In July 2011, I opted to retire from my active career as a practicing management professional. In the 38 years that I pursued this career, I had opportunity to work in diverse capacities, in small-to-medium-to-large engineering companies. Whether I was setting up Greenfield projects or Brownfield projects, nurturing the new start-ups or accelerating the stabilized unit to a next phase growth, I had many more occasions to take the paths uncharted. The life then was so challenging!
One of the biggest casualty in that phase was my disregards towards my hobbies - Be with The Family, Enjoy Music form Films of 1940s to mid-1970s period, write on whatever I liked to read, pursue amateur photography and indulge in solving the chess problems.
So I commenced my Second Innings to focus on this area of my life as the primary occupation.
At the end of four years, I am now quite a regular blogger. I have been able to build a few very strong pen-relationships.
I maintain contact with 38-years of my First Innings as freelance trainer and process facilitator.
The woods are lovely, dark and deep.
But I have promises to keep,
And miles to go before I sleep,
And miles to go before I sleep.
Welcome to June 2021edition of the IXth volume ofCarnival of Quality Management Articles and Blogs.
We recapitulate that the 2021 theme for the IXth volume of our Carnival of Quality Management Articles and Blogs is Future of… as the basis for Creating and Maintaining Sustained Success.
Our topic for he discussion for the month is – The Organization for the Future.
In the then then 1992 classic In Search of Excellence, the authors Tom Peters and Robert H. Waterman, Jr. found a saga of passion in the forty-three great companies that led to enunciation of some of the then them valuable management principles…The idea of passion in large business was a shape-shifter. In those days, managers of large companies were expected to be strategic and financial in their focus. Efficiency was prized. Products were things to be counted and shipped, not loved. If quality was a problem, it was a systemic error and not connected to employee morale
Today most of those companies either have ceased to exist or have been acquired, because basically they were not designed to last… Today, a learning organization should be asking hard questions about the sustainability of its enterprise: what will it take to survive this period of business disruption and technology advancement and what must change in the organization’s design to thrive? …. Designing a robust and sustainable organization begins by asking four questions:
On Process: What are the key processes required to survive and thrive? Even a learning organization can’t change everything at once.
On Structure: What kind of structure will enable changes and the successful implementation of new technologies? We are getting close to the end of the hierarchical, bureaucratic organization.
On Technology, Itself: Who in the organization is accountable for technology innovations and their implementation? Technology has a history of costing a lot and not delivering much value.
And on People: Is our challenge of change a matter of culture, behaviour, or skills? As Drucker wrote in his introduction to the Foundation’s book, “The organization is, above all, social.” Its “purpose must therefore be to make the strength of people effective and their weaknesses irrelevant.”
How will we work in the future? – Most debates so far have focused on how skill requirements and individual jobs will change because of the ongoing technological and demographic transformation. In this talk, Markus Reitzig takes the discussion a step further by reflecting on how current trends such as AI, increasing knowledge complexity, population growth, and rising economic inequality will affect our collaboration more broadly. While we will continue to work in organizations, these will look quite different from the traditional companies of today. Managers will have to re-think how to structure activities to attract and retain future talent.
Professor John P. Kotter sees that the major challenge for business leaders today is staying competitive and growing profitably amid increasing turbulence and disruption. The solution that he proposes is a dual system, that is organized as a network—more like a start-up’s solar system than a mature organization’s Giza pyramid—that can create agility and speed. It powerfully complements rather than overburdens a more mature organization’s hierarchy, thus freeing the latter to do what it’s optimized to do. It makes an enterprise easier to run while accelerating strategic change. This is not a question of “either/or.” It’s “both/and”: two systems that operate in concert. 
McKinsey’s research in 2018 identified nine imperatives, highlighted in Exhibit here below, that can possibly separate future-ready organizations from the pack.
The research noted that three of the imperatives proved notable pockets of bold action: taking a stance on purpose (83 percent of companies we studied), establishing ecosystems (83 percent), and creating data-rich tech platforms (73 percent).
Further, when looked across the three categories (“who we are,” “how we operate,” “how we grow”) that together comprise the nine imperatives, it was noted that top-performing companies didn’t concentrate their efforts on any single category but instead tended to act across all three.
Indeed, in an increasingly winner-takes-all economy in which even above-average performance won’t guarantee returns above the cost of capital, we would expect the bar on organizational innovation to only rise.
Why Adopt Risk-Based Thinking? – Organizations should adopt risk-based thinking to make better decisions, particularly when they must contend with challenging, fast-paced or otherwise uncertain environments…., because it prompts organizations to invest time and resources toward planning for the unknown…… Addressing risk also helps companies long term. The time colleagues spend contemplating, finding, and dealing with risks also helps them understand organizational processes — a shared learning progression that strengthens culture and business results. …. The organizations that adopt risk-based thinking can reduce the frequency, likelihood, and impact of losses, while also reduce the response time to unexpected events. The process fosters better communication across the organization, which makes for new opportunities for growth and improvement.
I look forward to your views / comments / inputs to further enrich the theme of Future of… as the basis for Creating and Maintaining Sustained Success.
Note: The images depicted here above are through courtesy of respective websites who have the copyrights for the respective images
The backward journey of Best Songs for TheYear @ SoY ssemed to end at the 10th milepost of 1945, having mesmerizingly passed through 1955, 1953, 1951, 1950, 19491948, 1947 and 1946 on the way. However, as it happens in the life, as you seem to reach one destination, journey to the next destination unfolds. In the case of Best songs of year too, the second phase of the journey has opens up with a series that takes up the previous series further backwards, beginning with year 1944 with Best songs of 1944: And the winners are?
