Categories
Carnival of Blogs on Golden Era of Hindi Film Music

Carnival of Blogs on Golden Era of Hindi Film Music – May 2020

Welcome to May 2020 edition of Carnival of Blogs on Golden Era of Hindi Film Music.

We first pay our tributes to the artists who passed away recently:

Irfan Khan passed away on 29th April 2020. Irfan Khan’s Wife Sutapa Sikdar and sons Ayan and Babil released a statement about Irfan Khan’s untimely death.@ Our life was a masterclass in acting, learnt to see harmony in cacophony. Amitava Nag @ Irfan Khan – A Personal Tribute writes a heartfelt tribute. Anuradha Warrier feels the loss @ And Movies Will Never Be The Same.  Irrfan is a tribute from his follower.

Credit: Business As Usual by E P Unny, April 2020

In a tribute to Rishi Kapoor @ Amitabh is ‘destroyed’, Simi mourns her ‘darling’ & Lata holds on to memories of Chintu note Shubhangi Misra and Yimkumla Longkumer. Anuradha Warrier extends the Hyphen In Between the Rishi Kapoor’s tweeter tag line “Son of a famous father, father of a famous son. I’m the hyphen in between.” by stretching it a little further to note that he was also the hyphen between the superstardom of Rajesh Khanna and the juggernaut that was Amitabh Bachchan. Jai Arjun Singh @ Rishi Kapoor, in memoriam notes that looking back on his work during that time, it’s interesting to consider how often he seems to be a silent or passive presence, or how often we see the character he plays in relation to someone else

That passionate voice of music – Radio Ceylon host Gopal Sharma, known as ‘the first RJ of India passed away at the age of 88 on 22nd May. Sharma’s greeting “Awaaz ki duniya ke doston … ” became synonymous with him.

Deepa also has paid a very intimate tribute @ Gopal Sharma – A Boon Companion from the World of Voice

We can listen to his voice in this video clip:

We pick up other tributes and memories:

Should Phalke, 150, Be Forgotten?  – On May 3, 1913, Dadasaheb Phalke’s Raja Harishchandra was released commercially. May 3 was finalised as the day the National Film Awards would be given out every year. Ratnottama Sengupta wonders how the Government of the world’s largest filmmaking country had made no plans to mark Phalke’s 150th anniversary this year.

Kaagaz Ke Phool is Guru Dutt’s masterclass in filmmaking and heartbreak – Guru Dutt’s classic, tragic film is brought to life by subtle performances and dialogue, gorgeous camerawork and Kaifi Azmi’s haunting lyrics.

On the B.R. Chopra’s birth anniversary, The Print looks back @ Gumrah, BR Chopra’s tale of a woman’s desire that challenged conventions back in 1963 – Gumrah, said to be inspired by the love story of Dilip Kumar and Kamini Kaushal, was refreshingly bold and managed to stand apart from the many adaptations that followed.

Anokhi Raat – A Unique Look at the Bitter Truths – Asit Sen’s Anokhi Raat, true to its name was a unique film that told the story of an unusual stormy night – the storms being both within and outside. Sundeep Pahwa looks back at this film with some memories, observations and trivia. Monica Kar (in maroon font) ponders on the memorable songs of this film, which was the swan song of music director Roshan.

‘Hansraj Behl – A Forgotten composer’ is a look-back to his songs in Part 1 and Part 2.

Raat Aur Din, directed by Satyen Bose, was the perfect swansong for Nargis – Nargis Dutt’s performance as a woman with an identity disorder in this 1967 film won her the first National Award for Best Actress.

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

In our Manna Dey birth centenary series, after Manna Dey and his contemporary lead actors, and Manna Dey’s Comedy Songs for Mehmood, we are on the first part of the last leg,

SoY too pays tribute to Manna Dey @ Remembering a special singer Manna Dey

May 2020  episode of Fading Memories, Unforgettable Songs takes up the less-heard songs of Manna Dey in the series Manna Dey – Chale Ja Rahein Hai…. – 1951 – 1953 . Till now we have his

We will now take up the articles on other subjects:

“Quarantine” or “Lockdown” Dances (in other words, more dances in people’s homes) – As the title suggests, this is a quick compilation of videos posted by the classical-home-performers while fighting the boredom of this lockdown period.

Jetha Ramdhanu Othe Heshe: The Smiling Rainbow of Talat Mahmood (Tapan Kumar’s) Bengali Songs – Among the many tributes and special features on the legendary singer Talat Mahmood, few, if any, talk about his remarkable repertoire of superhit Bengali songs he sang in the early part of his career. Under the name of Tapan Kumar, Talat Mahmood began his Calcutta sojourn with his first record of Bengali songs in 1944. Sounak Gupta chronicles that illustrious journey, remembering the velvet-voiced singer.

Remembering Talat Mahmood for his happy mood songs,

Songs and contra-songs lists songs of opposing truths. E.g. songs on एक/अनेक (one /many)

Howard Roark’s speech in the courtroom in The Fountainhead (1949)

Ek chidiya anek chidiya (animated short film) by Bhimsain

Madhulika Liddle lists  Ten of my favourite ‘multiple version’ songs – male/female solo versions and Ten of my favourite ‘multiple version songs: one voice, two solo versions

Sadma is an achingly beautiful story about a love that defies labels – Balu Mahendra’s Hindi remake of his Tamil classic, Moondram Pirai, was a milestone in his, Sridevi’s and Kamal Haasan’s careers.

SoY initiates Best songs of 1945: And the winners are? , the 10th episode in the annual series Best songs of year. We will take up Micro View of Songs of 1945 from next month.

We end 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, we have picked up:

Tera Jalwa Jisne Dekha Woh  Diwna Ho Gaya – Laila Majnu (1945)  – with S D Batish – Pt. Govindram – Tanveer Naqvi

(Mohammad Rafi has made maiden on-screen appearance @ 1.17in this song.)

Bulbul Mein Hai Naghmme Tere – Laila Majnu (1953) – with Khan Mastana – Ghulam Mohammad – Shakeel Badayuni

Yeh Duniya – Yahudi (1958) – Shankar Jaikishna – Shaiendra

Tum Jahan Jaoge Mujh Ko Wahin Paoge – Chor Darwja (19650 – Roy Frank – Koifi Azmi

Yeh Diwane Ki Jid Hai – Laila Majnu (1976) – Manad Mohan – Sahir Ludhyanavi

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
Carnival of Quality Management Articles and Blogs

Carnival of Quality Management Articles and Blogs – May 2020

Welcome to May 2020 edition of Carnival of Quality Management Articles and Blogs.

For the year 2020, we have chosen the core subject of Revisiting Basic Quality Concepts w.r.t. the sustained success of the organization As of now we have visited

We take up Risk Based Approach as our core concept this month–

The most prevalent change that the advent of 21st century has witnessed is the extremely dynamic rate of change. If change was the constant of later part of 20th century, it is almost becoming beyond human comprehension rapid rate of change that is becoming the new-normal with passing of every year of the present century. This rapid change is making what w=is already ‘known’ now ‘known unknown’. The uncertainty that this rapid rate of change ushers in creates the world around extremely fluid.

