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Carnival of Blogs on Golden Era of Hindi Film Music

Carnival of Blogs on Golden Era of Hindi Film Music – Volume X – June 2022 edition

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

As Songs of Yore completes twelve years, I take up the opportunity to acknowledge that it was SoY that took me to take up blog as  a serious source of reading and then active blogging on my own as the major activity of my second innings .

We now move on to our section on tributes and celebrations for the month –

Sunil Dutt fell in love with Nargis as she took care of his ill sister: ‘I knew she was the one’Sampada Sharma – On Nargis’ birth anniversary, here’s looking back at the noble woman who had empathy for everyone and it was this quality of hers that had Sunil Dutt fall in love with her.

Radio Ceylon — the Sri Lankan channel India turned to when AIR banned film music in 1952Raghav Bikhchandani – In its heydays, Radio Ceylon had managed to capture all of India’s major vernacular markets, by dividing the day’s programming schedule into Hindi, Tamil and Telugu segments.

Remembering a Genius….Sajjad Hussain on his birthday 15th June. He was fond of lengthening a certain alphabet of a word in the song so that the next word had to be offbeat, adding a certain complexity to the song.

Nabendu Ghosh’s Dadamoni: The Life and Times of Ashok Kumar – How this reluctant actor, jittery and inept at first, and with a thin voice that is almost jarring—ended up as one of Hindi cinema’s most popular and biggest stars, is the subject of Nabendu Ghosh’s Dadamoni: The Life and Times of Ashok Kumar (Speaking Tiger Books, 2022).

While continuing the year-wise review of Lata Mangeshkar’s career, the 1951 – Lata Mangeshkar had around 225 songs for 49 films to consider in total. It included around 155+ solos and 60+ duets.

On her 86th birth anniversary The Many Moods of Nutan, presents Nutan in her myriad moods

O Nigahen Mastana – Remembering Nutan on her birthday (4th June) with some of her iconic B&W film songs

Asad Bhopali – The Unsung Ghalib presents 10 songs, each of a different mood,  penned by Asad Bhopali

June 2022 episode of Fading Memories, Unforgettable Songs takes up Dattaram – Dekhi Teri Duniyaa Arre Dekhe Tere Kaam, remembering the songs composed in the years 1968 and 1969. Till now we have covered, Dattaram’s compositions from the films during

1957 to 1959 in 2018,

1960 and 1961 in 2019, and

1962 and 1963 in 2020

1965 in 2021

We now move on to posts on other subjects –

How Satyajit Ray achieved historical accuracy in his first Hindi film ‘Shatranj ke Khilari’Sarbajit Mitra – The search for the appropriate visual references took Ray to different archives and repositories, including the India Office Library in London.

Also read:

Why Lata Mangeshkar’s Dil Jo Na Keh Saka lost to Mohammad Rafi’s versionAJAY MANKOTIA – Probably the main reasons for the twin song genre was expediency — when you have a good product, why not have more than one singer sing it. The institution of twin songs began to lose its lustre from the ’80s onwards. But a marked change was taking place even with these few songs.

The Sea Side Songs, while focussing on songs on the beach, restricts the choice to the songs where entire song is sung on the sea shore.

Haunting, Charming Humming Songs – Humming means any melody sung without the lyrics – this can include a melody sung with an open mouth like ‘aaa’ or ‘ooo’. The humming part normally comes before the actual song, like an Alaap in classical music. However, there are also songs where the humming sequence comes in the middle of the song or at the very end.

Songs of Narcissists are the songs that indulge in abashed self-praise.

Ten of my favourite bicycle songs, on the World Bicycle Day (3rd June), wherein each song is ‘sung’ by someone on a bicycle through at least three-fourths of the song

My Favourites: Train Songs with a condition that the person singing the song had to present on the train (or on top of the train) for the entirety of the song

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

We have inched forward with Male Solo Songs [1] in Micro View of  1943. As can be expected, after a very lucid analysis – Best songs of 1943: Wrap Up 1  –  the SOY Award for the Best Male Playback Singer of 1943 goes to KL Saigal for his songs in 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 will institute a series wherein we continue to listen to Mohammad Rafi and Lata Mangeshkar’s duet with a music director for the first time in a Hindi film, every month for the rest of the 2022,

Ja To Se Naahin BoluN Ghunghat NahiN KholuN – Samrat Chandragupta (1958) – Bharat Vyas – Kalyanji Virji Shah

Kuhu Kuhu Bole Koyaliyan – Suvarna Sundari (1958) – Bharat Vyas – Adi Narayan Rao

Koi Ikrar Kare Ya Koi Inkarar Kare …… Tum HasiN Ho Tumhein Sab Dil Mein Jagah Dete Hai … Main Tumhi Se Poochti Hoon – Black Cat (1959) – Jan Nissar Akhtar – N Dutta

Is Zindgi Ki Daud Mein Kaante Bikher Gaya………Maine Peena Seekh Liya – Goonj Uthi Shahnai (1959) – Bharat Vyas – Vasant Desai

Un Par Kaun Kare Ji Viswas – Kavi Kalidas (1959) – Bharat Vyas – S N Tripathi

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.

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Memoire

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

Cycling mode of commuting had its own glory and glamour, apart from it being a conveniently available mode of intra-city transportation. Many of the contemporaries of our (government servant) parents used to cycle to and from commuting to the office. Primarily because it saved the ‘cost’ of bus travel, which was not that insignificant ‘saving’ in comparison to theirs the then take-home salaries. Moreover it saved the commuting time and was also useful aid for shopping other day-to-day domestic requirements.

On the other hand, during the years of my 10th and 11th standard years, at Gujarat Law Society High School (GLS), Ahmedabad, we had at least two classmates who were sons of millowners, one was son of a newspaper baron and two were son /daughter of the leading legal luminary, who easily could have used cars for commuting to the school, but they rather preferred the cycle option. Maybe it was the glamour factor of bicycle riding, even when the bicycles were simple vanilla design variants.

Purchase of a cycle, perhaps his/her first independent possession, as the son /daughter steps into the college life was certainly a moment of pride for the parents and the ward too. However, for the college going students it was a very convenient mode of maintaining communication link with their partners of budding love relation. Occasions to manage surreptitious double ‘sawari’ pillion ride had their own charms. Even the films of those days used cycle to depict developing love story between hero and heroine. In fact, the songs filmed with cycle as love-carriage do happen to be some of the most adorable romantic songs of Indian Cinema.