As such, The Micro View of the Best Songs for the Year also joins this journey of more uknown than knowns.
We first recapitulate the key points of the SoY overview article:
The famous tabala-palyer, Alla Rakha, who later also used name A R Qureshi for film music, gave music for Ghar Ki Shobha in which he also sang some songs. Snehal Bhatkar, later year music director in a number of films, sang under the baton of Anil Biswas in Lady Doctor. Anil Biswas himself sang a very nice Holi chorus song in Jwar Bhata, composed by him. Many other music directors, too, sung playback in the year, such as Vasant Desai, Bulo C Rani and C Ramchandra (under other music directors too). The lyricist Bharat Vyas sung some superb songs in the year.
Chal Chal Re Naujawan was the first film made by the newly established production house Filmistan, led by Ashok Kumar and S Mukherjee, an offshoot from Bombay Talkies.
In the film Panna, Shamshad Begum had sang the songs, but HMV records were issued in the voice of Rajkumari, as Shamshad Begum was contracted to Xenophone Records.
Bhartrihari became the last film of Jahanara Kajjan in Bombay and she sang her last two songs. After this film she migrated to Pakistan.
Bhool jana chaahti hun bhool paati hi nahin (Jwar Bhata) has a solo version and a duet version.
Pradeep wrote lyrics in the name of his daughter Miss Kamal for the film Kadambari (made by Lakshmi Productions) because of his contract with Bombay Talkies.
Baby Meena (Meena Kumari) played the role of the child Noorjehan in Lal Haveli.
If you compare Naushad in 1944 with Anil Biswas in 1943 (Kismet, Hamaari Baat) and in earlier years (Roti, Basant, Bahen, Aurat, Alibaba, Hum Tum Aur Wo, Gramophone Singer and Jagirdar), one may consider 1944 as the year in which Naushad has started gaining ground vis-à-vis Anil Bishwas.
In short, 1944 is a kind of watershed year.
1944 had 85 films from which 769 titles of songs are known. Of these songs, singers for more than 354 songs remain unidentified. Of the 415 songs for which singers are identified, 65 songs are male solos, 240 female solos and 110 duets. We will have to wait for the detailed micro view to see how many of the uncovered songs are available on YT or in audio form.
For the year under review, Special songs are indeed special as the list contains songs sung by music directors and the lyricist in addition to Mohammad Rafi’s duet with Shyam Kumar and a Johrabai Ambalewali gem. I have brought these songs on the same page with Memorable Songs of 1944.
The stage is now set to commence our journey into the Micro View of the Songs of 1944. I plan to take up only those songs here which are not covered under Memorable Songs of 1944 and Special Songs of 1944.
MY TOP Male Solo Songs MY TOP Female Solo Songs MY TOP Duets
MY TOP music director
are concerned for the year 1944.
All the posts that will appear on this subject here have been tagged asSongs of 1944.
Dattaram (a.k.a. Dattaram Lakshman Wadkar) – B: 1929 | D: 8 June 2007) unfortumately, popular as the rhythm arranger for Shankar Jaikishan’s orchestra and for his ‘dattau’s thekka’, and not as an independent music director, in the Hindi film world circle. Many stories and theories have been written on how great he was in so far as rhythm is concerned or whether he was creative enough to be a music director or was he commercial-minded enough to build on his early success and so on. Even when his career as independent music director does not have many (successful) films, it was apparent that his talent had not weathered away with the strikes of misfortune.
We have commenced a series on Dattaram that focuses on the songs from the films where he is independent music director, to commemorate the month of death anniversary.
Till now we have covered, Dattaram’s compositions from the films during
Dattaram did not have any film in 1964. Many of his films seemed to be not doing well on the box office. This would have affected flow of whatever offers Dattaram would normally have been receiving. So, Dattaram seemed to have done what anyone perhaps would have done under the circumstances. He signed C grade films, so that his name remains active as independent music director. The year 1965 has three films, More Man Mitwa, in the Magahi language and two Daara Singh starrers – Rakaa and Tarzan comes to Delhi.
We will take all the available YT songs from the three films for which Dattaram composed music in 1965 for the present episode.
Morey Man Mitwa (1965)
The regional language film More Man Mitwa was a social drama, with Naaz, Sudhir and Sujit Kumar in the lead roles.
Kusum Rang Lehnaga Managde Piyawa Ho – Mohammad Rafi, Asha Bhosle – Lyrics: Harshchandra Priyadarshi
The song has weaved in all the local flavors of the subject of demands, and ready acceptance thereof, for a colorful dress and all the paraphernalia that goes with it. Dattaram has used a strong dholak-based rhythm for a folk-dance tune.
More Mann Mitwa Suna De O Gitwa Balamawa Ho Pritava Jagai He More Man MaN – Mukesh, Suman Kalyanpur
The song is a simple romantic duet, set to a lusty rustic flavor.
Mere Aansuon Pe Na Muskuraa Kai Khwab The Jo Machal Gaye – Mubarak Begam – Harishchandra Priyadarshi
Dattaram has scored a scoop here as this song remains one of the most remembered Mubarak Begum songs. This song can easily throw away all the theories of good banner, reputed lyricist or a top-rung singer and popular artistes on the screen to become a song a popular while earning a nod from the critics as well.