For our present purpose of “Revisiting the Basic Quality Concepts’ we will briefly look at two articles published in HBR – one in 1994 and the one in 2012.

The first article, A Framework for Risk Management  by Kenneth A. Froot, David S. Scharfstein, Jeremy C. Stein  (November–December 1994 Issue of HBR) is based on finance specific perspective of Risk.

The risk-management paradigm rests on three basic premises:

      • making good investments.
      • to making good investments by generating enough cash internally to fund those investments.
      • maintaining adequate cash flow

A risk-management program, therefore, should have a single overarching goal: to ensure that a company has the cash available to make value-enhancing investments.

By recognizing and accepting this goal, managers will be better equipped to address the most basic questions of risk management.

If we paraphrase the message of this article for the organization as whole, we understand that basic aim of risk management practices is to ensure that while maintaining its near and medium term operating parameters the organization should sustainably manage its competitiveness in the areas of its core competence, as relevant to its present and future context.

The second article, Managing Risks: A New Framework by Robert S. Kaplan and Anette Mikes (June 2012 Issue of HBR), places the risk in a more broader perspective .

The article presents a new categorization of risk.

Category I: Preventable risks.

Category II: Strategy risks

Category III: External risks

The article goes onto examine the individual and organizational challenges inherent in generating open, constructive discussions about managing the risks related to strategic choices. The authors argue that companies need to anchor these discussions in their strategy formulation and implementation processes.

The authors caution the organizational leadership by bluntly stating that  managing risk is very different from managing strategy.

Active and cost-effective risk management requires managers to think systematically about the multiple categories of risks they face so that they can institute appropriate several and collectively interactive processes for each.

An approach based on adherence to minimum regulatory standards and avoidance of financial loss creates risk in itself. In a passive stance, companies cannot shape an optimal risk profile according to their business models nor adequately manage a fast-moving crisis.

In conclusion, the article looks at how organizations can identify and prepare for non-preventable risks that arise externally to their strategy and operations.

A thought provoking paper – Value and resilience through better risk management by Daniela Gius, Jean-Christophe Mieszala, Ernestos Panayiotou, and Thomas Poppensieker –  at Risk Insight studies by McKinsey and Compony provides a specific actionable perspective  –

More rigorous, debiased strategic decision making can enhance the longer-term resilience of a company’s business model, particularly in volatile markets or externally challenged industries..

Organizations need to manage their operations such that investments in product quality and safety/ environmental or societal expectations standards adopted by it can bring significant returns. And enable processes that are less prone to disruption when risks materialize.

To achieve standing among customers, employees, business partners, and the public, companies can apply ethical controls on corporate practices end to end.

Building robust, effective risk management is three-dimensional project: 1) the risk operating model, consisting of the main risk management processes; 2) a governance and accountability structure around these processes, leading from the business up to the board level; and 3) best-practice crisis preparedness, including a well-articulated response playbook if the worst case materializes..

Having accepted that uncertainty is a constant in business, robust risk management can help companies adapt and thrive. How risk management can turn a crisis into an opportunity is a re[presentative case study that demonstrates how using risk management processes and structures to identify and mitigate a wide variety of risks, even when what arises is not one of the feared scenarios, the business will be in a stronger position to respond to crisis and grow.

Risk Based Thinking and the risk management are very actively debated and documented topics in the management academics and the practice.

In a limited span of our present view, we recognize that by recommending these two additional readings –

To conclude, every organisation should see risk-based thinking as an opportunity and a step in the right direction of attaining the sustained success.

[N.B. – Detailed note on Risk Based Approach can be read / downloaded by clicking on the hyper link.]

We will now turn to our regular sections:

In the series the Organizational Culture, we have taken up  Organizational culture’s relationship with organization’s strategic direction. The critical message is that hat whatever form the relationship between organization’s culture and organization’s strategic direction shapes, in order to attain the sustained success, the culture and strategy should seamless aligned. .

We now watch ASQ TV, wherein we look at a few relevant videos from the archive:

  • Quality as Strategy – Greg Watson, ASQ past chair and ESTIEM professor, asks viewers if they believe there is, “a difference in having quality strategy or Quality as strategy?”

Jim L. Smith’s Jim’s Gems posting for May 2020 –

  • Growth – It is natural to focus on our strengths and pretend our weaknesses don’t exist. To grow, however, requires that we admit where we’re weak and then work to strengthen those aspects of our life – personal and professional…Choose to embrace and engage those opportunities now while placed in front of us. Embrace these opportunities even though they may seem a little uncomfortable….And as we grow, the positive possibilities will grow even more superlative in our world.

I look forward to your views / comments / inputs to further enrich the subjects of Basics of Quality and Organizational Culture and their role in 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.

Categories
I Liked Music from films

Manna Dey’s Comedy Songs for Other Actors [1]

We have noted that Manna Dey’s formal association with comedy songs with the text-book comedians of the cinema roots in Manzil (1960) song Hato Kahe Ko Jhoothi Banao BatiyaN.. This certainly blazed a trail that distinguished the career of Manna Dey as well as Mehmood.  As can be expected many other music directors subsequently used Manna Dey’s voice for comedy songs with other comedians as well.

Before we fully explore this dimension, it is certainly worth its while to note that Manna Dey has recorded quite a few comedy songs for what is broadly termed as Hero in the cinemas. We begin our present, and last for the time being, leg of Manna Dey’s career journey.

Manna Dey’s Comedy Songs for Lead Actors.

We have had a multi-part series journey of Manna Dey’s Songs for the Lead Actors. Barring a few songs, we had refrained discussing Manna Dey’s Comedy Songs with Lead Actors there..

Manna Dey’s Comedy Songs for THE Kapoor Brothers

The active singing careers of some of the playback singers like Mohammad Rafi, or Kishore Kumar or Manna Dey have spread over several decades and were so potently dominant in their own times that each one having rendered playback voices for the Kapoor Brothers Trio has not attracted any attention. Manna Dey singing a comedy song for each of the three Kapoor brothers, there for does require a special mention.

Manna Dey and Raj Kapoor

Manna Dey had emerged as the principal alternative playback voice for Raj Kapoor from the very first film – Awara (1951) – of their association. It was therefore very obvious that he would get to sing special situation songs like, a sad song Tere Bina Aag Ye Chandani or sheer romantic duet Pyar Hua Ikrar Hua or very light-station dance number Mud Mud Ke Na Dekh or a song bordering to a classical comedy song Dil Ka Haal Sune Dilwala.

However, the first truly comedy song that Manna Dey sang for Raj Kapoor for the first time came up in Paravarish (1958)

Mama Oh Mama Oh Pyare Mama.. Gharwale Khaye Chakkar… – Paravarish (1958) – with Mohammad Rafi – Dattaram – Hasrat Jaipuri

Manna Dey was used as (almost) a default playback for Raj Kapoor in this film. So it was very natural that Manna Dey would playback to Raj Kapoor and Mohammad Rafi to Mehmood.