Apart from mine, the other two other very interesting variations in the way we got our first bicycle, by the way, are perhaps the classic case studies of acquisition of a cycle in the then middle-class family.

Vasant Pujara[1]  had one bicycle in the family. The priority over its use was obviously for his father, for commuting to the office as well as for other domestic purposes. Moreover, the shortest route from his home, near Sharda Mandir Bus Stand on the South-westerly corner of Gujarat College, those day was via Gulbai Tekra (Tekra is a small hill in Gujarati). He found it difficult to manage the uphill journey in that passage. So, he opted for commuting by bus. However, in spite of some the rare luxuries of those days, perhaps the difficulties – over-crowding during college timings and additional time in waiting for the bus to arrive – he “got tired of bus journey in two years, got company to go by bicycle and luckily father got transferred to Education Dept. at Gandhinagar. So, I switched over to bicycle journey. …. It was nice company of a two-years junior student of mechanical branch of our college, who wanted to learn engineering drawing. In three years of cycling my legs got stronger. Moreover, as an add-on bonus, I learnt complete dismantling and assembling the bicycle, especially to know the construction of freewheel.”

Aside trivia: One of our co-travellers of pedestrian mode of commuting to the college, and one of my other three chums friends, (now late) Mahesh Mankad, joined a factory at Naroda after completing his studies. Soon he purchased a Rajdoot motorcycle.  He had formed a practice to open up one or other assembly of his motorcycle every Sunday c during his self-service routine. Of course, most of the time, the motorcycle had to be taken to a mechanic to refit that opened-out component and put the motorcycle back to normal working condition!

However, his never accept any failure spirit led him to rise to the level of IAS cadre in his career. We always saluted him for his never-say-die spirit!

However, there were many families in our social strata those days where the cycle would a first major purchase as the son (to the best of my memory, not the daughter, normally those days,) would enter college study level. Even as it was considered a prized possession, the actual purchase was not that easy, as is so vividly narrated by Dilip Vyas:

“When I was in SSC, my parents had told me that if I get percentage over 70% and get into Xavier’s, they will get me a bicycle. Well, I did secure more than 70%, and I got admission to Xavier’s as well. Butt in those days, it was not easy to manage ‘huge’ payment of around Rs. 275 or so needed to buy a bicycle. So, when college started, I had to decide. I tried commuting by AMTS for the first couple of days but it did not make any sense because one had to walk to Sachivalaya bus stand, wait for bus and travel standing, and then walk from University to Xavier’s. So, I decided to walk and save 10 paisa as well to enjoy a packet of Chinai sing (salted ground nuts)! Walking was not much of a problem but since I had no one else to walk with, it was a drag. And then a miracle happened.

As you might remember, Bhavan’s college had opened that year. But for some reason that I can’t remember now, their science side got disapproved by the University just before commencement of the term. Therefore, to accommodate Bhavan’s batch of some 200 first year students, University approved four other existing science colleges in the city to add 50 students each over their limit. So, H-L Colony friend Girish Makwana luckily got in to Xavier’s with 55 %! Now I had company. More importantly, he had a bicycle. So, we commuted ‘double Sawari’ – two-seater ride on bicycle – for most of the year. Just before the end of the year, my parents finally managed to get a bicycle for me and then we commuted together for next year. When I got to LD, it was again just me commuting by myself but now on bike.

Just before BE, another miracle happened. My father had for some reason registered for a scooter under government quota (those good old quota days !! ) many years ago and his name came up. After debating what to do, he applied for a loan and we bought a Vespa! My father never even learned to drive but me being Prince of Wales in the family got the first dib on it. Commuting to college was not allowed because petrol was very expensive (I still remember Rs. 1.75 per litter. Including oil.) but I managed to sneak on to it, occasionally, to commute to the college”.

In my case, several other factors played the role of the final push for purchase of the bicycle.

We had opted for Gujarat Government’s loan scholarship scheme – Rs. 850 per year – to finance my engineering course education. During the first year,

I got my basic study instrument aids like drawing board, the drawing toolbox, the slide rule etc. from my uncle (husband of mother’s sister) and a few textbooks from the free-to-rent-study-books scheme being operated by the association of our community. So, halfway through the second term of the first year, we could see that there was some surplus from the first installment of the loan scholarship, and no major expense appeared in the horizon till the next installment would be received next year. So, one day, my parents decided to purchase a bicycle for me. And lo, that evening I was riding my own bicycle to home from Pankor Naka, the (only) market where goods like bicycles were available those days, through THE traffic of Ellis Bridge.

I started using the cycle in the normal course of commuting to the college only next year, because our preferred commuting mode was walking – which I will deal with a little later.

Apart from the benefits of commuting by cycle, there were a few more, fringe, benefits, at least, as far as I was concerned. But these will have to wait till I link them up later with the relevant main story

I would end with the present part with a very pertinent observation made by Ramesh Doshi – now settled in USA – while we were returning from our reunion luncheon of Ahmedabad-based LDCE71M batchmates in November 2011. Just  as we passed the present BRTS bus stand of ‘L D College’ he spontaneously recalled that those days this track was heavily laden with fin-dust, ground under the repeated crushing under the tyres of the AMTS buses. He then seemed to sleep into reverie of those days as he said: the movement buses had created two, relatively, clean tracks. It was a challenge to drive through that track as we used to continue talking among each other, in the company of others, while riding the cycles. It was not uncommon to get the wheel of the cycle stuck in the dust, get down, lift off the trapped wheel back on to the track, and commence the ride again, While the victim got his act together, the others had to ride on, for if they would stray off a look at what had happened, they also will be down to the dust.”

I do not recall if Professor Kellogg, of Machine Design, who would not tolerate getting late to the class – his was the first period of a day – unless supported by a reason, other than the time-worn excuses like bus got late or the cycle had a puncture etc., accepted this reason for the late coming!

Do You? If the reasons not accepted and reasons accepted could come up live presently, that itself would have been an episode in itself!

[1] Vasant Pujara is one of the key active links in reuniting the LDCE71M batch after a good 48+ years. It was his catalytic role that prompted Ashok Thakkar to prepare our “Selected Life Stories-LDCE Class of 1971-Mechanical”. That has further promoted me to collate the present memoir.