One would certainly not miss the easy glide path Mubarak Begum takes to reach a high octave at the beginning of each stanza and then smoothly revert back to the low scale, so fluently maintains control over the diction as well as melody through the entire passage.
After the stunning box -office success of initial few movies, Daara Singh was flooded with a string of movies in this period. Each of the film had the then struggling, but undoubtedly highly meritorious music directors. Daara Singh never claimed any histrionic talents, nor he would have aspired for such an unexpected flow of films while honing out his wrestling skills. Most of the music directors or Daara Singh’s co-female stars could not attain the escape velocity that could take them to a higher orbit of A grade films, except the Laxmikant Pyarelal (from amongst the music directors) and Mumtaz (from amongst the lead female artists).
Asad Bhopali was the lyricist for the film.
Aadmi Majbur Hai Taqdeer Par Ilzam Hai, Baat Kehne Ki Nahi, Ye Sab Tera Hi Kaam Hai – Mohammd Rafi
The song is apparently being sung as a matter of a discourse by a monk to the devotees to the temple. But, close-up shots of the female protagonists, Mumtaz and Ganga, the two ends of a love triangle around Daara Singh (Raaka),seem to reveal the deeper meaning that these words have to their lives.
Dattaram has cleverly used the presence of devotees as chorus for the interlude music.
Aside Trivia: While surfing through a relevant post on Atul’s Song A Day, I learnt the Ganaga, the other female artist in the song, also has played another major heroine’s friend role in Padosan (1968). She smells rat in the singing of the song Kahena Hai Aaj Tum Ko Ye Paheli Baar, by Sunil Dutt and clears off the smoke veil to reveal that it is in fact Kishore Kumar who is real the playback voice on the screen.
Hum Bhi Naye Tum Bhi Naye Dekho Sambhalna – Manna Dey, Mohammed Rafi, Kamal Barot, Asha Bhosle
The song is a typical public dance song arranged in the films which have dacoit or similar background.
Dil Ki Betabiya Le Chali Hai VahaN, Zindagi Hai JahaN, Hal-e-dile Puchho Na – Lata Mangeshkar
The song is filmed on Ganga, the female actress, that we talked in detail, in the previous song,
Dattaram has used flute as the key instrument through this happy mood song.
Bolo Na, Koi Mila Raah Mein, Achha, Aur Dil Kho Gaya, Phir Kya Hua, Are Haye Gajab Ho Gaya – Asha Bhosle, Chorus
Asad Bhopali’s out-of-the-box use of a quick enquiry-explanations session among the lead actress and her friends has very cleverly been weaved into the song by Dattaram. Dattaram also has very smoothly raised the pitch in the last line of the stanzas to match the meaning of the lyrics and mood.
Teri Meharbani Hogi Teri Meharbani, Haye Badi Meharbani – Mohammad Rafi, Asha Bhosle
Dattaram comes up with one of best-in-the-genre qawwali composition, with Mohammad Rafi and Asha Bhosle adding their won theatrics to add the greater effect to the lyrics of Asad Bhopali.
Ho Nain Se Nain Ulajh Gaye Re SaiyaN, Dil Ki Baat Samajh Gaye Re SaiyaN – Asha Bhosle
Dattaram has deftly blended use of western rhythm instruments in the opening and interlude pieces with that of dholak in the singing parts of mukhada and stanzas. The song does not lose cacophonic even though it is a very fast paced composition.
Tarzan Comes To Delhi (1965)
The Indian version of Zimbo came on the silver screen with a 1958 film, wherein Azad, a Parsee body-builder as the hero. The film had struck chord with a very wide cross section of population in the urban and rural North India. That led to the entry of another the then big name in the wrestling – Daara Singh – to the films. A torrent of various Tarzan and Kin Kong movies were reeled off in quick succession, with each film yielding excellent returns to the investments.
Anand Baxi is the lyricist.
Sun Re Sun Albele Kabse Hum Hai Akele…. Pyar Jata Ke Hari Dil Mein Bula Ke Hari, Ab To Aaja Aa Aa Aa – Suman Kalyanpur
Induction of Tarzan to the ways of modern civilization cannot be complete without a visit to a professional cabaret dance on a hotel dance floor!
Husn Iqrar Kare Ishk Inkar Kare, Aise Nadan Se Ab Kaise Koi Pyar Kare – Lata Mangeshkar
The song gives vent to the sweet tangs of frustration of the heroine who has not been able to get the hero, Tarzan, to the civilized way of falling into love to a beautiful lady. Dattaram comes up with a sweet composition even while all western instruments in the composition.
Kari Kari Ankhiyo Se Pyari Pyari Batiyo Se, O Sajna Balma Haye O Sajna Balma Haye, Kahe Meri Nindiya Churaye Haye – Mohammad Rafi, Asha Bhosle
Master Bhagwan joins the danseuse BelaBose to a duet dance song to enliven the evening of a community event.
Dil Lagale Dilwale Tujhe Samjhate Hai, Ye Umar Phir Na Aayegi – Asha Bhosle, Usha Mangeshkar
A hip-swing dance seems to have been organized to entice Tarzan to some designs of the villain!
Nigahe Char Karu Ye Meri Tamanna Hai, Kisi Se Pyar Karu Ye Meri Tamanna Hai – Asha Bhosle
The suave urban belle makes a direct, singing -dancing approach to the jungle Hero, in his own ecosystem!