Next big comedy song that Manna Dey sang for Raj Kapoor came up in Dil Hi To Hai (1963)

Laaga Chunari Mein Daag Chuupaun Kaise – Dil Hi To Hai (1963) – Roshan – Sahir Ludhyanavi

It was Mukesh who was the default playback singer for Raj Kapoor in this film. However, for so strong classical rag-based comedy song, Roshan easily seems to have preferred Manna Dey

Manna Dey And Shammi Kapoor

Manna Dey had had an occasional chance to playback for Shammi Kapoor – Ab Kahan Jaye Hum – in Ujala  and a few other films, which we have covered in details in our Manna Dey – Shammi Kapoor piece earlier.

Meri Bhains Ko Dand Kyun Mara – Pagla Kahin Ka (1969) – Shankar Jaikishan – Hasrat Jaipuri

It was Shankar Jaikishan who again recalled Manna Dey for a full-fledged comedy song, filmed on Shammi Kapoor, when Mohammad Rafi had become THE ShammI Kapoor Playback voice.

Manna Dey and Shashi Kapoor

Manna Dey also had his share of Shashi Kapoor songs. It was in Pyar Kiye Ja (1966) that he gets a very light song to sing for Shashi Kapoor

Sun Le Pyar Ki Dushman Duniya – Pyar Kiye Ja (1966) – with Kishore Kumar, Lata Mangeshkar, Asha Bhosle – Laxmikant Pyarelal – Rajendra Krishna

This is a cry against the tyranny of the world towards the young people in love, but presented in a lighter tone.

Manna Dey’s Comedy Songs with Other Lead Actors

We have had a detailed look at Ashok Kumar – Manna Dey Comedy Song Jaa Re Beiman Tujhe Jaan Liya (Private Secretary, 1962; Music Director – Dilip Dholakia; Lyrics – Prem Dhawan), in Ashok Kumar – Manna Dey piece @ Manna Dey and Lead Actors. So, we will be satisfied here with taking a note of that one excellent comedy songs of Manna Dey. Of course, no discussion of Manna Dey’s comedy sngs for Ashok Kumar can ever be complete without mention of Babu Samajo Ishare, Horn Pukare (Chalti Ka Naam Gaadi, 1958; Music – S D Burman; Lyrics: Majrooh Sultanpuri)

One of the rarest find while working for this entire series is Manna Dey’s Comedy Song for Vijay Ananad.

O Mister, O Mister Suno Ek Baat – Agra Road (1957) – with Geeta Dutt – Roshan –  Prem Dhawan

Vijay Anand was considered to be one of the most competent drifters of the films. Picturization of the songs was his forte. He would suddenly briefly appear, in Alfred Hitchcock’s signature style, in some in  the films he directed,  His attempts to act, and that too as lead actors, have been considered to be equally rare, and by and large not very successful.

Agra Road was his first maiden such effort. The film direction was in th every able thriller film directors, (Nagina -1951– fame) Ravindra Dave.

Here Vijay Anand is seen lip-synching Manaa Dey in a very light situation dance sequence. Of course, he himself wi very seriously dressed in a full suit, a tie, shoes and all.

Manna Dey’s Comedy Songs with Other Comedians

After Hato Kahe Banao Jhoothi Batiyan (Manzil, 1960) for Mehmood, we get to listen Manna Dey’s comedy songs for full-fledged comedians in 1962 for Johnny Walker.

Manna Dey’s comedy songs for Johnny Walker

The default playback voice for Johnny Walker has always been Mohammad Rafi. Mohammad Rafi had in fact so much developed a style of throw of words that synched perfectly with Johnny Walker’s theatrics that just by listening  to a song one would know this is Johnny Walker song..

Arre Kisne Chilman Se Maara – Baat Ek Raat Ki – S D Burman – Majrooh Sultanpuri

It is probably no coincidence that it is S D Burman who has chosen to use Manna Dey for Johnny Walker, taking on a contrarian step of not using Mohammad Rafi.. In fact SDB has already used Mohamad Rafi for Johnny Walker, right in this film – Aaj Ka Din Bhi Pheeka Pheeka. However, for this classical styled mujra, S D Burman has opted for Manna Dey. S D Burman has maintained spaces for Johhny Walker’s signature theatrics, while creating one of the most iconic comedy song in the annals of Hindi film history.

We have next three songs, all composed by Kalyanji Anadji.

Mere Mehboob Mujhko – Haseena Man Jayegi (1968)  – with Asha Bhosle –  Kalyanji Ananadji – Qamar Jalalabadi

This is a masala comedy song involving a sulking ‘the other half’ with our ‘comedian’ displaying all the theatrics available in his arsenal to win her over.

Ek Anar Do Bimar – Baazi 1968   -Kalayanji Anandji – Shakeel Badayuni

The templates are so rigidly cast, that even a new combination of music director – lyricist also is not able to inject any noteworthy variation.

Haye Re Raama Raam Qasam Kaisa Aaya Ye Zamaana  – Ek Haseena Do Deewaane (1972)  -Kalyanji Anandji –  Qamar Jalalabadi,

If a film has a comedian, and that too of the order of Johnny Walker, or Mehmood, he has to be allotted one song. By now there are some standard templates typecast. Any one of that template style will be lifted up and a song will be worked out by crafting some variation here or some variation there.

We would once again to end an episode in this series by ruefully noting the sudden drop in the quality of compositions that Manna Dey had to sing as the years pass, starting always from an iconic song to end with most certainly the forgettable song.

We have one song that can help us move away from that gloom –

Munh Se Mat Laga Ye Cheez Hai Buri – Johnny Walker (9157) – with Mohammad Rafi – O P Nayyar – Hasrat Jaipuri

This is an all-Johnny Walker- Mohammad Rafi song. Manna Dey has played back for some unknown ‘on-screen’ friends. But that has not made a shade of difference to Manna Dey – he matches a note-to-note with Mohammad Rafi.

That is the beauty of a really ‘class’ composition!!

We still have one more episode-worth material for Manna Dey’s comedy songs for Other Comedians. We would take that up in our next episode.

Categories
Carnival of Blogs on Golden Era of Hindi Film Music

Carnival of Blogs on Golden Era of Hindi Film Music – April 2020

Welcome to April 2020 edition of Carnival of Blogs on Golden Era of Hindi Film Music.

April was the month of COVID-19 induced nation-wide lockdown. So here are two posts on the subject:

Lockdown Lyrics: Songs for Covid-19 Times is a bunch of upbeat songs that, in some way or the other, relate to this lockdown. Enjoy!

Here a few representative ones :

My Favourites: Songs of Sickness looks at the songs that have the medical interpretations of the lyrics that would make for some interesting illnesses, e.g.