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Carnival of Quality Management Articles and Blogs

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

Welcome to June 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, Hybrid Intelligence by Dr. Alan Hunter.

Before we take up the article proper, a word about Hybrid Intelligence from the current technological literature would be in order:

The basic rational of hybrid intelligence is combining the complementary strengths of heterogeneous intelligences (i.e., human and artificial agents) into a socio-technological ensemble. … We call this Hybrid Intelligence, which is defined as “the ability to accomplish complex goals by combining human and artificial intelligence to collectively achieve superior results and continuously improve by learning from each other.” –  Dellermann et al. (2019)[1])

In light of the recent deep learning driven success of AI in both corporate and social life there has been a growing fear of human displacement and a related call to develop IA (intelligence augmentation) rather than pure AI. In reality, most current AI applications have a significant human-in-the-loop (HITL) component and is therefore arguably more IA than AI already. From here, there are currently two trends in the field. In one, increasing machine autonomy is pursued, first by placing the human-on-the-loop (to verify the result of the machine computation) and then by hoping to take the human completely out of the loop (as in the pursuit of artificial general intelligence). Two main challenges of this approach are a) the value-alignment problem (how do we ensure that the machine satisfies human preferences when we often cannot even express or agree on these ourselves) and b) the extensive human deskilling that often accompanies algorithmic advances. The talk will discuss how these two challenges may potentially be overcome by the second trend: the pursuit of human-machine hybrid intelligence (HI), in which the two interact synergistically and continually learn from each other. [2]

The article under discussion opens up a very different perspective. Here is the excerpt from the article:

Breathing seems to be individual personal activity. Walking in a forest or hillside provides the experience in wider perspective, as we notice that virtually all existence is breathing.

Equally, the water flow in the human body is barely a drop in the hydrological cycle that flows through every living being.

Thus, even as we know that breath and water have a universal vastness, most of the time we feel that intelligence and awareness are restricted to ourselves and the people we admire.  Perhaps, we have just become blind to the vast expanses of the ocean of consciousness.

May be our restricted, heavily individualised, view of the nature of intelligence contributes to the causing the myriads of problems the human race face presently and failing to resolve them (as well).

However, the digital age has multiplied the human capacity to send-receive electromagnetic waves. That now seems to make it not impossible to communicate with entities beyond the solar system. Such contact may lead to a thorough revision of our most fundamental ideas and capabilities.

However, irrespective of ET communication, humans are now in position to enhance their intelligence and decision-making. This enhancement may arise in part through greater individual intelligence, or the emergence of religious or spiritual genius.

Beyond that we may also be able to benefit from hybrid forms intelligence – human-machine; human-plants; human-subatomic waves/particles and many other possibilities. Co-operation with machines is already increasing the use of OY – Non-biological intelligence -to control different types of human-computer interfaces.

People with interest in philosophy and spirituality may also consider if AI can play role in cognition of universal truths.

Humans have generally taken an instrumental view of plants and fungi. However there is growing awareness that the plant life of this planet may have its own ‘intelligence’. The study of plants from a cultural perspective, ethnobotany, reveals that traditional Indian culture is exceptionally rich in this respect, for example the pipal, banyan, Ashoka, tulsi, bilva and coconut.

Ancient cultures had tremendous respect for the spiritual components of animal intelligence, for example some birds deploy innate GPS far in advance of any human.

In short, plants and animals are totally integrated, complementary and balanced in the greater harmony of biosphere.

It is probable that in near future, there will be stronger links between plant intelligence and AI-assisted investigations. However, we do not have to wait for the results. The natural cosmos is all around, all the time.

Highly reputable scientists and philosophers strongly reject the idea that intelligent consciousness is somehow tied to and emanates from the human brain. They believe that this – known as scientism or physicalism – is out-dated and all that derives from it is pseudo-scientific.

One alternative perspective is that intelligent consciousness is inherent in and fundamental to the cosmos. This suggests that the term ‘hybrid intelligence’ should also convey the sense that, while its manifestations are hybrid, intelligence itself is fundamental and unitary. Human consciousness is unimaginably tiny component of highly integrated, intelligent, responsive cosmos does not exclude plants, animals, rivers, mountains, stars and galaxies and certainly does not prioritize one species over other.

The modern growth of human civilization is also leading the loss of biodiversity. Among all the losses that this entails, one is the loss of communication, or communion, with realities greater than our species. The digital technology has increased this pace of destruction, without fundamentally challenging it. Perhaps the fundamental mode of conventional computer transistors – on or off – is a good metaphor for black and white thinking, even of species that sees itself intelligence in itself and nowhere else.

More advanced Quantum technology may make it easier to explore a notion of hybrid intelligence, positioning human consciousness as a derivative fraction of an intelligent and creative cosmos. In other words, to create a meaningful era – whether digital or post-digital – we need a wise cosmovision, shared and personal.

After I wrote this, I realised that the whole argument is better made in two words of Ramana Maharshi: Arunchala Shiva.[3]

We will now turn to our regular section -.

We now watch ASQ TV episode on –

  • The Importance of the ‘We’ Culture – Luciana Paulise, the author of The We Culture, spoke to ASQTV about changing cultures and recent conditions that have forced companies to back away from a top-down culture of results and emphasize a team culture instead.

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

  • Failure is a Myth – Don’t let failure inhibit creativity – Aristotle considered creativity a gift from the gods.  .. However, where does creativity originate? In one moment, there’s a blank page; in the next, an idea…. When the time comes to do something with a new idea, fear of failure sets in… Nobody wants to fail…. But failure can be a key attribute to success…. The whole concept of failure is a myth. There is no such thing as failure. If we deconstruct the situation, ask big questions, squeeze every ounce of wisdom out of the experience, failure simply becomes the feedback.

I look forward to your views / comments / inputs to further enrich the theme of Living a Meaningful Life in a Digital World.

Note: The images or video clips depicted here above are through courtesy of respective websites who have the copyrights for the respective images /videos.

[1] http://hybrid-intelligence.com/

[2] Hybrid Intelligence: First Rate Humans, Not Second-Class Robots • Jacob Sherson

[3] Arunachala (hill of wisdom) Shiva (Atma, the spirit)

This refers not only to the sanctity of Arunachala itself but also to the pre-eminence of the doctrine of Advaita and the path of Self-enquiry of which Arunachala is the center. – ref: Arunachala Hill.