Ventkatesh Rao watched the US version of the show The Office obsessively, but would keep wondering what made that show so devastatingly effective, and elevates it so far above the likes of Dilbert and Office Space. He figures out that it is a fully realized theory of management that falsifies 83.8% of the business section of the bookstore. The theory begins with Hugh MacLeod’s well-known cartoon, Company Hierarchy, and its cornerstone is something Venkatesh Rao will call The Gervais Principle, which supersedes both the Peter Principle and its successor, The Dilbert Principle. Outside of the comic aisle, the only major and significant works consistent with the Gervais Principle are The Organization Manand Images of Organization.
Idealized organizations are not perfect. They are perfectly pathological. So, while most management literature is about striving relentlessly towards an ideal by executing organization theories completely, this school, which Venatesh Rao calls the Whyte school, would recommend that you do the bare minimum organizing to prevent chaos, and then stop. Let a natural, if declawed, individualist Darwinism operate beyond that point. The result is the MacLeod hierarchy. It may be horrible, but like democracy, it is the best you can do.
The Sociopath (capitalized) layer comprises the Darwinian/Protestant Ethic will-to-power types who drive an organization to function despite itself. The Clueless layer is what Whyte called the “Organization Man” but the archetype inhabiting the middle has evolved a good deal since Whyte wrote his book (in the fifties). The Losers are not social losers (as in the opposite of “cool”), but people who have struck bad bargains economically – giving up capitalist striving for steady paychecks. Consider this passage from William Whyte’s The Organization Man in the 1950s –
Of all organization men, the true executive is the one who remains most suspicious of The Organization. If there is one thing that characterizes him, it is a fierce desire to control his own destiny and, deep down, he resents yielding that control to The Organization, no matter how velvety its grip… he wants to dominate, not be dominated…Many people from the great reaches of middle management can become true believers in The Organization…But the most able are not vouchsafed this solace.
Today, any time an organization grows too brittle, bureaucratic, and disconnected from reality, it is simply killed, torn apart and cannibalized, rather than reformed. The result is the modern creative-destructive life cycle of the firm, which Venkatesh Rao calls the MacLeod Life Cycle.
A Sociopath with an idea recruits just enough Losers to kick off the cycle. As it grows it requires a Clueless layer to turn it into a controlled reaction rather than a runaway explosion. Eventually, as value hits diminishing returns, both the Sociopaths and Losers make their exits, and the Clueless start to dominate. Finally, the hollow brittle shell collapses on itself and anything of value is recycled by the sociopaths according to meta-firm logic.
Which brings us to our main idea. How both the pyramid and its lifecycle are animated. The dynamics are governed by the Newton’s Law of organizations: the Gervais Principle, which is –
Sociopaths, in their own best interests, knowingly promote over-performing losers into middle-management, groom under-performing losers into sociopaths, and leave the average bare-minimum-effort losers to fend for themselves.
The Gervais principle differs from the Peter Principle, which it superficially resembles. The Peter Principle states that all people are promoted to the level of their incompetence. It assumes that future promotions are based on past performance. The Peter Principle is wrong for the simple reason that executives aren’t that stupid, and because there isn’t that much room in an upward-narrowing pyramid. They know what it takes for a promotion candidate to perform at the top level. So, if they are promoting people beyond their competence anyway, under conditions of opportunity scarcity, there must be a good reason.
Scott Adams, seeing a different flaw in the Peter Principle, proposed the Dilbert Principle: that companies tend to systematically promote their least-competent employees to middle management to limit the damage they can do. This again is untrue. The Gervais principle predicts the exact opposite: that the most competent ones will be promoted to middle management. The least competent employees (but not all of them — only certain enlightened incompetents) will be promoted not to middle management but fast-tracked through to senior management. To the Sociopath level.
And in case you are wondering, the unenlightened under-performers get fired.
Venkatesh Rao states that – “This is where Gervais has broken new ground, primarily because as an artist, he is interested in the subjective experience of being Clueless (most sitcoms are about Losers). For your everyday Sociopath, it is sufficient to label someone clueless and manipulate them. What Gervais managed to create is a very compelling portrait of the Clueless, a work of art with real business value.”
Venkatesh Rao is so much enamoured by the Gervais’s point of view that he feels that Gervais deserves Nobel prizes in both literature and economics.
 The Gervais principle – Venkatesh Rao talks at the Economist
Welcome to May 2021edition of IXth Volume of Carnival of Blogs on Golden Era of Hindi Film Music.
We pay our tribute to Vanraj Bhatia who left for heavenly abode on 07.05.2021.
Vanraj Bhatia dies at 93, He was best known for the music of films such as Ankur, 36 Chowringhee Lane and TV show Tamas, has passed away at the age of 93. The veteran music composer was battling poor health and financial constraints.
‘An Indian film without songs is meaningless’ – Jyoti Punwani draws memories from her interviews with the legendary composer – Vanraj Bhatia himself explained what made his music so unique…. “The first duty of music is to express the film’s texture, and the second is to be able to stand on its own feet. It must be absolutely perfect,” he said…. “When I compose, I make the music matter in the film, even if the director pushes it into the background. Like my teacher would say, you must speak the same language as everybody else, but infinitely better.”