  1. Chhuo Na Chhuo Na Alabele Mere Saiyan – Honeymoon (1960)- Sabita Banerjee, Mukesh – Salil Chowdhury – Shailendra

.“Guide, The Film: Perspectives” – Lata Jagtiani & Other Writers | Blue Pencil, New Delhi, 2019 | ISBN: 978-81-939555-2-9 – review is a good by-product of COVID-19 lockdown. A quote by RK Narayan, pointedly mentioned in the post, has all the more relevance in these times – loneliness is the only truth in life. The post also adds a very perceptive conclusion that “Marco discards Rosie, who, in turn, discards Raju, and, finally, Raju discards the physical world to self-actualise”, because there is room for only one at the peak of self-actualisation.

And then there is one for the children too, in the form of a list of some of the best children’s movies @ CHILDREN’S MOVIES TO SEE DURING LOCKDOWN

We pick up other tributes and memories:

The immortal voice: The echoing memories of KL Saigal on his birth anniversary – Sharad Dutt offers a tribute to KL Saigal on his 116th birth anniversary (4 April 1904 to 18 January 1947). A film career that merely lasted fifteen years (1932-1946), K L SAigal performed in just about 36 films and rendered about 185 songs in Hindi, Urdu, Persian, Punjabi, Bangla and Tamil, thus proving the dictum that it’s not the extensiveness but the intensity of those renderings that bequeaths the mantle of immortality.

[N.B. – For those who would like to know more about Sharad Dutt , here is Guftagoo with Sharad Dutt.  Sharad Dutt has authored a national award winning book, Kundan: Saigal’s Life and Music, which has  a treasure of  archival records, rare photographs and posters of Saigal’s films.]

Versatile musical genius – Kamal Dasgupta – Sharad Dutt – With a career of about fourteen years, Dasgupta have approximately 8,000 songs under his belt including 80 Bengali movies – his unique contribution was the invention of a shorthand method for swaralipi

Anuradha, or the musical genius of Pandit Ravi Shankar, Lata Mangeshkar and Shailendra – Music is in every frame of Hrishikesh Mukherjee’s film, and the soundtrack is the kind that stays in one’s head for a long time. Anuradha won the National Award for the Best Feature Film and was nominated for a Golden Bear at the Berlin International Film Festival. To mark the 100th birth anniversary of Pt. Ravi Shankar, it would be fittingly appropriate to spend time with the music of Anuradha.

Veteran Actress Nimmi No MoreYesteryear actress Nimmi (a.k.a. Nawab Banoo) breathed her last on 26th March, 2020 evening in Mumbai. She was 88 years old.

We have two posts in a homage to the career of Nimmi –

The isolation of Bhuvan Shome is all too real in a time of social distancing – The thing about Bhuvan Shome is that actually, very little happens. In terms of its actual plot, the 96-minute Hindi movie, adapted from a Bengali story by Banaphool, could easily be a 20-minute short film. But then it wouldn’t be the classic it is, the movie that pioneered an entire cinematic movement. As a tribute to Utpal Dutt’s 91st birth anniversary, watch Bhuvan Shome not only for the pioneering example of cinema it is, but also for its strangely beautiful depiction of a different kind of loneliness.

Ranjit Chowdhry (1955-2020): ‘Khoobsurat’ and ‘The Office’ actor dies at 65 – Across three decades, Chowdhry worked with Basu Chatterjee, Hrishikesh Mukherjee, Mira Nair, and Deepa Mehta.He passed away in Mimbai 0n 15-4-2020

Ranjit Chowdhry in Last Holiday (2006). | Paramount Pictures

Johnny Walker: Comedy’s Humane Face – Johnny Walker (a.k.a. Badruddin Jamaluddin Kazi) worked under a strict self-imposed regimen as to his demeanour. He was never loud. He never took recourse to slapstick and was never vulgar. He became another name for comedy in Hindi cinema. And if there were ever an idol to symbolize mirth and laughter, it would not be surprising if it resembles Johnny Walker in appearance.

Remembering Satyajit Ray: The Rare Master of All Trades – Though the world chiefly knows him as the creator of some of the most elegant films ever made, he was also a multi-talented mind.

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

Jawani Diwani was candyfloss Bollywood, but it turned many stereotypes on their head – To mark Balraj Sahni’s death anniversary (13-04-1973), here’s a throwback to Jawani Diwani, a movie that he is not known for, but that would be poorer without him. it is his character upon whom the wheel of Jawani Diwani turns. His is not the lead role, but it is the one that makes the gossamer-thin plot move forward, and he plays it with the restraint and dignity we all know him for.

In our Manna Dey birth centenary series, after Manna Dey and his contemporary lead actors, we have taken up the last of Manna Dey’s Comedy Songs. For Mehmood

March 2020  episode of Fading Memories, Unforgettable Songs takes up Hasrat Jaipuri – Beyond Shankar Jaikishan: 1958. Till now, we have covered :

The songs from 1950 to 1953 in 2017,

The songs from 1953 to 1955. In 2018, and

The songs from1956 -1957 in 2019

We will now take up the articles on other subjects:

Amar Prem tells the story of relationships that have no name but the power to break hearts – Not Shakti Samanta, Rajesh Khanna or Sharmila Tagore — it was Anand Bakshi’s lyrics that gave this movie its soul.

Baaja that was Harmonium that was Music – Indian music has a history of a strange love-hate relationship with the harmonium. The present post presents songs which has visually appealing presence of Harmonium. I have picked up one song from this post here:

‘Mera Sundar Sapna Beet Gaya’ – Filmistan Studio – It as a banner which with its wonderful music based high quality movies mesmerized its viewers leaving an indelible imprint on their minds. It was this banner which gave us ace composers like S D Burman(Shikari, 1946) and Hemant Kumar (Anand Math, 1952) and well-known producer-director like Subodh Mukherjee. The beautiful and bubbly actress of the 1950s, Shyama had also made her debut as a heroine under this banner. Hindi Cinema’s first totally western music inspired song – Aana Meri Jaan Meri Jaan Sunday Ke Sunday  – was also made under this banner.

Revisiting ‘Yehi Sach Hai’, the short story that inspired ‘Rajnigandha’books to film  –  Nirupama Kotru – Manu Bhandari’s Yehi Sach Hai was published in 1966. Basu Chatterjee’s Rajnigandha, the 1974 movie based on Yehi Sachi Hai, waters down some of Bhandari’s more radical ideas, while retaining its core themes – a woman’s romantic dilemma, and her quest for a well-paying job.

A Rivière of Asha Bhosle – S D Burman Gems- Her transformation from Geeta-esque Asha to a complete playback singer with her own adaptable style is clearly seen under the baton of S D Burman. E.g.. Dil Ki Manzil Kuchh Aisi Hai Manzil – Tere Ghar Ke Samne (1963) – S D Burman – Hasrat Jaipuri

How film composers have used raag Maand to express love and longing – In Hindi cinema, both SD Burman (Piya Tose Naina Laage Re, Guide, 1965) and Naushad (Bachpan Ki Mohabbat – Baiju Bawra, 1952) picked Maand for situations that expressed passion.