Arunachal Chant

Categories
Fading Memories….Unforgettable Songs

Fading Memories…. Unforgettable Songs : June 2022

Dattaram – Dekhi Teri Duniyaa Arre Dekhe Tere Kaam

Dattaram (a.k.a. Dattaram Lakshman Wadkar) – B: 1929 | D: 8 June 2007) is that notable name that remains etched in the history of Hindi Film Music as ‘an unsung composer’. Whether Dattaram’s continuing as SJ’s assistant was a tactical error, or whether he could not create his own ‘musical identity’ or was so modest that he would unhesitatingly respond to the calls by other music directors to play dholak and such theories that postulate the reason(s) for such a fate remain inconclusive. However, as we listen to his compositions of the years when the work came to him in bits and pieces, Dattaram’s music comes out as fresh as it was when he stepped out as independent music director.

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

1957 to 1959 in 2018,

1960 and 1961 in 2019, and

1962 and 1963 in 2020

1965 in 2021

Dattaram did not seem to have any film in 1966 and 1967.  He had one film Farishta in 1968 and two films, Baalak and Beqasoor in 1969.We will listen to the songs from these three films in the present episode.

Farishta (1968)

Dattaram teams up with Asad Bhopali, a highly respected lyricist, for the film.

Duniya Ek Jhamela Hai …. …. … , O Diwane Humse Mil Aa Mila Le Dil Se Dil – Asha Bhosle

In line with the thriller film formula, whenever something exciting is going to happen, a club song pops in. Dattaram takes up the cue and sets the tone with guitar-based dance tune.

Dekhi Teri Duniyaa Arre Dekhe Tere Kaam – Mukesh

The song situation is framed as a street song, where the song being rendered by the performer fits the state of mind of the lead actor. The song is meant to convey sorrowful pensive mood and that seems to have led Dattaram to choose Mukesh as the playback singer.

Ek Khoobsurat Ladki Meri Nayi Mulaqati – Kishore Kumar, Asha Bhosle

Dattaram seems to finally awake to the reality of using Kishore Kumar for a mischievous song.

Does it not sound very prophetic, just a year before Kishore Kumar was to sweep the market with his Aaradhana numbers!

Bhaiyya Mere Pyaare Raakhi Bandhaao Bhaiyya – Asha Bhosle

Dattaram comes with a very original, fresh, dance tune for a traditional ‘rakhi’ situation

Rut Badli More Rasiya Mile, Rasiya Mile Ji Man Basiya Mile – Asha Bhosle

Dattaram creates a very playful tune for song that reflects the happy mood of the protagonist.

Baalak (1969)

Baalak was film based on an idealist story, but hardly made any impact on the box office. The songs for the film are penned by Bharat Vyas.

Sun Le Bapu Yeh Paigam, Meree Chitthi Tere Naam – Suman Kalyanpur

As I listen to the song, I recall that this child song was heard quite often on radio those days. That in turn goes on to show that Dattaram had not lost his touch after a good decade of his stupendous entery with the Ab Dilli Door Nahi numbers.

Bhagwan Ki Dekho Bhul Bichad Gaya Dali Se  Ek Phul – Mohammad Rafi

As generally is the case with the background songs, this song also encapsulates the essence of the story of the film. Dattaram easily turns back to Mohammad Rafi for the playback.

Chandaniya….. Chandaniya Hai Raat Sajan Rahiyo Ke Jayiyo – Asha Bhosle

Dattaram seems to have fallen back on Shankar’s style of orchestration for this mujra song

Mera Naam Hai Mehmud Rahta Har Jagah Maujud – Shanti Mathur

Dattaram’s adroitness in selecting the playback singers is reflected in the selection of Nanha Munna Rahi Hun (Son of India, 1962) fame Shanti Mathur as playback for the song.

Beqasoor (1969)

The film, which appears to a Hindi-film-formula, B grade, stunt film, had four songs, all written by Farooq Kaiser.

O Sanam Mera Saath Dena Pyar Ki Raah Mein – Suman Kalyanpur, Mohammad Rafi

Dattaram composes a playful romantic mood duet.

Rukhsana…… Haye Rukhsana .. Dekhoji Mere Pichhe Mat Aana – Asha Bhosle, Mohammad Rafi

Here is another very playful song with Mohammad Rafi and Asha Bhosle at their best ‘harakatein’ moods.

Naam Gulabi Hai Mera – Asha Bhosle

Dattaram creates a catchy ‘club’ song that comes up as a very appealing, overall, construction,.

Mohabbat Se Keh Do (Asha Bhosle) is the song for which I could not trace digital link on the net.

On that note, we reach the last leg of Dattaram’s career as independent director, with two of his last films, in the next, the last in the present series, episode.

Categories
The Eponymous Principles of Management

The Eponymous Principles of Management : The Murphy’s Law and Its Variants – The 14 variation Laws of Murphy

If you will search for a variation of Murphy’s Law, then you will never be disappointed, because you will definitely land up on more than one such variations. However, if our, apparently never ending,  discussion on Murphy’s Law has to end, it better end on the note of its 14 variation laws, and cover all other possible variations within these 14 laws..

Murphy’s First Law:  Anything that can go wrong will go wrong.

Murphy’s Second Law:  Nothing is as easy as it looks.

Murphy’s Third Law:  Everything takes longer than you think it will.

Murphy’s Fourth Law:  If there is a possibility of several things going wrong, the one that will cause the most damage will be the one to go wrong.

Corollary : If there is a worse time for something to go wrong, it will happen then.

Murphy’s Fifth Law:  If anything simply cannot go wrong, it will anyway.

Murphy’s Sixth Law:  If you perceive that there are four possible ways in which a procedure can go wrong, and circumvent these, then a fifth way, unprepared for, will promptly develop.

Murphy’s Seventh Law:  Left to themselves, things tend to go from bad to worse.

Murphy’s Eighth Law:  If everything seems to be going well, you have obviously overlooked something.

Murphy’s Ninth Law:  Nature always sides with the hidden flaw.

Murphy’s Tenth Law:  Mother nature is a bitch.

Murphy’s Eleventh Law:  It is impossible to make anything foolproof because fools are so ingenious.

Murphy’s Twelfth Law:  Whenever you set out to do something, something else must be done first.

Murphy’s Thirteenth Law:  Every solution breeds new problems.

