Fading Memories…. Unforgettable Songs: December, 2017

Mohammad Rafi’s Solo Song From The FIRST Film With The Music Director: 1950-1951

To commemorate Mohammad Rafi’s anniversaries, we commenced a series of articles on Mohammad Rafi that essentially tried to bring the solo song of Mohammad Rafi with the music director.  We had planned to take up one five-year slot in a chronological order to bring all the first films in which Mohammad Rafi had had a solo song with a music director. The first slot of 1944 to 1948 was covered in Part I and Part II in December, 2016. We have covered the year 1949 of the 2nd five-year-slot of 1949 to 1953.

Presently we will take up years 1950 and 1951 of this 1949-1953 period..

 [For the sake for structured documentation, I will be following the alphabetical sequence of Film names in the post.]


Mohammad Rafi had had 29 solos out of 108 songs in 1950. Of the prominent music directors who had now frequenting Rafi more, Hans Raj Behl had 3 Hindi and Punjabi films with Rafi, Husnlal Bhagatram had 5 films and Naushad had 1, which had Mukesh as lead singer. I find only Akele Mein Wo Gabarate To Honge as the only song that is most recognizable solo.

Hum Ishq Mein Barabad Hai – Aankhen – Madan Mohan – Raja Mahendi Ali Khan

Madan Mohan and Mohammad Rafi’s work together which was to open up a class of its own opens the account. The song is filmed on Shekhar.

Saahil Jo Dubo De Kashti Ko.. Saahil Ki Tamanna Kaun Kare – Baawra – Krishna Dayal – Amar N Khanna

Incidentally, this is one of those songs that Mohammad Rafi has lip-synched for Raj Kapoor.

Jalte Deep Bujh Gaye Chha Gaya Andhera – Jalte Deep – Shardul Kwatra + T K Das – M A Taaj

Here is a song that is pleasant to listen to even though cast in sad mood.

Zamana Jo Aankhe Dikhata Hai Zamana Ko Aankhen Dikhata Chale Chal– Man Ka Meet – Shardul Kwatra – Sarshar Shailani

This song is credited to Shardul Kwatra solely, hence taken up in our present list.

Dekho Dekho Paanv Mein Pahen Ke Paayaliya – Janmashtami – Shyam Babu Pathak – Bharat Vyas

The lyrics do seem playful enough, but difficult to guess how the songs would have been filmed.

Naari Tere Jeevan Ki Ye Karun Kahani – Veer Babruwahan – Chitragupt – Anjum Jaipuri

After a few attempts we get a maiden Chitragupt – Rafi solo combination in this song. Apparently there is not much that would make the song to remember for, except that it is to open one more very fruitful partnership in the years to come.

We end the year with 5 music directors who had had a first solo song recorded for Mohammad Rafi.


Year 1951 has 26 solos from a total of 72 Mohammad Rafi songs. The year had Naushad switching over to Mohammad Rafi for background voice of Dilip Kumar and we have some of the top Mohammad Rafi songs in Deedar. Husnlala Bhagatram also has a twin solo for Mohammad Rafi in Afasana – Duniya Ek Kahani Re Bhaiya – which also was quite popular. Shankar Jaikishan has used Mohammad Rafi for special songs in RK’s Aawara, which is also going to be a very notable trend initself.

Dhanwano Ki Dhan Nagari Ki Sun Lo Ek Kahani – Dashavtar – Avinash Vyas – Sagar Hussain

Avinash Vyas was to use Rafi very selectively in his Hindi and Gujarati film music.

Hey Shankar Hey Pralayankar Rakho Mohe Apni Sharan – Hanuman Patal Vijay – S N Tripathi – B D Mishra

S N Tripathi went onto create a few all-time great of Rafi songs, of which most easily remembered are ghazals of Lal Quila or Ye Hai Janam Janam Ke Phere or a Binaca chartbuster Jara Samane To Aao Chhaliye.or Hatimtai’s Parvar Digar-e-Alam.

Suraj Ghoome Chand Ghoome Ghoome Gagan Sara– Ishwar Bhakti – Sonic – Girdhar – Pt. Narendra Sharma – Trilok Kapoor

1951 seems to be the year of Bhakti Sangeet as far Mohammad Rafi is concerned! Mohammad Rafi was known to deliver his best even for new music directors even when he was at his peak.

Kisiko Iska Pata Ho Na Ho – Jauhri – Pt. Harbans Lal – Tajnath Zaar

For a change, we have a very light song too,

The song has a very interesting second version too:

Poochhiye Na Haal Jee, Palle Nahin Maal Ji – Mukhda – Vinod – Azeez Kashmiri

This is first opportunity when Vinod has been able to use Rafi in a solo (with chorus support) song, that too in a very light situation so tellingly.

Year 1951 also has 5 music directors who scored first solo with Mohammad Rafi. The year, on the whole, seems to be the game turner in the career path of Mohammad Rafi..