We end 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, we have picked up:

Jaane Kahan Gayee Dil Mera Le Gayi Woh – Dil Apna Aur Pree Paaryi (1960) – Mohammad Rafi – Shankar Jiakishan – Shailendra

Phir Teri Yaad Naye Geet Sunane Aayee – Bekhabar (1964) – S Mohinder – Raja Mahendi Ali Khan

O Lakshmi O Sarsu O Sheela O Rajni… Dekho Kya Kay Laya Ye Mausam Is Bar – Kahin Aur Chal (1965) [Unreleased] – Shankar Jaikishan – Hasrat Jaipuri

Hame Pyar Karne Na Dega Zamana, Agar Ho Sake To Mujhe Bhul Jana – Pyar Ki Baazi (1967) – with Geeta Dutt –  Jimmy – Indeevar

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
Carnival of Quality Management Articles and Blogs

Carnival of Quality Management Articles and Blogs – April 2020

Welcome to April 2020 edition of Carnival of Quality Management Articles and Blogs.

For the year 2020, we have chosen the core subject of Revisiting Basic Quality Concepts w.r.t. the sustained success of the organization As of now we have visied

We take up Understanding Needs and Expectations of the Interested Parties as our core concept this month–

It is an undisputed fact that  the past, present and future course of organization’s strategic direction to attain sustained success is affected by the ever, rapidly changing issues within and around the organization and by the dynamic relationship of these issues with the organization have far reaching impact. Similar far reaching impact is also attributed to the needs and expectations of the interested parties from the organization and their intra-dynamics of relationships and the individual and collective dynamics of relationship(s) these multiple forces with the organization.

The classic definition of a stakeholder according to Freeman is “an organization… [or] any group or individual who can affect or be affected by the achievement of the organization’s objectives” [7]. While Freeman’s ground-breaking book “Strategic Management: A Stakeholder Approach” in 1984 started the wider discussion and elaboration of stakeholders and their importance, an earlier concept of stakeholders had already emerged in the 1960s. In 1963, academics at the Stanford Research Institute stated that a firm also needs to be responsible – in addition to shareholders – to a number of stakeholders without whose support the organization would cease to exist [5]. Some scholars have even proposed that the roots of stakeholder thinking dates as far back as the 1930s [8].[1]

The process or framework for identifying, understanding, monitoring and reviewing interested parties is normally matrixed in terms of:

  • Level of interest (Relevance)
  • Level of influence (Significance)[2]

In the power/interest matrix there are two important sets of questions to be assessed. According to the classification proposed by Johnson and Scholes, the question “If we were to pursue this strategy with disregard to the views of this particular stakeholder, could/would they stop it?” assesses the power of the stakeholder. The interests of the stakeholder is assessed with the questions “How high is this approach on their priorities?” and “Are they likely to actively support or oppose this approach, or will their interest be short-lived?” [32].

The power dimension indicates the level of influence a stakeholder has in either supporting or resisting a strategic initiative. Stakeholders may exercise their power in many ways, for example through a legal position, possession of knowledge and key resources or even informal networking with other decision makers. The interest dimension depends on how high a priority this strategy is. Interests can be open or hidden, which makes their assessment challenging. Interests may be based on a stakeholder’s anticipated economic gain, brand value or power position. The level of interest can be estimated by assessing whether a stakeholder has a long-term commitment to the strategy [32].

Table depicted here above shows power / interest matrix and the corresponding strategies according to stakeholders.

Another major challenge that an organization has to face is the conflict of interest among differing needs and expectations of the interested parties.

Conflict is a natural and healthy part of a group behavior. An engaging and inclusive process of resolution of the conflicts of interests of the different parties, as well as the conflicts of infested parties needs and expectations from an organization should yield win-win outcomes, wherein the feelings of having compromised one’s interests is replaced by the spirit of mutual collaboration.[3]

The 2012 changes in the ISO Management system standards have clearly mandated Understanding the Needs and Expectations of Interested parties as a key enabling input to the design, implementation and improvement of the relevant discipline management system standard.[4]

Whereas the specific discipline ISO Management system standards look at the understanding the needs and expectations of the interested parties from its relevance to the respective discipline, ISO 9004: 2018 – “Quality management – Quality of an organization – Guidance to achieve sustained success”. – views the impact of needs and expectations of the interested parties on the organization’s ability to achieve sustained success. This is the stage for an excellent review and the starting point to understand the potential depth of examination of who is most involved – from the point of view of the power and the interest – in the issues identified as having contextual relevance and influence on the organization’s purpose and strategic direction.

In as much as understanding the needs and expectations of the interested parties is a key ingredient to the process of planning for the sustained successor an organization, it is also a vital tool to help in the implementation of the process and a key enabler for checking the outcomes achieved on the continual journey for higher, sustained, success.. [5]

 [N.B. – Detailed note on Understanding Needs and Expectations of the Interested Parties can be read / downloaded by clicking on the hyper link.]

We will now turn to our regular sections:

In the series the Organizational Culture, we have attempted to look at The Organizational Culture – Understanding the purpose of organization.. In its simplest form, purpose is the organization’s reason for being. It is a combination of vision, mission, and values.

We now watch ASQ TV, wherein we look at a recent video:

  • Navigating Through Change and Ambiguity– Matt Meuleners, Executive Partner at FOCUS Training, discusses change and ambiguity, and the best practices an organization can use to lead through ambiguity.

Jim L. Smith’s Jim’s Gems posting for March 2020 –

  1. Why employees leave – Common Sense Management Can Reduce Employee Turnover-

There are a lot of reasons good employees leave, including:

    • Rude behaviour: Feeling mistreated is not an enticement for a good work environment.
    • Work-life imbalance: Increasing with economic pressures, organizations continue to demand that one person do the work of two or more people.
    • The job did not meet expectations: When a job to significantly vary from the initial description and what was promised during the interview stage,.it can lead to mistrust. When trust is missing, there can be no real employee ownership.
    • Job and the employee misalignment: Organizations should never hire employees unless they are qualified for the job and in sync with the culture and goals of the organization. Managers should not try to force a fit.
    • Feeling undervalued: Everyone wants to be recognized and rewarded for a job well done. It’s part of our nature. The most effective recognition is sincere appreciation.
    • Coaching and feedback lacking: Effective managers know how to help employees improve their performance and consistently give feedback to all employees.
    • Decision-making ability lacking: Organizations need employees to have ownership and be empowered! An organization should give employees latitude to do their jobs by placing trust in them; employees, in turn, should accept that responsibility and embrace that trust with enthusiasm.
    • People skills inadequate: Many managers were promoted because they did their jobs well and got results. However, that doesn’t mean they know how to lead. People skills can be learned and developed, but it really helps if a manager has a natural ability to get along with people and motivate them.
    • Organizational instability: Management’s constant reorganization, changing direction, and shuffling people around disconnects employees from the organization’s purpose. Employees don’t know what’s going on, what the priorities are, or what they should be doing.
    • Raises and promotions frozen: Studies have shown that money isn’t usually the primary reason people leave, but it does rank high when an employee can find a job earning more elsewhere. Organizations better pay competitive wages and benefits while making their employees feel valued! This is a critical combination.
    • Faith and confidence shaken: When employees are asked to do more and more, they see less evidence that they will ultimately share in the fruits of their labor. Employees know when a company is doing well and they expect to be treated as critical enablers of that success. Organizations need to stop talking about employees being their most important asset while treating them as consumables.
    • Growth opportunities not available: A lot of good talent can be lost if the employees feel trapped in dead-end positions. The most successful organizations find ways to help employees develop new skills and responsibilities in their current positions and position them for future advancement within the organization.