I have always liked Vanraj Bhatia’s interview with Irfan, of Rajya Sabha TV – Guftagoo with Vanraj Bhatia for his candid views. The song that Vanraj Bhatia refers to @22.48 is Barse Ghan Saari Raat – Tarang (1984) – Lata Mangeshkar – Vanraj Bhatia – Raghuvir Sahay
It’s a long narrative number describing a deserted wife’s desolation. About the song, Lataji recalls, “It was one of the most difficult and complex songs of my career. [Ref: Vanraj Bhatia’s CHALLENGE for Lata Mangeshkar – SUBHASH K JHA]. The story that is connected with the song is also narrated by Harish Bhimani in In Search of Lata Mangeshkar’ (1955, Harper-Collins, ISBN 81-7223-183-0) – excerpted as hereunder, as a footnote on page 102 – “Composer Vanraj Bhatia rushed in excitedly….exclaiming, “(Lata) Bai stayed back yesterday to listen to my recording !”……”….The intent of this passage is that Lata Mangeshkar, who never waited to check back on her recording, was keen to know how the song was recorded.
We now move on to other tributes and memories:
The Masters: Majrooh Sultanpuri – Majrooh’s simple turns of phrase expressed the most profound emotions. With more than 6,000 songs in over 300 films to his credit, Majrooh’s poetry traversed the gamut from the soulfully romantic to philosophical, cynical and devotional.
Sharada: Of love that is beyond labels – Starring Meena Kumari and Raj Kapoor, LV Prasad’s Sharada is the kind of romance that makes you question your understanding of love, and how meaningful relationships can exist, even with the strangest labels.
Awara: Of nature vs nurture – Starring Raj Kapoor, Nargis and Prithviraj, Awara is set in an era where climbing out of the vicious cycle of poverty was near impossible, and strangely enough, times haven’t changed much in the last 70 years.
The Catch-22 Songs which juxtapose options and thus, present dilemmas. Some are frivolous whereas the others are weighty.
In continuation to our tradition of ending the post with a few songs of Mohammad Rafi, each one of which basically has a link with the topics discussed in the present post.
Tum Hase To Gam Sharmaya – Dana Pani (1953) – with Shamshad Begum – Mohan Junior – Kaif Irfani
Aate Jaate Aankh Bachana ..Haye Re Tera Jawaab Nahin – Mehbooba (1954) – with Shamshad Begum – OP Nayyar – Majrooh Sultanpuri
Mujhe Jag Ki Bana De Malika, Phir Malik Ban Mere Man Ka – Dark Street (1961) – with Suman Kalyanpur – Dattaram – Gulshan Bawra
Shokhiyan Nazar Mein Hain – Aasra (1966) – Laxmikant Pyarelal – Annad Bakshi
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.
Welcome to May 2021edition of the IXth volume ofCarnival of Quality Management Articles and Blogs.
We recapitulate that the 2021 theme for the IXth volume of our Carnival of Quality Management Articles and Blogs is Future of… as the basis for Creating and Maintaining Sustained Success.
We base our discussion on the subject for the present episode on A TED talk, Back to the future (1994), from the playlist The history of the future. In the talk, Danny Hillis outlines an intriguing theory of how and why technological change seems to be accelerating, by linking it to the very evolution of life itself. The presentation techniques he uses may look dated, but the ideas are as relevant as ever…. In essence, the talk has this to state on its key theme of accelerating changes –
The humanity has started abstracting out. We’re going through the same levels that multi-cellular organisms have gone through — abstracting out our methods of recording, presenting, processing information….In the process, we have speeded up time scales. The process is feeding on itself and becoming autocatalytic. The more it changes, the faster it changes.
There is an equally strong school of thought that thinks otherwise.
‘If the pace of change really were unprecedented, then conventional wisdom holds we’d better darn well slow it down, so no one gets hurt. Either way, the commentators warn, “buckle up.” Here is one, by Alvin Toffler in 1970.:
‘ “It has become a cliché to say that what we are now living through is a “second industrial revolution.” This phrase is supposed to impress us with the speed and profundity of the change around us. But in addition to being platitudinous, it is misleading. For what is occurring now is, in all likelihood, bigger, deeper, and more important than the industrial revolution. Indeed, a growing body of reputable opinion asserts that the present movement represents nothing less than the second great divide in human history, comparable in magnitude only with that first great break in historic continuity, the shift from barbarism to civilization”.
‘Why have people long believed that their eras were unprecedented when it came to the rate of change? There are two reasons. First, at least today, it is hard to get attention if you say that “there’s nothing new here, at least in terms of the pace of change.” Second, it’s simply human nature. Most of us overestimate change in a few things around our lives and ignore most of the rest that changes very slowly, if at all.
‘None of this is to say that technology-driven change isn’t happening. Of course it is—and it’s making our lives much better. But the pace of change appears to be no faster than in prior eras, and just as economies did fine despite Luddite impulses then, ours will do fine now. So, let’s all take a deep breath and say together: “Technological change is not accelerating, but it would sure be nice if it would.” ‘
Scott Brinker has formulated Martec’s Law, which states, Technology changes exponentially, organizations change logarithmically…..there have been hundreds of best-selling books written on the difficulties of personal and organizational change. Empirically, the limit of change for humans is less than linear. In other words, it’s not feasible for an organization to change faster than that. But it’s certainly possible for an organization to change more slowly — or not at all. In fact, in the absence of good leadership, stagnation seems like the default outcome. But even with great leadership, an organization can’t win by outracing technology. It needs a more nuanced strategy….In A.G. Lafley’s book, Playing to Win: How Strategy Really Works, he drives home the point that strategy is choice. It’s decisively choosing to do certain things and to not do others….That is the crux of technology management. We can’t adopt all technological changes, but we can consciously choose some. Great technology management is choosing which changes to absorb — ideally those that are best aligned with the organization’s overall strategy….In the graph, it’s intentionally deciding what’s in (the red shaded area) and what’s out (the blue shaded area)….. To succeed, technology management must explicitly address how those technologies will be absorbed into the operations and the culture of the organization.