We will take up last two years of 2nd Five-Year period of 1949-1953 in the next installment.

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

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


The Micro View of the Songs of 1948 @ SoY – Female Solo Songs – Lata Mangeshkar (3)

The 3rd part of Lata Mangeshkar’s solo songs for 1948 can be said to be a mixed reflection of what we heard in the earlier part #1 and # 2, in that there are songs that went to to become evergreen and that it has a fairly diversified portfolio of music directors too.

Popular solo songs

Chanda Re Ja Re Ja Re Piya Se Sandesha Mora Kahiyo Ja – Ziddi – Khemchand Prakash – Prem Dhawan

Other Solo Songs

Piya Milane Ko Aa, Main To Jeeti Hun Tere Bharose Piya – Majboor – Ghulam Haider – Nazim Panipati

Dil Mera Toda Mujhe Kahin Ka Na Chhoda – Majboor – Ghulam Haider – Nazim Panipati

Daman Hai Chak Chak Hai Mera- Ab Koi Jee Ke Kya Kare Jab Koi Ashara Nahi – Majboor – Ghulam Haider – Nazim Panipati

Dilwalo Dilo Ka Mel Dilo Ka Khel Jo Jit Gaya Wo Hara – Meri Kahani – Datta Koregaonkar – Wahid Qureshi

Nanhi Bundiya Jiya Laharaye Badal Gir Aaye – Meri Kahani – Datta Korgaonkar – Nakhshab Jarachvi

Dekho Duniyawalo Ujhada Hai – Hamari Kahani (Unreleased)Hemant Kedar (Real name: Ramkrishna Shinde) – Banwasi

Mohan Kayun Nahi Aaye – Hamari Kahani (Unreleased)Hemant Kedar – Banwasi

Aao Sej Bichhayen Sajani – Hamari Kahani (Unreleased)Hemant Kedar – Banwasi

Bedard Tere Dard Ko Seene Se Laga Ke – Padmini – Ghulam Haider – Wali Sahab

Tere Naino Me Nindiya Nindiya Mein Sapana, Sapno Mein Sajan – Didi – Mukund Masurekar- Indeevar

Tujhe O Bewafa Ham Zindagi Ka Aasara Samajhe – Ziddi – Khemchand Prakash – Raja Mahendi Ali Khan

Jadoo Kar Gaye Ksi Ke Naina Ki Man More Bas Mein Nahi – Ziddi – Khemchand Prakash – Prem Dhawan

Ab Kaun Sahara Hai Jab Tera Sahara Chhoot Gaya – Ziddi – Khemchand Prakash – Prem Dhawan

In our next episode I plan to sum up My Top Female Solo Songs for 1948.

Business Sutra |4.2| Can the End Justify the Means?

Business Sutra |4| Conflicts

We have covered three episodes of Devdutt Pattanaik’ TV serial on CNBC 18:  Business Sutra.

The first presented to us the most visible form of the business – the corporation: its meaning, its purpose and its action perspective. In the second episode Devdutt Pattanaik discusses Leadership: Role of the leader, Context of the leader and Leadership in different business cycles. The third episode relates to the Business Ethics and Morals:  business ethics and dilemmas, relationship between owner and the organization  and The Right (Dharma) – the Ramayana way and the Mahabharata way.

The present episode, 4th one in the series, deals with Conflicts, wherein we have looked at one of classic set of conflicts – that between the Board and the CEO.

Business Sutra |4.2| Can the End Justify the Means?

Cambridge Dictionary defines the phrase “the end justifies the means” as said about a situation in which the final aim is so important that any way of achieving it is acceptable.

With that in mind, although it isn’t fully misguided to attribute an ultra-realist grey area line of political thinking to the Father of Modern Political Science Niccolò Machiavelli, this consequentialist misquote is an over simplification of Machiavelli’s realist Republican philosophy and the phrase itself never appears in his work in the way in which it is often passed around in modern times (all an isolated and specific sentence “the ends justify the means – Period”).

Consequentialism is the class of normative ethical theories holding that the consequences of one’s conduct are the ultimate basis for any judgment about the rightness or wrongness of that conduct. Thus, from a consequentialist standpoint, a morally right act (or omission from acting) is one that will produce a good outcome, or consequence. In an extreme form, the idea of consequentialism is commonly encapsulated in the saying, “the end justifies the means“, meaning that if a goal is morally important enough, any method of achieving it is acceptable.

Consequentialism is usually contrasted with deontological ethics (or deontology), in that deontology, in which rules and moral duty are central, derives the rightness or wrongness of one’s conduct from the character of the behaviour itself rather than the outcomes of the conduct. It is also contrasted with virtue ethics, which focuses on the character of the agent rather than on the nature or consequences of the act (or omission) itself, and pragmatic ethics which treats morality like science: advancing socially over the course of many lifetimes, such that any moral criterion is subject to revision. Consequentialist theories differ in how they define moral goods.