I look forward to your views / comments / inputs to further enrich the subjects of Basics of Quality and Organizational Culture and their role in 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.

[1] Understanding the Stakeholders as a Success Factor for Effective Occupational Health Care – Ari-Matti Auvinen

[2] “Interested Parties” and Their “Needs and Expectations”

[3]  Fundamentals of Sports Management, Pp. 14 – Robert E Baker, Craig Esherick . 2013

[4] Understanding needs & expectations of interested parties in ISO 9001:2015Mark Hammar

[5] Business Sustainability: Going Beyond ISO 9004:2018–  Alka Jarvis, Paul C. Palmes

Categories
I Liked Music from films

Fading Memories…. Unforgettable Songs: April 2020

Hasrat Jaipuri – Beyond Shankar Jaikishan: 1958

Hasrat Jaipuri (born Iqbal Hussain) – B: 15 April 1922 – D: 17 September 1999 – has penned around 2000+ songs for close to 350 films in a fairly long active career as lyricist for the Hindi Films. He has written several books of Hindi and Urdu poetry too. The critics may not put Hsrat Jaipuri in the same bracket as Sahir Ludhyanavi or Kaifi Azmi, many of Shailndra fans may disparage Hasrat Jaipuri’s lyrics, but the fact remains that his lyrics had very authentic simplicity that would win the hearts of Hindi Film songs fans of all hues.

Hasrat Jaipuri, and for that matter, Shailendra too, has partnered quite effectively with a wide range of music directors beyond Shankar Jaikishan. The underlying reasons might be economic – creating much needed extra stream of remunerative work- or creative – working with diverse range would keep their creative energies charged and wider-based-, we have no authentic versions. But these wider associations for both have yielded us a rich treasure of songs to listen to.

We have commenced the annual series of Hasrat Jaipuri’s songs under Other Than SJ  music directors in 2017. Till now, we have covered

The songs from 1950 to 1953 in 2017,

The songs from 1953 to 1955. In 2018, and

The songs from1956 -1957 in 2019

Presently, we have covered Hasrat Jaipuri’s songs by Other Music Directors for year 1958.

Since we have been moving on in the chronological order of years, we will see some music directors getting repeated in some episodes. In any given episode, wherever we find more than one film with a music director, we have grouped the films under that music director.

Music Director: Vasant Desai

We have seen in our earlier episodes that Vasant Desai and Hasrat Jaipuri have earlier collaborated in V Shantaram’s Jhanak Jhanak Payal Baje (1955). Presently, too, Hasrat Jaipuri is the sole lyricist for Do Phool (1958) with Vasant Desai.

Do Phool (1958)

Do Phool is the Hindi adaption of famous children novel Heidi (Authoress:  Johanna Spyri). It was produced by famous director A R Kardar.  Of the total 9 songs, Asha Bhosle and Lata Mangeshkar each have two solos and one chorus song, Asha & Lata have two duets and Aarti Mukherjee has one solo.  We have picked up two Asha – Lata duets and Aarti Mukherji.

Bachpan Ka Tora Mora Pyaar – Lata Mangeshkar, Asha Bhosle

This song is about two childhood friends, reaffirming their bond of friendship, and making promises never to forget each other. The on-screen picturization is on Baby Naaz and Master Romi.

Roothi Jaaye Re Guzariya – Lata Mageshkar, Asha Bhosle

Sulking – Appeasing virus have been bugging mankind right from childhood friendship days. Once it caught by the adults, it has given a full-fledged, rich, genre of Hindi films songs. Here the children friends have been afflicted by this virus and seem to manifest text-book symptoms in the present song, including the (child) heroine relenting by the end of the song. And the couple goes on live merrily thereafter.

Matak-Matak Naachu Re – Aarti Mukherjee

The song replicates the street play situation of the film. Aarti Mukherjee comes up with very childlike rendering of the song.

Music Director: Dattaram

In his second film as an independent director, Dattaram gets opportunity to work on a social drama. Unlike the earlier case, Ab Dilli Dootr Nahi (9157), which was an RK Production, Parvarish (1958) has Raj Kapoor in the main male lead only.

Parvarish (1958)

Hasrat Jaipuri has the sole charge of lyricisit here. One romantic duet – Masti Bhara Hai Sama and another a peppy dance number, Beliya… Bheegi Si Baharon Mein (both by Manna Dey, Lata Mangeshkar), one comedy male-male duet Maama-O-Maama (Mohammad Rafi, Manna Dey)  and a poignant Aansoo Bhari Hai Yeh Jeevan Ki Raahein (Mukesh) offered Dattaram – Hasrat Jaipuri as wide a latitude as a music director- lyricist team would ever ask for. And they, too, have come up trumps. These songs are remembered even today.

We have picked up relatively lesser known three heard, songs from the film.

Jhoome Re Jhoome Re – Asha Bhosle

In one of the rare roles, the famous, wily (on-screen) mother-in- law, Lalita Pawar plays a very caring mother for the two kids. She is so hard-wired in this vamp roles, that we need to scratch deep into our memories to recall her very sensitive portrayals in films like Anari or Anand. A lorie being filmed on her is another rare happening in type-cast mold-oriented Hindi film working.

Luti Zindagi Aur Gam Muskuraye – Lata Mageshkar

Here we have a formula share of female poignant song.

Jaane Kaisa Jaadu Kiya Re – Asha Bhosle, Sudha Malhotra

A mujra song adds to the variety to the two very different genre songs we heard earlier and to the songs in the film, in general. For the observer friends, who like identifying the screen performers, the knowledgeable bloggers have identified Meena Fernandez (in Asha Bhosle’s voice) and Sheila Vaz (that of Sudha Malhotra) as on-screen performers.

Music Director: Kalyanji Veerji Shah

Kalyanji Shah has not yet teamed up with Anandji, his brother and a long-time career companion in the successful film music career.

Samrat Chandragupta (1958)

Bharat Vyas has five and Indeevar has one song to their share in this film. Hasrat Jaipuri has penned two of the total eight songs in this film, of which Yeh Sama Hai Mera Dil Javaan (Manna Dey, Lata) is well-known. So we have picked up the relatively less heard Lata Mangeshkar solo. Again for the sake records, there also was a same-named film in 1945, for which music was composed by C Ramchandra

Ae Dilbar Aaja Aaja, Haath Se Mere Lele Jam – Lata Mangeshkar, chorus

Since the version we have an audio version, and I have not seen the film, I would not be in position to correctly place the appropriateness of use of a mid-east influenced tune and words like ‘jam’ in the song that would a court dance in the period of Samrat Chandragupta.