Murphy’s Fourteenth Law:  If anything can’t go wrong on its own, someone will make it go wrong.

These variations of the law simply rub in the message that Stewart’s corollary of Murphy’s Law has stated:

Murphy’s Law may be delayed or suspended for an indefinite period of time, provided that such delay or suspension will result in a greater catastrophe at a later date.

So here is to wish that Murphy’s Law affects you in a way which can cause the damage that you can control……………… But would THE Murphy’s Law will allow that wish to come true?

We keep our fingers crossed, and……


The individually published articles of ‘The Murphy’s Law and Its Variants’ on this blog can be read / downloaded as one file by clicking the hyperlink.

Categories
I Liked Music from films

The Micro View of Songs of 1943 – Male Solo Songs [1]

We had stopped publishing the songs that have been covered in the Memorable Songs list for the year. As such, here are the Male Solo songs which are not covered in Memorable Songs of 1943.

As had been noted in the overview article, 1943 has 119 male solo songs for which the singers are identified in HFGK. However, I could not find 57 of these songs on YT.

For the purpose of the present Micro Review, we have divided the Male Solo songs that are available on YT and not covered Memorable Songs of 1943 – one that has songs of G M Durrani and the other with all other singers.

We first take up the male solo songs of singers other than G M Durrani for the year 1943.

K C Dey – Mange Ja Har Bar – Andhera – Pt. Indra – Gyan Dutt

K C Dey – Bol Bol Tu Is Duniya Mein Sab Se Meethe Bol – Badalati Duniya – ? – K C Dey

K C Dey – Chandani Raat Hai Chandani Raat – Manchali – ? – H P Das

Vishnupant Pagnis – Kit Jaay Chhipe Sanwariya – Mahatama Vidur – Narottam Vyas – Harishchandra Bali

Vishnupant Pagnis – Jagat Mein Khili Prem Phulwari – Mahatama Vidur – Narottam Vyas – Harishchandra Bali

Khan Mastana – Fasle Bahar Aa Gai, HaNsane Lagi Kali-Kali – Mohabbat Ki Jeet – Ehsan Rizvi – Vasant Kumar

Khan Mastana  – Thahar Ja .. Jhooth Bolnewale – Vakil Saheb – ? – Anna Saheb Mainkar/ P Madhukar

Ashok Kumar – Tarasi Hui Hai Muddat Se Aankhein – Najma – Anjum Pilibhiti – Rafiq Ghazanavi, B A

Ashok Kumar – Kya Muhabbat Ka Yahi Anjam Hai– Najma – Anjum Pilibhiti – Rafiq Ghazanavi, B A

Noor Mohammad Charlie – Kis Taraf Hai Dhyan Hai Tera – Sanjog – D N Madhok – Naushad Ali –

Shyam Kumar – Jaan Bachi To Lako Paaye – Sanjog – D N Madhok – Naushad Ali

Surendra – Preet Ki Jyot Jalakar Chhup Hai – Vish Kanya – Kedar Sharma – Khemchand Prakash

Surendra – Bhool Ja Jo Dekhata Hai – Vishwas – Dr. Safdar ‘Aah’ – Firoz Nizami B A

Surendra – Musafir Hansi Khushi Ho Paar – Vishwas – Dr. Safdar ‘Aah’ – Firoz Nizami B A

Surendra – Gaa, Ban Ke Panchhi Gaa, Koi Anokha Raag Suna De – Vishwas – Munshi Sham Jilani + Munshi Ajham – Master Chaila Lal

Ishwarlal – Bigadi Hui Kismat Ko….. Ik Roz Banana Hai – Zaban – Mahrul Kadari – C Ramchandra

Ishwarlal – Piya Desh Hai Jaana …. – Zaban – Mahrul Kadari – C Ramchandra

Categories
Carnival of Blogs on Golden Era of Hindi Film Music

Carnival of Blogs on Golden Era of Hindi Film Music – Volume X – May 2022 edition

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

We straight away move on to our section on tributes and celebrations for the month –

Dadasaheb Phalke birth anniversary: The man who brought movie magic to India, captured in Harishchandrachi FactorySampada Sharma  – On Father of Indian cinema, Dadasaheb Phalke’s 152nd birth anniversary, here’s revisiting Harishchandrachi Factory. The film chronicles Phalke’s journey of making the first motion picture in India.

How Ashok Kumar learned to ‘open his heart through his eyes’Nabendu Ghosh – A reissued biography – Dadamoni – The Life and Times of Ashok Kumar, Speaking Tiger- reveals Ashok Kumar’s early years as a reluctant actor in Hindi films produced by the Bombay Talkies studio.

Sunil Dutt, the Bollywood godfather to Amitabh Bachchan, Vinod Khanna, Sanjay Dutt: His career as a serial talent-spotterShaikh Ayaz – A closer peek into Sunil Dutt’s extraordinary life and times on his remembrance day – 25th May.

The Search for ‘Alam Ara’, India’s First Talking Film  – Soutik Biswas – Earlier this month, a group of archivists in Mumbai recovered what now appears to be the only surviving link – a vintage machine which had been used to make prints of Alam Ara (Ornament of the World), the 1931 film that has disappeared – with the first Indian talking film.

While continuing the year-wise review of Lata Mangeshkar’s career,  the 1950 – Lata Mangeshkar details out emergence of Lata Mangeshkar into her high=pedestal position of 50s.

Vasant Desai Part 1: A Multifaceted Talent presentsg some songs of Vasant Desai as a singer and music director from the Vintage Era.

Murmurs of a Different Dream: Progressive Writers and Their Contribution to Indian CinemaThis is the fifth article in a series on the history of the Indian film industry. Also read: Part I Part II | Part III | Part IV

Progressive Writers in Bombay, 1946: Sultana Jafri, Ismat Chugtai, Vishwamitra Adil, Ali Sardar Jafri, Krishan Chander, Mahendranath, Mumtaz Hussain, Rajinder Singh Bedi, Sahir Ludhianvi and Habib Tanvir. Picture courtesy: India-Pak Heritage group

Shabana Azmi on Shaukat Kaifi: An honest mother, a committed professional, a great hostess – An excerpt from an anthology of essays – The Oldest Love Story – A Motherhood Anthology, edited by Rinki Roy Bhattacharya and Maithili Rao, Om Books International- on motherhood.