Some argue that consequentialist and deontological theories are not necessarily mutually exclusive. For example, T. M. Scanlon advances the idea that human rights, which are commonly considered a “deontological” concept, can only be justified with reference to the consequences of having those rights.

A quick look at couple of videos:

Does the End Justify the Means

Learning to Love Machiavelli: Don MacDonald at TEDxBoston

Machiavelli’s Dilemma | Matt Kohut | TEDxBeaconStreet

In the introduction to The Bhagavad Gita According to Gandhi, Gandhiji writes:

He who is ever brooding after result often loses nerve in the performance of his duty. He becomes impatient and then gives vent to anger and begins to do unworthy things; he jumps from action to action, never remaining faithful to any…When there is no desire for fruit, there is no temptation for untruth or himsa. Take any instance of untruth or violence, and it will be found that at its back was the desire to attain the cherished end.

A few pages later he expounds upon the subject.

We should do no work with attachment. Attachment to good work, is that too wrong? Yes, it is. If we are attached to our goal of winning liberty, we shall not hesitate to adopt bad means. 

For such a complex topic, let us see what Devdutt Pattanaik has to say in Segment 2 of the episode 4 – Can the End Justify the Means?, as the Indian Mythology’s point of view.

Governance is always referred to as the spirit of governance because like we’ve said governance needs to go beyond what the rulebook says. It is not just a adhering to the rules, it is about taking into account and keeping in mind the interest of all stakeholders.  So I have a couple of questions that to me seem like governance conflicts and I want to know what our scriptures have to say about them. Can the end justify the means, because I think in various points in the Mahabharat and as laid out in your book as well, Krishna violates every rule of war and yet he does that so as to be able to help the Pandavs win.

Look at the assumption. If the rules are followed then good will happen. This is what we are saying. So rules are almost good. First of all this very idea is alien to Indian because rules exist in a context and the same rule in a different context may not apply. For example you have a rule that says that if you obey the father you are a good son. Now in the Mahabharat, Bhishma obeys his father’s. Father says one day that that he’s unhappy because he has fallen in love with a young woman. The young son Bhishma, a.k.a Devvrat, discovers his father has fallen in love with the a fisher woman. He goes to the fisher woman and says I want you to marry my father. The woman says that you know I won’t marry unless my children become kings and the only way my children become kings if you give up the throne. He says I give up the throne. She further says that  if your children may with fight my children. He says that I will never marry. So the son sacrifices for the father.

Now son sacrificing on father’s word seems good in the Ramayana has a terrible effect in the Mahabharat, because by that one act he destroys the family tree. Al children born after that are not born normally. They were born through the intervention of sages or the gods and what ends up is the Mahabharata the whole fight for the kingdom. So we have to be very careful when we say rules equal to good because as every good lawyer knows that not the letter of the law, but the spirit of the law is important.

Now coming to the Mahabharat, when you’re talking about ends and mean,s let’s ask us as what happens at the end of the Mahabharat? On one side you have the Kauravas and the other side is the Pandavas. Let us ask ourselves you know what the victory would be like. At the end of the war, 100 of the Kauravas are killed. Good, the villains are dead so that must be natural law. But let’s look at the narrative and this is unfortunately in modern retellings we don’t focus – each and every son of the Pandavas is killed.  Five sons born of Draupadi are also killed. Draupadi now argues all the villains have been killed but so are all of my sons too. What kind of victory is that?  I have got the kingdom but the children are dead. What happens to Krishna Hi is cursed that 36 years later his entire family will be destroyed. So in the end, everybody has lost.

The story of Mahabharat is not about winning the war but is about empathy. Remember when the war is being fought Krishna goes to Duryodhan and says I want peace. Duryodhan then says no I don’t want to have peace. At the end they enter into an agreement a contract that for 13 years these people who have gambled away the kingdom will go to the forest. When they come back they will get their kingdom again. It was a very clear contract right. Athe end of that period when the one part has been complied with the other party has to honour his end of the bargain. Duryodhan then violates the contract (defaults). He argues on calendar, he argues on time, he argues that you know maybe they didn’t really do it, for I caught them before that. He  keeps arguing about technicalities. Finally Krishna says enough is enough. How about giving them five villages and he says no. Krishna said how about the house with five rooms. Duryodhan says no not a needlepoint of territory will I give. This is where his intention is being released. Till then he was following the law, Even now, he was following the rules, what he said was well within the rules, but his intention was dishonorable. So he had to be pushed to the corner and when he was pushed to the corner, it resulted in war.

But that war, in turn, ended up destroying most people.

If the war had not been fought this King, who doesn’t care for anybody else, would have thrived. Resultantly, what kind of a society would have existed?

What kind of God do we worship in Krishna when he broke every rule of that war just to ensure that the Pandavas win? I understand that his intent was to restore fair and just governance, or to ensure that a king like Duryodhan does not get to continue. Yet how can the end justify the means?