Music Director: P Ramesh Naidu

P. Ramesh Naidu seems to be a very obscure name as far as Hindi films are concerned.  But he is not that unknown to us, since we have covered an earlier of his film, Hamlet (1954) , in the earlier episodes of this series. He has directed music for films in ten languages (in comparison with nine by Salil Chowdhury).  He has been awarded national award for his music in Megh Sandesham. It appears that he would get an automatic membership to the one/two film music director club’.  However, it must be appreciated that established lyricists like Hasrat Jaipuri are seen to collaborate with such music directors and give their as good as with any established music director quality of lyrics.

Piya Milan (1958)

Film “Piya Milan” was originally a Tamil film MARMAVEERA-56  The film had nine songs, of which 3 songs have been written  by Harsh and the rest six by Hasrat Jaipuri. Most of the songs remain unknown ones. So, we have picked up songs that have Usha Mangeshkar as a singer to add variety to the songs in this present episode.

In the present case, too there was a similar-named film in 1945, for which Feroz Nizami had composed the music.

Ho Ji Tum Pyar Hamein – Usha Mangeshkar

Prima faci,e this is a dance performance that basically is meant for the entertainment of a rich client

Tilla Langdi Koyale  – OM Verma, Usha Mangeshkar

A street dance act played inside the drawing room for the entertainment of the rich family, so it seems from the stand alone view of the video.

O Saathi Re Tu Aa Bhi Ja  – Lata Mangeshkar, Usha Mangeshkar, Jagmohan Bakshi, chorus)

We only have an audio version. Having heard Jagmohan Baxi so effectively in Dekho Mane Nahi Roothi Hasina (Taxi Driver, 1954- with Asha Bhosle – Music: S D Burman- Lyrics – Sahir), one would expect to have to get a closer look at Jagmohan Baxi’s voice, because he is not regular singer. But here his use does not give us that strong opportunity.

Music Director: OP Nayyar

OP Nayyar has also appeared earlier on this series for the film Johnny Walker(1957). Presently too OPN and Hasrat Jaipuri have been teamed for Mr. Qartoon MA. OPN and Hasrat Jaipuri teaming up for two songs in Howrah Bridge too this year, Whether it is a coincidence or choice (governed by the success of Johnny Walker, the film  songs), we have not verifiable source to know. Nor does it matter, we have good songs to listen to and enjoy.,

Howrah Bridge (1958)

The film has eight songs of which six have been penned by Qamar Jalalabadi.  We have covered Main Jaan Gayi Tujhe Saiyaan (Mohammad Rafi, Shamshad Begum) earlier, in other context,in our other posts on this blog, so, I have selected  an Asha Bhosle solo.

Yeh Kya Kar Dala Tune – Asha Bhosle

The song is all the way an O P Nayyar song, A hoofing – tonga- rhythm, switching over to Dhalak as base instrument for a while in Antara, clever use of whistling,  sweet use of violin, sarangi – are all the signature stamps of OPN.

Kabhi Andhera Kabhi Ujala (1958)

The film had Kishore Kumar and Nutan as the lead actors.

Ajab Hamari Hai Zindagani  – Asha Bhosle

This is song that has title of the film in the mukda.

Zara Sone De Balam – Asha Bhosle

The song is composed to a signature dholak rhythm of O P Nayyar. We find a major variation in terms of huge violin ensemble at the beginning of the interlude orchestration piece.

MR Qartoon MA (1958)

This is cent per cent Hasrat Jaipuri – OPN film, with Johnny Walker as the main lead. The film had three Asha Bhosle solo and one Geeta Dutt- Asha Bhosle duet., but we have deliberately chose the songs that have presence of Mohamad Rafi, in line with our tradition to end our episodes with Mohammad Rafi songs.

Mai Mai Mai Qartoon  – Mohammad Rafi, Asha Bhosle, Shamshad Begum

This is also a song wherein mukhda lyrics have weaved in film title. O P Nayyar switches between western and Indian style bass rhythms in the interlude stanzas. The song appears to be filmed as a fantasy stage show.

Mera Dil Ghabraye Meri Aankh Sharmaye – Mohammad Rafi, Asha Bhosle

The duet is set to a picnic spot situation. Johnny Walker has put on a deceptive disguise of painting-brush-like thick moustache, but his style of singing remains his by known well-known theatrics.

Tune Maar Ke Pyar Ki Bomb Mere Dil Ko Kar Diya Mom – Mohammad Rafi, chorus

Hasrat Jaipuri has used his own signature style of beginning a song with a couplet (‘sakhi), and then has gone onto build a simple end-rhyming lyric that match the situation of the song. Johnny Walker and his gang have masqueraded as signing ascetics and seem to be on a heart-winning mission.. We can see Mehmood too as his junior, principal, aid.

Music Director : B(aldev) N(ath) Bali

B N Bali is one of those music directors who got confine to B and C grade films. He is credited with composing music for 24 films

Pehla Pehla Pyar (1958)

The film had 3 songs written by Madan Mohan (I trust this not Madan Mohan the music director), one by Anand Bakshi and four by Hasrat Jaipuri. The digital link of the three Hasrat Jaipuri songs are still not available on net.

Roke Se QayamatRruk Jaye Par Rokna Dil Ka Mushqil Hai
Kuchh Bhi Na Sujhai Deta Hai Jis Waqt Mohabbat Hoti Hai

Jab Unka Khayal Aa Jata Hai – Mohammad Rafi

Here too the song begins with a classic Hasrat Jaipuri style couplet.

The composition is considered to have a too close resemblance with a copy of Rafi’s “Jin Raaton Mein Neend Ud Jaati Hai” (‘Raat Ki Rani’, 1949) by Hansraj Behl.

As we end the present episode, it would be interesting to note that Hasrat Jaipuri seems to take up assignments with other music directors when he seems to have less-to-nothing share of songs with Shnkar Jaikishan. 1958 had only tow SJ films – Yahudi and Baghi Sipahi, in which Hasrat Jaipuri has only one and three songs respectively.

Either way we have nothing to lose….. and await eagerly for the next stop of our journey…..

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

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

Categories
I Liked Music from films

Manna Dey’s Comedy Songs – Mehmood [4]

Even though we have travelled to three episodes of Manna Dey’s comedy songs for Mehmood, we are still in the ‘65/’66/67 period of Mehmood’s career, even though the trails from there have led us to ‘70s and even ‘80s. We have seen that most of the songs on this later part of Mehmood’s career trail have yielded forgettable songs., from those music directors only who created some of the most memorable songs that Manna Dey played back for Mehmood. So, the root cause possibly is the trajectory that Mehmood’s career took as he grew more established in his career. Playing the roles of different types of the people from across the varied walks of the life from Indian diversity seemed to be the key to his success.  Even as he would on a new character, his acting style, dialogue delivery, basic build of the character, selection of situations for the songs was seen to be getting type cast into some his past successful roles as the chosen few model templates.

Simultaneous with this was the gradual decline with beginning of ‘60s, of the successful second-generation golden period music directors who formed the backbone for taking the Hindi Film music to a melody height in 50’s.  The music was getting more repetitive, less lasting and more commercial.

