up or down incident during Electrical lab sessions.

“There was also, just like CIVIL subjects, little bit of lack of interest (may be a smudge of disdain ? ) for ELECTRICAL. After all we were the chosen Mechanical branch students!! Though in reality, Electrical was on par with Mechanical and some students with better marks were opting for it with their choice. ( In fact, by the time of graduation, Civil Eng. Jobs were easier to find than other branches in those socialist time when Government was the biggest likely Employer of engineers. )

“Another contrast that I felt was that most staffers, and not just lab related demonstrators but department in general, on Mechanical side were more ‘fun’ than the Electrical side.”

+                                 +                                 +

Simultaneous with our electrical engineering lab practicals, in the First Year, we were being inducted into the basics of theory part of the electrical engineering with topics like ‘parallel’ and ‘series’ circuits and electrical devices like motors, transformers etc. Till then, my exposure to ‘the electrical’ was limited to switching off or on the lights only. I even did not any occasion to see even a water filling pump!

However, like the other ‘engineering’ subjects that also we were learning for the first time, I had started to mentally accept ‘circuit diagrams’ as one of the basic tools of communication in the electrical engineering and recognizing the symbols of resistors or motors etc and those for the way they relate to each other in a circuit.

However, at the electrical lab, my encounter with the same real, physical, objects of so much of a different dimension somehow added to the awe that I felt with abstractness of concepts of ‘current flowing into the circuit’ or ‘voltage applied to the circuit’

Here there were boxes lined up across one wall of the lab. Each box had several light bulbs fitted in slots in different rows. As we went closer to the box, we could see that each had several electric bulbs with different wattages. We could, at least, make out that sum of bulbs in different rows would give us different total wattages. We were informed that these are the resistors.

Then as we looked around, we could also see that there were copper-wire-wound coils lined up in different shelves. We were told these were “inductors” of different inductance capacities. I was so naive at that stage, even when I physically see these coils I failed to comprehend that the copper-wire-winding when charged with electrical current, it would ‘induce’ a magnetic field, and hence the name – inductor. I do not actually remember when this knowledge had lighted up in my mind, but today when I think back, I could see how inadequately I was geared up to take up the practicals as the structured medium of learning.

And then came up the most revealing part of the electrical lab experience – connecting the actual circuit. what could be easily squeezed in less than a quarter page of a notebook, was now spread here all across the lab. Between the two objects there were long electrical wires in place of a short line of the circuit diagram, anything from one to three boxes (of electric lamps) for one symbol of a resistor,  a couple coils at a different table as ‘inductors, and so on. And top of all these, the switch was a ‘big box’ with a handle, which we were strictly not permitted to put on or put off!

It therefore can hardly be any surprise that it took me quite some good exposure during the actual career that I could get the real difference between a squirrel cage and a slip ring motor! But, more surprising is the fact that I was already seeing the motors powering the machines in e Workshop practicals, and yet it never struck me to apply the knowledge of motor classification in identifying which type of motor is used for a particular machine!

By the time I had undergone a few more of such experiments, it seemed to me that whatever little I was able to understand in the theory had evaporated in the lab.!

However, before I came up to stage of seriously taking on the fight with that big bull of perceived fear of abstractness of electrical engineering, providence offered me a short cut! Before the end of the First Year, a notice was published that all the students of the First Year desiring a change into another branch can apply for such a change.

I immediately put my bet on the Mechanical Engineering – partly because that was the ‘in-thing’ at that time and partly because I could get respite from studying the electrical engineering for all five years. Early into the second year, lady luck smiled at me, and I got the transfer to Mechanical Engineering.

As I look back, it seems quite clear to me that I must have felt so relived then that I never ever gave a second thought to the possibility of how good (or bad) an electrical engineer been I had to continue with the Electrical Engineering.  Or for that matter, even was I a good enough material for the rigors of mechanical engineering?

I have a confession to make today – I am happy that I do not have to answer that question now !!?

The Micro View of Songs of 1943 – The Duets – Male-Female Duets [2]

G M Durrani, Kaushalya – NainoN Mein NainaN Dinho Daal, O Baanke Nainawale – Angoori – Ram Murti – Gulam Mustafa (G.M.) Durrani

G M Durrani, Rajkumari – Nain Se Nain Milaye Aao – Dawat – Tanveer Naqvi – Vasant Kumar Naidu

G M Durrani, Manju – Laayi Ri Laayi Ri Gajre Le Lo – Nayi Kahani – Wali Sahab – Shyam Sundar

G M Durrani, Parul Ghosh – Aan Milo More Shaym Sanware – Namaste – D N Madhok – Naushad Ali

G M Durrani, Parul Ghosh –Ambua Pe Panchhi Banwara Bole Bole Kya Sunaye Hai – Namaste – D N Madhok – Naushad Ali

G M Durrani, Amirbai Karnataki – Man Re Mat Ro Mat Ro Kaise ManuN – Prem Sangeet – Bharat Vyas – S K Pal

Khan Mastana, Amirbai Karanataki – Tu Aaj Koi Sajan Aisa Geet Suna De – Badalati Duniya – Mohan Sinha – Khan Mastana

Khan Mastana, Zohrabai Amabalewali – Suahaani Suhaani Ho Gayi Suhaani, Sajan Apani Zindgani Ho Gayi Suhaani – Talaash  – A. Karim – Khan Mastana

Vishnupant Pagnis, Kaushalya –Jo Hum Bhale Bure Ho Tere – Bhakta Raj – D N Madhok – C Ramchandara

Vishnupant Pagnis, Vasanti– Mat Kar Tu Abhiman, Jhoothi Teri Shaan – Bhakta Raj – D N Madhok – C Ramchandara

Vishnupant Pagnis, Shyama – Bhagwan Tumahri Daya Se Kitane Anajan Pahechane – Mahatam Vidur – Pt. Narottam Vyas – Harishchandra Bali