What is the end of the Mahabharat not the war? You see that is the twelfth chapter of the Mahabharat. There are six more chapters after this which again is not part of common translation. Do you know what is the original name of the Mahabharat ? It is called Jaya, Jaya as in victory. There’s another word for victory in India – it is called Vijaya. Why have they given the strange name, Jaya, to this book? Because, the story does not end with the war, which was   the bloodshed where nobody is a winner.Krishna says a king who behaves like an animal then the societies that he rules is good as not existing. Kauravsa were killed, Pandavs suffer heavy damage.A the end of 36 years we are told that the Pandavas died and the eldest brother Yudhisthira, who is supposed to have created this wonderful Kingdom where all rules are followed, goes to heaven. As he enters the heaven, and can you imagine what, the first thing he sees there are 100 Kauravsa. This is called Swarga Aharonika Parva. Remember Yudhistithir has walked up the mountain; he has given up everything – his kingdom, his wealth, his cows, his gold. Even his wife dies, he doesn’t turn around. He have given up relationships His brothers die, yet he doesn’t look back. He just keeps walking upfront.. Now when he comes to the gates of heaven, this great man who’s given up everything, he sees Kauravas. He is furious. He says how these murderers can be kept over there when my brothers or my wife are not here. He keeps arguing. His brothers are in hell because in those 36 years perhaps they were not all that great. We don’t know much but there are stories about some details of misdeeds. For example, Drupadi favored one of the husbands, Bhim was a glutton and Arjuna was very insecure and conceited. So he is told that for each of the reasons, they were banished to hell. The gods asks Yudhisthira as to why is he so angry. He says the gods are being unfair because the villains cannot be in heaven.

Now imagine why Vyasa is putting this twist in the tale. Because he wants to communicate something deeper He says, Yudhistira, you have been a Great King, you have given up everything except your anger. You have you have already killed these bad guys. They have been punished. You have ruled a kingdom for 36 years. So why have you not forgiven them yet. If you can’t forgive them, if you can’t purge your heart of anger what have you actually given up? Why should heaven be yours?

Oh, so Yudhisthir doesn’t get a place in heaven?

No. he is being asked that unless you purge your heart of anger and fill it up with forgiveness you cannot enter Heaven. That is Vijaya, victory over others but not Jaya, the victory over you. That will only happen when there is empathy in your heart. Yudhisthira does not display empathy. He is unable to forgive the villain. It is not eternity. They have done the crime and have paid for it.

While Ramayana talks about perfect King, Mahabharat talks about the process of creating the perfect King.  The process of perfect king is for the CEOs and the leaders and managers to ask themselves why are they doing what they are doing?  Is it coming from exploitation of people and then make lots of money, travel in BMWs? Is that the point of living because then you’re no different from the lion the alpha male. In ancient India you were supposed to sit on the lion throne which means you are not supposed to be the lion. You have to outgrow the lion. You do not have to be this great alpha male and dominate society. It is not about Vijaya, defeating the other alpha males, It is about Jaya which is conquering the animal inside you that enables you to not be Duryodhan and say not a needlepoint of territory I will give, not an inch in negotiations. You get this false sense of triumph. It is about discovering that why do kings exist. You don’t exist to make money for yourself. You exist to ensure wealth is generated and distributed so that everybody in your kingdom can discover the purpose of life.

So does Yudhisthir still get a place in heaven?

Eventually everyone does

So, do the rest of the Pandavas, the four of them, are not in heaven?

There are infinite lives. This is just one of their many lives.

Okay at the end of that life does he get a place in heaven?

 I’m waiting for the next episode. 🙂

I have one last question on this I can understand why the Pandavs went to hell. You explained it. Draupadi favored one out of five husbands; Bhima was a glutton: Arjun was vain; Yudhisthir still held on to his anger, But then why did the Kauravs get into the heaven, considering that they are no better off.

It is like what happens during appraisals. I don’t think he’s good enough to get the raise. Or the guys whom you hate get the raise and guys whom you love don’t get the raise. So we decide we know the rules of God. The best time to meet people is post-appraisal. Everybody imagines who they consider as heroes and who they consider villains. Somehow it never matches that of the management. The management has heroes and villains of their own. The upstream and downstream gaze is very different. Everybody believes they know who belongs in heaven and who belongs in hell.

I am not saying that the Kauravs belong in hell. I am curious to know that despite everything that they did, denie the Pandavs their rightful Kingdom, why did they end up going to heaven?

Well, one the reason is because of the land on which they died. That was considered to be very auspicious. It was just luck , a very good luck to happen to die on a land which was considered to be holy, that’s all. But you see the fact is your stay in heaven is not permanent. It is not heaven with a capital H. It is heaven with a small h, which is a destination to stop over. You will live in heaven for only a limited duration of time and then you will move on to the next life and the next life. It is like you know that Swarg is a place where you go when you have got enough equity and hell is the place for you with has too much debt.