A successful tech-enabled transformation requires organizations to make progress on several paths simultaneously. … Only by following a structured, comprehensive playbook can companies translate their transformation priorities from strategy to action. A two-step methodology supported by several enablers can provide companies with the direction, priorities, and organizational capabilities to maximize the value of such investments. Indeed, companies that took a comprehensive approach to their transformation generated more than twice as much value as organizations focused solely on technology improvements. 
We have taken up one article from Jim L. Smith’sJim’s Gems this month:
Commit to Improvement – Most continuous improvement programs are treated as the latest management fad; therefore, people look at it as just another “program of the month” being pushed by management. …This is not the way the organization conducts its other business. In fact, the continuous improvement effort is often at odds with the existing processes and metrics, so it is destined to limp along on its way to mediocrity and eventual failure…. Continuous improvement is more about rigor and discipline than it is about technique.
Rules: Good or Bad? – English actor and author Alan Bennett once said, “We started off trying to set up a small anarchist community, but people wouldn’t obey the rules.” … We equate rules with the difference between order and chaos. We often, quite negatively, associate rules as being an obstacle to success. …Depending on your perspective, those seen breaking the rules are either bad people or trailblazers and pioneers…These quotes express more accurately captures the essence— “Learn the rules like a pro, so you can break them like an artist” (Pablo Picasso ) or “Know the rules well, so you can break them effectively.” (the Dalai Lama)…. Although much has changed in the last year and the near future can look a little daunting, understanding the rules of before, what is happening now, and how it may affect us moving forward is always good practice.
The Putt’s Law, formulated by Archibald Putt, in 1981, apparently can be seen as applicable to the technology world. But if one can see beyond the obvious, it is as universally applicable as two other laws – The Peter Principle and The Dilbert Principle- that we have looked into in so far as the issue competence (or incompetence) is concerned! Like such laws and the books that contain these full-grown discussions on the concerned eponymous management principles, the first reading is a matter of sheer joy of a reading humorous satirical book. However, more of what is written sinks in, one starts feeling more serene, as one starts realizing that what is being discussed there is right here, all around, each one of us.
Archibald Putt himself is an accomplished technocrat in a high-technology company. During his work, he has got opportunity to closely analyze the hierarchical intricacies of the high-technology or R& D or advance project management fields. In the first of a series of papers published in Research & Development journal, in 1976, his tenet was that only way to avoid Peter’s level of incompetence syndrome was to create creative incompetence – a high level of incompetence in some area that does not affect one’s present performance but does assure there will be no further offers of promotion. Unlike hierarchies in other fields, creative incompetence is the rule rather than the exception in hierarchies in science and technology. As a result, many low-level positions remain staffed by competent persons who never reach their level of incompetence. However, as is the case in general, successful technocrat would not like to be chained down by the limited ambitions and vision. Any normal (successful) person would aspire for the position of eminence in a technical hierarchy.
The matter is further compounded by the real-life situations when frequently there is no way to judge whether individual is competent or incompetent to hold a given position. In other words, there is no adequate competence criterion for technical managers. In complex technological projects, the outcome of the project is most strongly affected by preexisting but unknown technological factors over which the project manager has no control. In many a case, the goals or objectives are set even before a manager is chosen.
The lack of an adequate competence criterion combined with the frequent practice of creative incompetence in technical hierarchies results in a competence inversion, with the most competent people remaining near the bottom while persons of lesser talent rise to the top. It also provides the basis for Putt’s Law, which can be stated in an intuitive and non-mathematical form as follows:
Technology is dominated by two types of people: those who understand what they do not manage, and those who manage what they do not understand.
Archibald Putt put his observation in these papers in more detailed and organised form in a book ‘Putt’s Law and the Successful Technocrats’ in the year 1981. The book presented more than one law and more than one corollary to each law. The book was revised in 2006 as ‘Putt’s Law and the Successful Technocrats – How to Win in the Information Age [ISBN: 978-0-471-78893-5; February 2006; Wiley-IEEE Press; 184 Pages]. Since all the laws and the ensuing corollaries were still valid, none these was dropped in the new addition. However there several more additions. The most significant additions relate to advances in information technologies that have changed forever the way people work and interact with each other. New analyses, first revealed in this edition, will be valuable to all who aspire to win in the Information Age. The new revision also includes recently developed Method of Rational Exuberance, which practically guarantees a rapid rise in management. The revised edition also answers the often-asked question, “Can Putt’s Law be broken?”
Part One, “Putt’s Primer,” is an introduction to the guidelines needed to succeed in technological hierarchies.
Part Two, “The Successful Technocrat,” consists of 11 chapters that present the tale of I. M. Sharp, who went from being an average high school student to being a successful technocrat.
Part Three, “Basic Putt,” consists of seven chapters that introduce a methodology that technologists can use in the management of high technology projects.
Part Four, “Advanced Topics,” consists of six chapters that explain how to select projects, evaluate ideas, and thrive in a technological organization.
Part Five, “Putt’s Canon,” consists of three chapters that summarize all the laws, corollaries, rules, and precepts presented in the book, serving as an excellent reference.
The author also states in his Preface to the book that ‘some scholarly types have suggested that the writings in this book should be viewed merely as humorous satire. Holding that view can inhibit the success of an otherwise competent technocrat. It is not the view of many successful technocrats who studied and used the lessons of the book. While winning the game, they laughed just as often as others, especially on the way to the bank.’