Happy Birthday Mac Mohan: Remembering Sholay’s Forgotten VillainKhalid Mohamed – if the Karachi-born Makijany Mohan, aka Mac Mohan – frequently called Mac in his film roles – had survived a lung tumour, he would have been a year older today (24 April).

Nathli se toota moti re: Manna Dey’s Non-film Hindi Gems is a tribute t0 Manna Dey on his 103rd birth anniversary (1 May 1919 – 24 October 2013)

Yogesh Kale recollects Marathi Melodies by Manna Dey

May 2022 episode of Fading Memories, Unforgettable Songs takes up Manna Dey – Chale Ja Rahein Hai…. – 1956 . Till now, we have covered Manna Dey’s less popular, less-heard songs for the years

1942 – 1946 in the year 2018.

1947 – 1950 in the year 2019.

1951 – 1953 in the year 2020, and

1954-1955 in the year 2021

BollywooDirect recollects the reception given to music directors Kalyanji Anandji, who won the National Award for best music direction for Saraswatichandra, on 10–2–1970 at Bhulabai Desai Auditorium, Mumbai.

From left to right: Vijay Bhatt, Kalyanji, Dilip Kumar, Lata Mangeshkar, the then Chief Minister of Maharashtra Vasantrao Naik, Mrs.Naik, Anandji, and Minister Madhusudan Vairale.

We now move on to posts on other subjects –

Pikoo, a Little-Known Satyajit Ray Film That Is Largely Ignored by His AdmirersAnjan BasuPikoo (1980), a 26-minute short Satyajit Ray made for French television, remains one of Ray’s least watched films in India. He had adapted the film his own short story Pikoor Diary (‘Pikoo’s Diary’),

तेरा नाम लिया……are really very few songs from Hindi films, when someone calls the other character by his/her name in a song.

Ten of my favourite ‘secondary romantic couple’ songs, Most of these are duets, but some are not.

Same Mukhda, Two Different Songs are the five pairs of songs which have at least the first four words of the mukhda in common.

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

Sharmila Tagore’s Aradhana encapsulates the phony formula of damsels in distress disguised as strong women – Sharmila Tagore and Rajesh Khanna starrer Aradhana started the 15 film hit streak for Rajesh Khanna, as Tagore got a rather tough job of playing a damsel in distress who was supposedly strong.

Hrishikesh Mukherjee’s Chupke Chupke was the subtle antidote to the ‘angry young man’ era; a balance we have forgotten today – The 1970s were the era of the ‘angry young man’ but it was also the era where every ‘larger than life’ hero film was balanced with a subtle, almost relatable film. For every Deewar, there was a Chupke Chupke.

As per established practice, we have commenced follow-on of Best songs of 1943: And the winners are? in Micro View of  1943, with  Setting the stage

In continuation to our tradition of ending the post with a few songs of Mohammad Rafi that are relevant to the topics covered in the present episode, we will institute a series wherein we continue to listen to Mohammad Rafi and Lata Mangeshkar’s duet with a music director for the first time in a Hindi film, every month for the rest of the 2022,

Aag Lagi Ghar Mein..Jiski Laagi Lagan Bhagwaan – Patit Paawan (1956) – Bharat Vyas Jamal Sen

Ladi Ankh Se Ankh Mohabbat Ho Gayi – Pocketmaar (1956) – Rajendra Krishna – Madan Mohan

Tere Nainon Ne Jaadu Daala – Taangewali (1956) – Prem Dhawan – Salil Chowdhury

Jaare Jaare O Maakhan Chor Chalegi Na Ye Chori Teri Ye Jora Jori – Champakali – Rajendra Krishna  – Hemant Kumar

Kali Ek Tumse Punchhu Baat Ki Jab Hoti Hai Aadhi Raat – Sakshi Gopal – Bharat Vyas – Chitragupta

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.

Categories
Memoire

1966 to 1971 – Those Anecdotal Five Years …. – Commuting – to and from the college : By Bus

One activity that did not catch much of our attention in those days but had had a very telling effect on the way the years @ LDCE shaped up was to and from commuting from the college.

The most used modes of transport were either public bus service (Ahmedabad Municipal Transport Service- AMTS) or bicycles. I do not really remember that possibly barring one or two students any used scooter those days. I, and my friends at L colony, near the then Secretariat building complex of Government of Gujarat, did commute by walking down to the college, but that was as more an exception as it was more convenient option.

Our senior friend Shri Suresh Jani, as he has narrated earlier, had been critically ill in the first year. After three months of convalescence from that illness, he could resume going to the college. With a weakened body, commuting by bicycle was ruled out and so the choice was that of using the bus. He could manage a seat, but he found return journeys an ordeal.

Except for some exceptional circumstances that some like our senior friend Shri Suresh Jani was placed, the commuting by bus did appear to be an enjoyable experience, as may be observed from the following narration of memories of 9.38 AM trip of route #60 by Ashok Thakkar –

We used to live in Maninagar, a large, and quite a noted eastern, suburb of Ahmedabad. As such, a fairly large number of students used to commute to the (Gujarat) University area. The public bus service, managed by AMTS, was quite efficient those days. Whereas a normal ticket from Maninagar to University would cost 50 paise, the students were eligible for a ‘concession’ charge of just 5 paise!

The number of students travelling to the University areas was so large, that three bus routes – 52/2, 52/3 and 60 – used to ply from Maninagar to and from the University. There used to a morning service of route # 60 that would leave Maninagar bus terminus at 9.28 and would reach University by 10.00 o’clock, in just 22 minutes flat! Comparatively, the two other two routes – 52/2 and 52/3 – would easily take around 45 minutes.

One aspect of this jet-speed travel was that the bus would be so chock-full of the students going to the University, right from the Maninagar bus terminus that there was no need for it to stop any where along the route, thus making the journey a non-stop whistle journey. Moreover

the driver of the that service, apparently an elderly person, would be so energised by the boisterous crowd of young students that he would drive the bus at the top speed through the entire route. However, in order to reach the University in 22 minutes, one may need to stand in the queue at the first stop for almost same time!