So, is a right means for a right is more a matter of chance?

It is like using equity or debt to fund your growth. Too much of either is likely to be dysfunctional. And what is ‘too much’ is matter of the context!  The end justifies the means” managers often are so blinded by their own success, they don’t see the limitations of their approach, they actually believe that they can continue like this, or they believe that this is the only way they can be successful.

In our journey of Devdutt Pattanaik’s TV serial Business Sutra, we will move on to the 5th episode – Education.

Note: The images used in this post are the irrevocable property of their respective creator. They have been taken up courtesy the internet, so as to illustrate the point under discussion.

The Micro View of the Songs of 1948 @ SoY – Female Solo Songs – Lata Mangeshkar (2)

The 2nd tranche of solo songs of Lata Mangeshkar for 1948 presents a bit more varied range of music directors’ works. Interestingly Anil Biswas again has a major share in this set of Lata Mangeshkar’s solos, with at least one song that has remained popular even now when as it was then.

Dil-e-Nashad Ko Jeene Ki Hasrat Ho Gayee – Chunariya – Hansrah Behl – Mulkraj Bhakari

Jab Dil Mein Tere Dard Ho Aur Rand Tera Juda Ho – Chand Sitare – Premnath – Ishwar Chandra Kapoor

Aye Dil Ka Maalik Mujhe Tose Gila Ha – Chand Sitare – Premnath – Ishwar Chandra Kapoor

Meri Naav Chale Dhire Dhire – Chand Sitare – – Premnath – Ishwar Chandra Kapoor

Ab Kisko Sunaun Main Katha Krishna Murarai – Dukhiyari – Gyan Dutt – F M Kaisar

Kab Tak Kategi Zindagi Kinare Kinare – Gajare – Anil Biswas – G S Nepali

Preetam Tera Pyar Gup Chup Kya Jale Sansar – Gajare -Anil Biswas – G S Nepali

Kab Aaoge Balama… Baras Baras Badali Bhi Bhikhar Gayee – Gajare 0Anil Biswas – G S Nepali

Ghar Yahan Basane ye The Ham Ghar Hi Chhod Chalein – Gajare – Anil Biswas – G S Nepali

Kahe Ko Byaahi Bidesh Re Sun Babul Mere – Heer Ranjha – Aziz Khan – Ameer Kushro


Khayyam was a music director in this film under pseudonym Varmaji. He has used this song in his musical epic – Umarao Jaan (1981) – albiet in Jagjit Kaur’s voice

Interestingly, we can find few more interesting versions – in Suhagan (1954)  and a mujra in Adha Din AAdhi Raat (1977) in Asha Bhosle’s voice too.

YT search will yield some more NFS versions as well.

Kaise Katoon Ye Kali Raatein, Aa Balama, Aa Saajana  – Heer Ranjha – Aziz Khan – Wali Sahab


I could not locate the soft links to:

Mit Ke Rahega Ye Jahaan – Gajare  – Anil Biswas – G S Nepali

Chali Dulhaniya Baaraatiyo Ke Peechche – Gajare  – Anil Biswas – G S Nepali

We will conclude Lata Mangeshkar’s solo songs of 1948 in  our next episode.

Carnival of Blogs on Golden Era of Hindi Film Music – November, 2017

Welcome to November, 2017 edition of Carnival of Blogs on Golden Era of Hindi Film Music.

November, 2017 – month of a century+10 birth day of Prthviraj Kapoor and passing away of a noted thumri and khayal exponent Girija Devi.

Remembering Prithviraj Kapoor on His Birthday – the Dubsmash Way – Prithviraj Kapoor was honored with the Padma Bhushan in 1969 and the Dadasaheb Phalke Award in 1971.

Clockwise: From Top Right: Aawara (1951), Mughal-e-Azam (1960), Sikandar (1941)

No Singer Like Girija Devi Will Ever Be Born: Pandit Jasraj 

The Depth of Girija Devi’s Fluid Notes Will Continue to Anchor the Memory of Banaras by Navina Jafa – The energy that buoyed Girija Devi’s creativity as well as her magical execution of thumri and khayal emerged out of the mehfils.

Credit: Still from the documentary Girija Devi: A Lifetime in Music by Madhu Chandra, Debapriya Adhikary and Samanwaya Sarkar

We remember here her most famous rendering: Ras Ke Bhare Tore Nain: Raag Bhairavi

We will now take up tribute posts:

Shyama, the Impish Girl in the Dungarees, Is No MoreKaran Bali

There was magic whenever Geeta Dutt lent her voice for Shyama. This vibrant singer and exuberant actress complemented each other perfectly through several films like Shrimatiji.

5 Roles That Could’ve Changed Sanjeev Kumar’s Destiny as an Actor are those of Mirza Ghalib (in Mirza Ghalib, 1988); B V Pradhan in Saaransh (1984); Jailer Raghuvir Sinh in Kaalia (1981); Gabbar / Veeru in Shlay (1973) and Rana Bhojraj in Meera (1979).