As we end this discourse, it would be interesting to note that ‘Archibald Putt’ is a pseudonym, whose actual identity is still not revealed. He has served on government advisory committees, managed basic and applied research, and held executive positions in a large multinational corporation. He received his PhD degree from a leading institute of technology and has served as president of an international technical society.
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For such a talented person, we cannot expect that he has adopted this pseudonym without any purpose. Therefore, some more search is called for.
The Archibald of Archibald Putt can be seen to yield different meanings. The dictionary meaning of Archibald is ‘distinguished and bold.’ And Putt is a gentle stroke that hits a golf ball across the green towards the hole. So, one meaning of Archibald Putt is a gentle push by a distinguished and bold noble man! It is clearly redundant to say that such a gentle push by distinguished and bold person can resonate many times more effectively than any amount of roof-top shouting.
References in English Language and Usage give more interesting insights :
The Online Etymology Dictionary explains: – British World War I military slang for “German anti-aircraft fire” (1915) supposedly is from black humor of airmen dodging hostile fire and thinking of the refrain of a popular music hall song, “Archibald, certainly not!”
This source quotes Ernest Weekly’s An Etymological Dictionary of Modern English (1921) with an alternative explanation: – “It was at once noticed at Brooklands [where much aviation development and testing was carried out prior to 1914, and portrayed in the film Those Magnificent Men in their Flying Machines] that in the vicinity of, or over, water or damp ground, there were disturbances in the air causing bumps or drops to these early pioneers. Some of these ‘remous’ were found to be permanent, one over the Wey river, and another at the corner of the aerodrome next to the sewage-farm. Youth being fond of giving proper names to inanimate objects, the bump near the sewage-farm was called by them Archibald. As subsequently, when war broke out, the effect of having shell bursting near an aeroplane was to produce a ‘remous’ reminding the Brookland trained pilots of their old friend Archibald, they called being shelled ‘being Archied’ for short. Any flying-man who trained at Brooklands before the war will confirm the above statement”.
If we take this background of ‘Archibald’ then, Archibald Putt would mean a gentle push by an anti-aircraft gun, which is marvelous tongue-in-cheek oxymoron. In the present case, it serves the purpose of the author who also putts the fire power of his tenets like the famed accuracy of German anti-aircraft fire.
Manna Dey, a.k.a. Prabodh Chandra Dey, (1 May 1919 – 24 October 2013) had sang more than 4000 songs in all languages. He has had some phenomenally successful romantic songs with almost all major actors of his times. But the lady luck seemed to bend upon ensuring him a ‘next-best’ place to him. The Hindi film industry considered Manna Dey too good for his own good. And in an industry once you are cast in a die, you remain stuck to that mold.
We commenced an annual series – Chale Ja Rahen Hai, from 2018 wherein we focused on remembering his relatively less heard songs on this platform. As has been our practice, we commenced our journey from the beginning of his singing career and have been progressing forwards in the chronological order. Till now we have covered his songs for the year(s)
Anil Biswas has imparted his own touch to this traditional bhajan.
Sangeet Hi Shakti Iswar Ki … Bhagat Ke Bas Mein Hai Bhagwan, Mango Milega Sab Ko Daan – Shabab (1954) – Naushad – Shakeel Badayuni
This again is bhajan, set to semi-classical tune. Naushad, in a rare use of Manna Dey’s voice, has used Manna Dey’s voice quality to a telling effect.
Jati Jati Hai … Aaj Naiya Meri…. Nila Hai Akash Dharati Hari – Baadbaan (1954) – Timir Baran S K Pal – Uddhav Kumar
We have selected this song over more traditional bhajan, Jai Deva Ho (with Asha Bhosle), because it being based on a Bengali folk tune.
Ye Jag Rain Basera Bande, Na Tera Na Mera – Ilzaam (1954) – Madan Mohan – Rajinder Krishna
We have a film from Madan Mohan’s early part of the career.
A singer is seen passing on the road singing this song. However, that voice has struck some chord with Meena Kumari, who runs after the singer.
As such, we see even a relatively new entrant like Madan Mohan too using Manna Dey for such ‘niche’ song.
1955 had two another great success to Manna Dey’s credit – Shree 420 and Seema. Each of Dil Ka Haal Sune Dilwala, Pyar Hua Ikrar Hua and Mud Mud Ke Na Dekh represented a different genre and Manna Dey as Raj Kapoor was playback, as well as singer, was hugely popular in each of these songs. Tu Pyar Ka Sagar Hai can be classified as prayer, for which Manna Dey was already in the process of being typecast. So, the great success of the song only went ton to fortify the strength of the cast.
Murli Manohar Krishna Kanhaiya, Jamuna Ke Tat Par Viraje Hai – Jhanak Jhanak Payal Baje (1955) – With Ustad Amir Khan Saheb, Lata Mangeshkar – Vasant Desai – Diwan Sharar
Vasant Desai Has been using Manna Dey’s voice for a variety of songs. The present song is a semiclassical piece that has been used as a dance song. Manna Dey sings @ 4.48, for Gopikrishna who plays Krishna in this dance song.
The music of the film was indeed highly successful, but that success was normally considered as an add-on to the over success of the film. So, neither Vasant Desai or even singers could make much of this success into far-reaching commercial success.