Our the then close-knit posse consisted of LDites Suresh Desai, Mukesh Parikh, Mukul Parikh, Bharat Desai, Umesh Parikh, Sushant Mehta, Jitendra Shah, Arun Shah, Jitu Bhavsar, Pamu Parikh, and of course me. There were a few of seniors also as the regular co-passengers, besides students of science and commerce students. Every trip was an experience in merriment, except that it always used to an all-boys trip, notwithstanding even the students of science and commerce stream!  Apart from me, other batchmates, Suresh, Mukul and Mukesh have settled in the US. Bharat Desai, from the Electrical Engineering discipline, too has settled in California. I am getting so sad to note that Umesh and Sushant – of the electrical branch- and Arun – from Mechanical – have travelled out for the final journey.

Sushant Mehta was fondly addressed as ‘Mama’ – the uncle, mother’s brother. Our ‘great’ Mama was a sole exception to the practice of cooling the heels in the queue for that 9.38 trip. Compared to all of us, he used to stay quite near to the boarding-stop. But he so much abhorred the idea of waiting in the queue that he would so fine tune his start from his home that just the bus would take tun at the corner, Mama would be there. Our driver was also so considerate of him, that only time in the trip, he would slow down the bus just enough to enable Mama yo jump in the running bus. This had become the most happening SOP for Mama and the driver, too. Both had so mastered the art of implementation that, to the best of my memory, Mama had bever missed the trip any time during the five years!

As I end my present anecdote, I recall one more sweet memory. In our final year, some time in December 1970, Mera Naam Joker, of Raj Kapoor, was released in the theatres of the city. The songs of the film were released two/three months prior to the release of the film. In the days when portable tape-recorders were things from the Mars, one day someone alighted the bus with his own portable tape-recorder and kept playing the song – Aye Bhai Jara Dekh Ke Chalo – from the film. I so much got liking to the song in that trip that, even after a good fifty years,  it remains one of my most favourite song.

That 9.38 trip – full of all kinds of jokes, pranks, sharing of experiences that Suresh Desai so fondly recall even today – remains one of most charmed experiences of my life.

How one would wish that clock would turn back so that we can happily go living in those sweet capsules of time!

I am sure many of us will have such sweet memories to share. I invite you to please share them here before I take up my memories of commuting on foot and /or bicycle in the next episode.

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Carnival of Quality Management Articles and Blogs

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

Welcome to May 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, Digital Gods and Spiritual ®evolution by Swami Jnanishananda.

Here is the excerpt from the article:

AI can enhance our experience of physical world, by –

      1. pushing the biological limits to perform the task we are less equipped to handle, making us more effective and valuable in other areas of our lives.
      2. manipulating the minds positively (and even negatively too)
      3. providing the level playing field to the differently-abled and marginalized sections of the society
      4. better connectivity that overcomes physical limitations and reducing the barriers separating humans from each other and the physical universe.
      5. increased access to online (information) resource
      6. with advanced machine learning techniques, recording exponential improvements in the analytical and logical capabilities of AI to educated itself, we should see more aspects of human intelligence brought into scrutinising the human excellence in every field. Wisdom should finally take predominance over intellect.

However, the fundamental question we need to ask is whether AI has any moral obligation towards preserving humanity or not. AI has no moral foundation. It also has potential to manipulate the very goals that society would strive towards. However, in general, danger is not so much from AI or digital world itself than from a person’s natural propensity to look outside of oneself for fulfillment.

Use of intelligence in the term AI fits the dictionary meaning of intelligence – the ability to acquire and apply knowledge and skills – limits the objective descriptions of what a human being is capable of. However, the definitions set for by the ancient Vedic civilization limits these descriptions to into only a single aspect – intellect (buddhi)- of the intelligence.[1] Thus, Artificial Intellect would be a more accurate term to represent this technology.

If we explore knowledge, we find that lowest instrument of knowledge is instinct. Then comes reasoning. Even reason cannot take us beyond the question beyond our existence and that of universe. Logic becomes, to quote Swami Vivekananda, an ‘argument in circle.’ The instrument that can take us beyond this circle is inspiration. The realm of inspiration, lying beyond the intellect, is the true intelligence.

The body and mind should receive inspiration from the super-conscious realm leading to the goal of self-realization. Therefore, the AI and other digital ‘gods’ should be used to save our two precious resources, time and energy, so as to enable us to race through our journey from reason to inspiration., consciousness to super consciousness…….

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:

  • Quality Professionals Must Lead – Communicate the economic case for quality – The technical questions in the cases of implementation of newer techniques by quality professionals conceal a deeper problem in their organization. Generally, that problems is that the senior management has a responsibility to question anything and everything that adds activities, time, cost, or transaction to their business. … Quality professionals would do well to lead the discussion by asking these questions first. In other words, the quality professionals need to follow the teachings of Dr. Armand Feigenbaum and Philip B Crosby, who told us that the language of management is quantified in monetary terms and related directly to the needs of the business. More so, in the current business climate….

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

  • Sixty Years in the Making – Imagining the future, technology, and automation – The stories that stand the test of time afford us a unique opportunity—to match the vision to reality…. Probably the most prolific examples of imaginary technology coming to fruition comes from a cartoon called The Jetsons, which premiered in 1962. Sixty years later, many of the “make-believe,” futuristic items used by this fictional family are a reality…for the most part. The family had a dog treadmill, talking alarm clocks, flat-screen TVs, watches that received phone calls, video chat, drones, robot vacuum cleaners, and digital newspapers. Unheard of in 1962, a reality in 2022…..While we may not have the ability, or the time, to fully predict the future, we can keep abreast of the technology and processes that can help us shape that future.

I look forward to your views / comments / inputs to further enrich the theme of Living a Meaningful Life in a Digital World.

Note: The images or video clips depicted here above are through courtesy of respective websites who have the copyrights for the respective images /videos.

[1] Intelligence and Intellect: What’s The Difference – Shekhar Kapur with Sadhguru

Categories
Fading Memories….Unforgettable Songs

Fading Memories…. Unforgettable Songs : May 2022

Manna Dey – Chale Ja Rahein Hai…. – 1956

Manna Dey, a.k.a. Prabodh Chandra Dey, (1 May 1919 – 24 October 2013) was trained for wrestling during his childhood. However, he could struggle free from that cocoon to metamorphose into a singer. Having been brought up in the atmosphere of music, he was also trained hard in the classical singing genre. However, if one looks back at his early career in Hindi films, one may wonder whether he was indeed caught into the clutches of hardened cased die of typecasting that Hindi film industry was so strongly adept at. However, his initial training as a fighter, did help him to experiment with every possible genre that film industry would offer and establish his unique position therein. Music directors like Anil Biswas and S D Burman firmly believed that Manna Dey could sing any song that any of his contemporary singer can sing, but none of these singers can sing a song that Manna Dey could sing with technical virtuosity.