‘Who’s Chitragupta?’ Only the Hindi film music composer of numerous forgotten gemsRudradeep Bhattacharjee – A reassessment of the composer, whose birth centenary falls on November 16, is long overdue.

[N.B.: I have picked up a two random, less heard, Mohammad Rafi songs, at the end of our present episode.]

Chitragupt- A Tribute also has picked a few rare songs:

Suna Hai Jab Se Mousam- Ramudada (1961) Kamal Barot / Lyrics- Prem Dhawan

Gori Tori Banki Chitwan Mein – Aadhi Raat Ke Baad (1965) Manna Dey / Lyrics- Prem Dhawan

The Uncommon Roshan – What sets legendary composer Roshan apart from his peers? What – if any – is the hallmark of his compositions? What makes him so different and so intriguing? Monica Kar takes a look.

A 16th November, 2015 article of Peeyush SharmaThe Magic of the Melodies of Roshan and Chitragupt – does not merely connect up Roshan and Chitrgupt through 16th November, respectively death anniversary and birth date….

Actor, producer, novelist and raconteur: Archival documentary reveals Prem Nath’s many roles : ‘Amar Prem Nath- Last of the Titans’ has been directed by his son, Monty Nath, and is being screened on Zee Classic…… Kalicharan (1976) contains a meta-moment: as the characters played by Prem Nath and Ajit play a game of chess, a police officer’s portrait hangs in the background. The figure in the painting is Prem Nath’s father.

Remembering Ghulam Haider on his Death anniversary is all-round memoir of Ghulam Mohammad’s major songs.

Remembering AMJAD KHAN on his 77th Birth Anniversary through his iconic dialogues.

Lata Sings For RD has a few less remembered songs: like, Din jaa rahe hain raaton ke saaye :Doosri Sita (1974) – Lyrics: Gulzar

The November 2017 episode of Fading Memories, Unforgettable Songs was dedicated to Salil Chowdhury’s Hindi Film Songs in Other Languages.

Here are posts on other subjects as well:

Percussion Discoveries: Kathak Bols Can Be Great Just for Listening, and I Have Finally Found a Queen of the Dholak! – The path of discovery takes us from LP recording of SItara Devi to 1951 film Dholak’s song Mausam Aya Hai Rangeen, in which dholak is being played all female cast (on the screen). The hunt for a real female dholak player does not find any result from India or Pakistan or the UK or the U.S.A. It lands up at some place closer to the countries in the Western hemisphere that obviously influenced the Latin-flavored jazz within that song from the film Dholak. Her name is Chantal (referred to at different times, I see, as Chantal Mangal or Chantal Khaderoe), and she is from the Caribbean – specifically, Suriname. She is seen performing @ Sarnami khana pakana and a live Baithak Gana. YT search leads to a couple of more performances – here and here.

Bol Ri Kathputli: Personifying the Puppet Perfectly – Among the memorable dances picturised in Hindi films, Bol Ri Kathputli from Kathputli (1957) is an innovation in terms of choreography and music. Anand Desai and Antara Nanda Mondal explore the finer nuances of this exuberant story of the puppet personified by Vyjayanthimala, written by Shailendra, composed by Shankar Jaikishan and sung by Lata Mangeshkar.

Folk Dances in Bollywood’ presents some popular folk dances of Bollywood.

Merchant Ivory classic ‘Shakespeare Wallah’ restored, to have limited re-release along with 29 other Merchant-Ivory productions.

And They Made Classics – Director-Writer Duo of Bimal Roy and Nabendu GhoshAntara Nanda Mondal – Directed by Ratnottama Sengupta, And They Made Classics goes behind-the-scenes through an interview with Nabendu Ghosh that was taken in 2005 where he talks about his association with Bimal Roy. The film explores behind the scenes stories about the casting, the arguments, the reactions, the way they worked, along with clips, stills, documents.

[N.B.: Antara Nanda Mondal had published Nabendu Ghosh: The Master of Screen Writing on 26th March, 2016 to commemorate the birth centenary of Nabendu Ghosh.]

The Story of Babul mora naihar chhooto hi jaye-The Queen of Thomris is historical narrative of The Famous thoomari, with video clips of different versions.

RD Burman and His LyricistsPeeyush Sharma and Antara Nanda Mondal take us through a journey of discovering and enjoying gold nuggets of RD Burman’s music created with some of the most prolific lyricists he worked with.

‘Aaj Phir Jeene Ki Tamanna Hai’ from ‘Guide’ is an ode to life – In Vijay Anand’s 1965 film, Waheeda Rehman finally let rips after a lifetime of sorrow and neglect.

S D Burman’s Love and Hate for Lata traces some of S D Burman’s great Lata Songs

Madhubala, As Anarkali, Unveiled In Madame Tussauds Delhi

My Favourite ‘EYE’ Songs lists songs that describe a certain quality of the eyes, it can be romantic, naughty, sad, quiet, magical, frightened or just beautiful!