Chal Chal Paani Hamari Zindgani, Ye Chal Ke Rukna Jane Na – Amanat (1955) – with Asha Bhosle – Salil Chaudhury – Shailendra
The present song represents typical small celebrations in in a poor rural rea. Manna Dey comes in with alaap @1.40 and then takes over the next stanza on behalf of a village tradesman.
Aan Milo Aan Milo Shyam Sawarey – Devdas (1955) – with Geeta Dutt – S D Burman – Sahir Ludhyanavi
Here we have typical example of Manna Dey not being used as main singer in the film. In fact, he along with Geeta Dutt, seem to have been selected because the song is based on Baul Bengali folk tune.
Saajan Ki Ho Gayee Gouri – Devdas (1955) – with Geeta Dutt – S D Burman – Sahir Ludhyanavi
This is song which is being rendered by the same Boul singers as in the previous song, but Paro has now grown as an adult. The songs reflect the feelings of adult Paro, in the song by these singers. Manna Dey and Geeta Dutt very deftly reflect the mood the song.
Hosh Me Aa O Murakh Bandey – Kundan (1955) – Ghulam Mohammad Shakeel Badayuni
This essentially a background song which leaves a vicarious inspirational message to the key protagonist. That seems to be the reason why Ghulam Mohammad, who has not used Manna Dey much, seems to have leaned towards choosing Manna Dey as playback voice for the song.
Ha Main Lanka Naresh …. Mere Dus Hai Shis – Insaniyat (1955) – with Mohammad Rafi – C Ramchandra – Rajinder Krishna
Here again Manna Dey sings for a character that plays Ravan in the is belle. The song has Agha in the focus, but he lip-syncs playback of Mohammad Rafi.
Naino Me Neer Liye, Hriday Mein Peer Liye – Oonchi Haveli (1955) – Shivaram Krishna – Bharat Vyas is again a background genre song for which I could not locate a YT link.
Similarly, Bharat Mata Ke Laadlo Mein Hove Na Ladai – Teen Bhai (1955) – with Laxmi Shankar – Arun Kumar – Bharat Vyas is an interesting composition, which is based on Baul folk music, deriving its main message form A Ramayana episode.
Manna Dey is his usual best even in these non-romantic songs. It seems that perhaps it was this versatility that led him to be cast a niche-singer who was perceived as being too versatile for the lead actor who was supposed to sing songs on the screen that common man on the street can also easily sing.
For Manna Dey fans, these songs are a treat to remember and for others these offer a glimpse of hidden treasure of Manna Dey’s songs
We will continue remembering Unforgettable Songs that seem to Fading away from our Memories every second Sunday of the month next month too……..
Disclaimer: All images are sourced from net. All copyrights of the respective image remain with the original owner of the image.
Scott Adams launched his Dilbert comic strips in 1989 in a handful newspapers. The immediate fad of ‘downsizing’ fueled the success of the strip. As result, Scott Adams left his job and took up Dilbert comic strip as his full-time cartoonist occupation. Dilbert is that beloved engineer in Scott Adam’s wry observations, of managerial blunders, oversights, and plain weird behaviour. at the modern workplace in his comic strip of the same name. Dilbert is a typical, trapped in a cubicle cog, working for an unnamed tech company. Dilbert and his coterie of co-workers are tormented by the bottom-line blindness of accounting, the cruelty of human resources, the vacuity of marketing, and, above all, the clueless whims of management, personified by a nameless “pointy-haired” boss.
With such an unflattering view of business, Adams is often deemed an “anti-management guru.” But he has struck a powerful chord in the business world.
In the Dilbert strip of February 5, 1995, Dogbert states that “leadership is nature’s way of removing morons from the productive flow”. This is the cornerstone of Scott Adams Dilbert Principle, which is derived from the huge fan-mail emanating from the real-life experiences of his large fan-following.
The principle is stated as “companies tend to systematically promote their least-competent employees to management (generally middle management), in order to limit the amount of damage they are capable of doing.”
The Dilbert Principle is related to the Peter Principle. In the case of Peter Principle, Peters promoted because of their competence in the present roles, find themselves, ultimately, in a situation where they are no more competent in the new role. Instead, the Dilbert Principle seems to promote incompetent employees (though it works toward the employees’ detriment), to a position where they are no longer blocking the productive workflow of the company.
In effect, The Dilbert Principle assumes that “the majority of real, productive work in a company is done by people lower in the power ladder”. In the WSJ article referred here before, Scott Adams remarks that “Your heart surgeons and your computer programmers—your smart people—aren’t in management. …That principle was literally happening everywhere.” (😐)
The Peter Principle realizes that someone particularly competent in one role may not necessarily be s competent in another role, particularly at higher positions. Fully recognising that requirements for each role is extremely specific, one can not be expected to have natural or previously acquired skills to be competent in the new role. The Dilbert Principle seems to recognise such situations and seeks to move such ‘incompetent’ people to a place where they can do the least possible harm to the organization’s interests. In other words, rather than ‘promoting’ them as a reward for the meritorious work, they are quietly placed in the least damaging roles. An earlier formulation of this effect was known as Putt’s Law (which we take up next).
Fortunately, all organizations are not necessarily similar to the Dilbert-workplace, as can be seen in the case of one documented exception of Malden Mills. However, we do not want to enter into a debate whether ‘modern’ workplaces indeed reflect these “laws” truly. But the as one reads these books, whatever be his (or her) position, one does identify oneself with (good or bad or ugly) effects of these ‘laws’.
On the whole, these book(s) have always turned out be good reading, and quite insightful (if you can see through beyond the veil of satire).