By the turn of decade of 40s, Manna Dey has started making foothold into romantic song, which was further cemented by the songs that Shankar Jaikishan offered him in 1951 and 1953. As such, Manna Dey’s popular romantic, classical, devotional, comedy, western or qawwali songs have now been etched into the minds of every fan of Hindi Film music. But Manna Dey’s songs that unfortunately could not get ‘popularity’ also have the spirit of life and a sense of timeliness. It is that universality that we want to refresh in our present series Chale Ja Rahen Hai by specifically choosing the so-called less popular, less-heard songs.

Till now, we have covered Manna Dey’s less popular, less-heard songs for the years

1942 – 1946 in the year 2018.

1947 – 1950 in the year 2019.

1951 – 1953 in the year 2020, and

1954-1955 in the year 2021

1956 had some of the Manna Dey’s career-best  romantic songs –  Jaa Tose NahiN BoluN Kanhaiya  (Parivar, with Lata Mangeshkar; Lyrics: Shailendra – Music :Salil Chowdhury), Chaley Sipahi Dhul Udate Kahaan Kidhar Koi Kya Jaane ( Rajhath – Lyrics: Shailendra – Music: Shankar Jaikishan), Nain Miley Chain KahaaN (Basant Bahar- Lyrics: Shailendra – Music – Shankar Jaikishan) ; all-time best background song like Nirbal Se Ladai Balwan Ki (Toofan Aur Diya- Lyrics: Bharat Vyas – Music: Vasant Desai) or classical raag-based Bhay Bhanajana Vandana Sun Hamari and Sur Na Saje Kya GauN Main and Ketaki Gulab Juhi (all from Basant Bahar, the last one with Bhimsen Joshi- Lyrics: Shailendra – Music- Shankar Jaikishan).

Presently we will take up Manna Dey’s less heard songs for the year 1956.

Jodi Mile Na Mile Shaadi Rachaye Chale – Gauri Pooja – Lyrics: G S Nepali – Music: Manna Dey

Manna Dey has so soulfully composed and rendered the bride farewell song.

In those days. The bride had to accept the groom and subsequent life that fate had forced on her.

Kah Do Ji Kah Do Chhupao Na Pyar, Kabhi Kabhi Aati Hai Zumati Bahaar – Kismat Ka Khel – With Lata Mangeshkar – Lyrics: Hasrat Jaipuri – Music: Shankar Jaikishan

Shankar Jaikishan’s marked preference for Manna Dey can be seen in the form his selection for the male playback.

The song is a signature romantic tune that Shankar Jaikishan used to compose those days – full of vivre and feelings as well as so pleasing to the ears.

Ek Din Tera Bhi Savera Aayega – Sati Anasuya – Lyrics: Bharat Vyas – Music: Shivram Krishna

Here we have one more typical background song, deployed as an inspirational song to the protagonist in deep trouble.

Wo Dekho Udhar Chand Nikla Gagan Mein, Idhar Aa Gayi Chandani Muskarati – Roop Kumari -with Geeta Dutt – Lyrics: B D Misra – Music: S N Tripathi

S N Tripathi is was also a very talented and versatile music director who had to be satisfied with B and C Grade mythological / historical films. The present song is testimony of S N Tripathi’s talent.
The song is so pleasant a romantic duet,

Aside Trivia: Knowledgeable YT follower has mentioned in a comment to this video clip that S N Tripathi has used this tune again for Nigahon Mein Tum Ho – Jadoo Nagari – Lata Mangeshkar – Lyrics: Hasrat Jaipuri.

Khel Khiladi Jis Sey Na Khel Apni Jaan Se – Badshah Salamat – Lyrics: Vinay Kumar – Music: Bulo C Rani

The lyrics of the song indicate that this ought to be ‘fakir’ genre song. Manna Dey is well adapted for such songs.

Chhod Bhi De Aakasah Singhasan, Phir Dharati Par Aa Ja Re – 26 January – with Asha Bhosle and chorus – Lyrics: Rajendra Krishna – Music C Ramchandra

The lyrics clearly tell us that this an ‘inspirational’ – devotional genre song, but I do not have any more information on the song.

Aaj Ki Baatein Raja Bhool Mat Jaiyyo Ji…Hum To Nahin Bhoole Tum Na Bhool Jaiyyo Ji – Dhola Maru – with Asha Bhosle – Lyrics: Bharat Vyas – Music: S K Pal

Asha Bhosle and Manna Dey render a seemingly simple, romantic, song so intimately.

Bahta PaanI Bahta Jaay Raah Take Na Teri, Aeji Samay Ka Haal Hai Na Kar Der Ghaneri – Dhake Ki Malmal – with Asha Bhosle and Kishore Kumar – Lyrics: D N Madhok – Music: Robin Banerjee

This is the only song composed by Robin Banerjee, whereas all other songs are composed by O P Nayyar.

Robin Banerjee comes up with a Bengali folk tune set and has composed the song to varying pace.

Mudkar Bhi Na Dekh Suhaagan MahloN Ki Ye Shaan, IS Duniya Mein Ab Tera Bas Pati Hi Bhagwan…..Udhar Chali Ja Janaki Jidhar Chale Tere Ram – Devta – Lyrics: Rajendra Krishna – Music: C Ramchandra

This is a background song, advising the protagonist to accept the husband that fate has chosen for her.

Many a times, our (Hindi) films have such highly contrived situations, which have to be made palatable by the team of lyricist, music director and the singer.

Apart from these, the sites https://mannadey.weebly.com/ and http://www.mannadey.in/  also mention songs from films like Lal-e-Yaman, Kar Bhala, Jungle Queen, Indraleela,  Grand Hotel, Zarina, Sudarshan Chakra, Scout Camp, Sati Nagkanya, Rajraani Meera, Ayodhyapati, Anurag and Dayar-e-Habib. However, several other authoritative sites either do not mention existence of Manna Dey songs from these films or do not have a digital version of the song. That does tell us what we have missed quantitatively but does not indicate what we have missed qualitatively.

On that note, we rest our episode here, to continue with our explorative journey of Manna Dey’s less heard songs………………