Incomplete Films: Ek Tha Raja Ek Thi Rani

Ek Tha Raja Ek Thi Rani saw Nargis paired opposite Kishore Kumar for the first time, a most unusual pairing. The film, written by Inder Raj Anand, had them both in double roles, in a tale of mistaken identities

Controversy in Bollywood Films  discusses some of those Bollywood films which made controversy at the time of their release.

Is that really a lesbian moment in ‘Khwab Bankar Koi Aayega’ from ‘Razia Sultan’? – Kamal Amrohi’s historical is chiefly remembered for its soundtrack, which includes a daring clinch between Hema Malini and Parveen Babi

There is Always a Story Behind a Great Song bring forward some of these interested inside stories to the readers.

In our series Micro View of Best Songs 1948 @SoY of Best songs of 1948: And the winners are?, we continued with the posts on Female Solo Songs. Having heard Suraiya, Geeta Dutt, Shamshad Begum and Raajkumari, we explored solos songs of Surnder Kaur, Other Female Singers and the 1st of 3 parts of Lata Mangeshkar solos.

We will begin the end of the present post with a post on The 11 Emotions of Mohammad Rafi which has presented Mohammad Rafi’s ‘ability to express the emotions which make up different slices of life across 11 different Ras (emotions).

We will also listen to two of the great but receded-from-the-memory-songs of Chitragupt:

Dharati Aaazad Hai Aaasmaan Aazad Hai – Sindbad The Sailor (1952)

Itni Badi Duniya Jahan Itna Bada MelaToofan Mein Pyar Kahaan (1963) – Prem Dhawan

I trust you will always feel free to proffer your suggestions for making this series of posts more lively and informative….

The Micro View of the Songs of 1948 @ SoY – Female Solo Songs – Lata Mangeshkar (1)

On a very rough count we may be able to list not more than 40 solo songs of Lata Mangeshkar for 1948. The numbers appear neither not very insignificant nor very impressive when compared to the number of solo songs of other female singers individually and all others put together collectively.

Let us first listen to the songs:

As a most unexpected coincidence, the first two films, in the alphabetical order, happen to be the ones for which music was composed by Anil Biswas and Khemchand Prakash. They are the two big names who will appear in the names of music directors who gave the outstanding Lata solos for 1948.

Two of the Anokha Pyar songs were filmed on Meena Kapoor’s voice, but records were cast in Lata Mangeshkar’s voice. We find several theories for such an incidence. At this stage we are not very much concerned wth those stories. We have listed here Meena Kapoor versions as well .

Ek Dil Ka Lagana Baaqi That To DIl Ko Laga Ke Dekh Liya – Anokha Pyar – Anil Biswas – Zia Sarhadi.

Meena Kapoor

Mere Liye Woh Gam-e-Inzaar Chhod Gaye – Anokha Pyar – Anil Biswas – Behjad Lakhanavi

 Meena Kapoor version

Yaad Rakhana Chand Taron Ye Suhani Raat Ko – Anokha Pyar – Anil Biswas – Zia Sarhadi

This is a two version solo. Meena Kapoor version is in a very different mood.

Jeevan Sapana Toot Gaya – Anokha Pyar – Anil Biswas – Zia Sarhadi

Mukesh’s twin version

Mere Phoolon Mein Chhipi Hai Jawani – Anokha Pyar – Anil Biswas – Behjad Lakhanavi

Ghadi Ghadi Poochcho Na Jee, Kinse Meri Preet Hai – Anokha Pyar – Anil Biswas – G S Nepali

Bhola Bhala Ri Mora Balama Na Maane – Anokha Pyar – Anil Biswas – Zia Sarhadi

Door Jaaye Re….Raah Meri Aaj Teri Raah Se – Asha – Khemchand Prakash – L Meghani

Ek Moorat Mahohar Re, Mori Akhiyan Ko Tarasaye Re – Asha – Khemchand Prakash – L Meghani

Kit Jaaye Base Ho Murari Tohe Dhoondhe Rdha Thari – Asha – Khemchand Prakash – L Meghani

Chet Chet Kar Chal Chatur Nar Tera Marag Anjana Hai – Asha – Khemchand Prakash – L Meghani

We will take up 2nd batch of Lata Mangeshkar solos of 1948 in our next post.

Carnival of Quality Management Articles and Blogs – November, 2017

Welcome to November, 2017 edition of Carnival of Quality Management Articles and Blogs.

Our topic for November, 2017 is Design Thinking.

We had noticed the subject in our previous episode in an article Apply Design Thinking to Quality Practices.

I have exhaustively drawn excerpts from Prem Ranganath’s article The Art of Quality, which states that Design Thinking is an opportunity to humanize quality and continuous improvement.

As may be seen in the above Visual from IDEO as a reference, traditionally quality and continuous improvement initiatives are largely driven by viability and feasibility considerations. Integrating design thinking with improvement initiatives brings the ‘human’ element into focus, by driving conversation on ‘desirability’ of the solutions being proposed for implementation.

This Visual shows the integration of a Design Thinking flow represented by the steps Empathize, Define, Ideate, Prototype and Test with the DMAIC approach for continuous improvement. Integration of design thinking methods adopt a humanized approach to characterizing (challenges and opportunities) current state.

Design Thinking was popularized by David M. Kelley and Tim Brown of IDEO and Roger Martin of the Rotman School. A very good, short video on the topic was recently published by the Harvard Business Review blog . For a more detailed explanation please read the paper, “Design for Action” written by Brown and Martin.

As stipulated by a paper recently published by Creativity At Work, “Design Thinking is a methodology used by designers to solve complex problems, and find desirable solutions for clients. A design mindset is not problem-focused; it is solution focused and action oriented towards creating a preferred future. Design Thinking draws upon logic, imagination, intuition, and systemic reasoning, to explore possibilities of what could be—and to create desired outcomes that benefit the end user (the customer)”.

The three major stages of Design Thinking are:

  1. Observe customer behavior; define unarticulated needs
  2. Ideate, Prototype, experiment and test
  3. Bring the new concept to life; open new markets

What differentiates Design Thinking from traditional Voice of Customer collection approaches is the emphasis placed on observation of behaviors rather than relying on customers’ input to satisfaction surveys.

Michael Sabah has curated several articles on the subject – Design Thinking: Get a Quick Overview of the History; DESIGN THINKING | methods & tools; How Design Thinking will fix Design Thinking; Prototyping in Design Thinking: How to Avoid Six Common Pitfalls

Why is Design a CEO Matter? – Tim Brown – CEO of IDEO – In order to compete today, CEOs need evolutionary skills that will ensure their survival in a fast-changing climate. Business fitness now means learning how to be agile, resilient, and creative. It means adapting to the marketplace in quick generational cycles. That requires a brave new brand of leadership, and from our vantage point, as we work alongside companies young and old from around the globe, it requires being able to think like a designer.

A few videos to better understand the concept:

Design Thinking – Tim Brown, CEO and President of IDEO

‘What Is Design Thinking?’ gives better understanding of what design thinking is all about.

How It Works: Design Thinking – For more information on IBM Design Thinking, please visit: http://www.ibm.com/design

Stages of Design Thinking

Stanford Webinar – Design Thinking = Method, Not Magic – In this webinar Bill Burnett, consulting assistant professor and master in design thinking at Stanford University, as he shares three barriers organizations face when adopting an innovative culture and how to overcome them.

ABC Nightline – IDEO Shopping Cart – In 1999, ABC’s Nightline tried to describe IDEO’s approach by commissioning us to design a better shopping cart, and filmed the entire process. 17+ years later, the video is still shown in classrooms across the globe as a lesson in design thinking and team collaboration.

We will now turn to our regular sections:

For the present episode we have picked up one article The 4 Dos Of Change Management @ the column Effective Management @ Management Matters Network.

  1. Build a business case – Spell out why change is needed.
  2. Communicate the changes systematically – share the right things with the right people at the right time, or there is great risk of inadvertently rev up the rumor mill
  3. Mobilize your employees from the onset – When employees feel involved, they’re more invested in and supportive of the effort—and less likely to offer resistance.
  4. Roll out in phases and celebrate small wins

The reality is that change is happening all around us all the time, leaving us with two choices: embrace it to get ahead of it and manage it proactively, or resist it and let it drag us to our fate.

ASQ CEO, Bill Troy section does not have anything of interest at present.

For the present, we continue with the practice of picking up one article form ASQ.org site: Forward Progress – Looking back at quality’s evolution over the past 50 years and seeing where the movement is headed:

We now watch one of the latest ASQ TV  episodes:

  • EFFECTIVE COMMUNICATION USING QUALITY TOOLS – Sam Yankelevitch, CEO, Xpress Lingo Solutions, discusses the importance of using quality tools to improve invisible processes like communication to positively impact our physical processes.

Jim L. Smith’s Jim’s Gems for the month of October, 2017:

  • Dissatisfaction : It is easy to look for others to blame for our failures, discontent and dissatisfaction. Maybe that’s part of our human frailty. The alternative is to choose to embrace our failures, fully own them and be responsible for our own dissatisfaction. The result is that our willingness to own it will make it go away.
  • Quality and Lean Partnership must be linked. The purpose of quality has always been to concentrate on the process and identify sources of variation, control or eradicate them, and provide the customer, as much as is possible, product they are willing to purchase. Lean, Six Sigma, or for that matter any tool, must take this role of quality management into consideration.

I look forward to your active participation in enriching the blog carnival as we pursue our journey in exploring the happenings across quality management blogs…………

Note: The images depicted here above are through courtesy of respective websites who have the copyrights for the respective images.