We take up this fourth, and last, link of Manna Dey-Mehmood chain in the backdrop of these circumstances. As we will see, the pattern that we saw in the previous episode, repeats here also. Of the three music directors we have for the present episode, two begin with reasonably ‘good’ Manna Dey- Mehmood songs, but then slip into the lane of churning out some quite unforgettable songs.

We once again would emphasize that basic intent of our ‘Remembering Manna Dey’ series was not judging the quality of Manna Dey’s songs across the passage of the years. We have only sincerely attempted to look at Manna Dey’s career with some specific angles so as to get as many varieties that we could come across under one common reference point.

In the chronological order of the year in which the film was released, it is Ravi who would be the fulcrum around which we would list Manna Dey – Mehmood songs.

De Data Ke Naam Tujhko Allah Rakhe – Ankhen (1968) – with Asha Bhosle|– Ravi – Sahir Ludhyanavi

‘Ankhen’ was intended to be spy thriller themed masala film. The spies were made to go to the extent of combing the dusts on the streets as beggars to get the clue of the abductors / villains, with some honing device tucked in ther beggar wheelbarrow. Manna Dey and Asha Bhosle have made their best efforts to make the song quite vearble.

Muslim Ko Taslim Arz Hai.. Main Hun Ek Hazzam Pyare – Do Kaliyan (1968) – with Mehmood – Ravi – Sahir Ludhyanavi

Mehmood dons the role of an unemployed educated in this song. The idea of venturing into a mobile hair-cutting saloon does appear like an out-of-the-box- start up idea. But the song has turned up to be a run-off-the-mill average song .

Khali Dabba Khali Botal Lele Mere Yaar– Neel Kamal (1969) – Ravi – Sahir  Ludhyanavi

The household scrap purchase was an important street business. It was an important in the recycling cycle of many of the used domestic wares. So Mehmood ‘s choice of donning role of that character was a good idea, but the way the song is created and filmed, the idea turns out to be damp squib.

Cycle Pe Hasino Ki Toli – Amaanat (1975) – with Mouhammad Rafi, Asha Bhosle – Ravi – Sahir Ludhyanavi

The film bears 1975 as the year of release, but looking the age of Manoj Kumar or Sadhana,or Ravi’s song composition style (recall – two quite the then known ones Matalab Nikal Gaya Hai To Pahechanate Nahi and Door Rahe Ke Na Karo Baat or not so known credit title song Har Ek Din Mein Aramaan Hai Amanat – all by Mohammad Rafi), the film seems to have been produced a decade or so earlier and seems to have been stuck for release. The situation of the songs – a group youngsters on a bicycle picnic- also belonged to that period. The lyrics and the singing styles of each of the singers helps in maintaining the mood of the song

Kalayanji Anandji have apparently only one song in Manna Dey, Mehmood genre. In fact they seem to have opting for Mehmood songs in Mehmood’s own voice, at least in these three instances –  Lori Suna Suna Ke (Purnima, 1965), Gali Gali Gaon  Mein (Paras, 1971) and Hoshiyar Rahena Khabardar Rahena (Vardan, 1974) – in a major departure from the then popular practice of using Manna Dey, or Mohammad Rafi.

Mere Dil Se Dil Ko Jod Do – Suhaag Raat (1968) Manna Dey– Kalyanji Anandji – Indeevar

By now, even this type of chhed-chaad romance songs of Mehmood had drifted to become too trite and loud.

For our present plot we now take up Manna Dey’s ssongs for Mehmood, composed by Laxmikant Pyarelal. In comparison of their use of Mohammad Rafi for a male playback singer slot in the years before ascendancy of Kishore Kumar in 1969, they have used Manna Dey very selectively.

Let me confess that I have not taken any extra pains to search all of Laxmikant Pyarelal’s Manna Dey songs for Mehmood on the screen. I have not gone beyond a few known films for this purpose. We may have missed out some of Laxmikant Pyarelal compositions of Manna Dey for playback to Mehmood on the screen, but, I am personally satisfied that,  the ones that we get to listen here do represent a fairly predictable pattern of what to expect from other such songs, if there are some more.

O Meri Maina Tu Maan Le Mera Kehna – Pyaar Kiye Jaa (1966) – with Usha Mangeshkar – Laxmikant Pyarelal – Rajinder Krishna

Mehmood and very young, and fairly junior in those days, Mumtaz, dish out some loud dancing while singing this song.

A For Apple B For Baby – Sadhu Aur Shaitan 1968 – with Asha Bhosle – Laxmikant Pyarelal – Rajinder Krishna

Mehmood succeeds fairly in mimicking child-like mannerism here. Manna Dey, as usual, gamely matches Mehmood’s on-screen theatrics.

Qatal Hua Nazon Ka Pala Mera – Meri Bhabhi (1969) – with Suman Kalyanpur – Laxmikant Pyarelal – Majrooh Sultanpuri

Laxmikant Pyarelal has experimented with parodying a bride departure marriage folk tune song.

Jawani Tera Bola, Budhapa Tera Munh Kala – Anokhi Ada (1973) – with Asha Bhosle – Laxmikant Pyarelal – Majrooh Sultanpuri

Memhmood caricatures role of an old drunkard here.

It is on a not-so-happy note that we end this episode and our Manna Dey – Mehmood combination songs series. Pain is more when we look at the very promising beginning of their association. The feeling of sadness of both the talents not getting their due deepens as the years went on. Mehmood gradually slipped along to become very repetitive in his theatrics, even when he did stick to playing a multitude characters from across day-to-day life. Manna Dey, on the other hand would seem get most of the compositions that all these composers may have composed just to fill in the typical comedian song slot of a film. His best efforts to salvage the song with his high-quality singing could not raise the song to a n average song, from their very low-level birth DNAs.

In the next episodes we will take Manna Dey’s comedy songs for other actors.

All episodes of Manna Dey’s Comedy Songs For Mehmood can be accessed / downloaded in a single file by Clicking on the hyperlink.

Categories
Carnival of Blogs on Golden Era of Hindi Film Music

Carnival of Blogs on Golden Era of Hindi Film Music – March 2020

Welcome to March 2020 edition of Carnival of Blogs on Golden Era of Hindi Film Music.

March was the month when India celebrated its traditional festival of Holi.

The month also celebrated International Women’s Day on March 8.. SoY has scripted Nayika Bhed in songs. The aesthetics classification of women has been an important part of aesthetics in our ancient literature and arts, such as poetry, drama, dance, music, painting and sculpture. The post has listed Hindi films songs on the basis of the eight types of Heroine, based on अवस्था – The state of her being -, are most commonly referred as Nayika Bhed, e.g. Solah singaar sajaaungi, main piya ko rijhaaungi, main waari waari jaaungi by Shanta Apte from Panihari (1946), music SN Tripathi w.r.t. वासकसज्जा (One dressed up for union).

Incidentally, this Shanta Apte song also gives an opportunity to connect to a full-fledged Shanta Apte tribute post – ‘The stormy petrel of the Indian screen’: Shanta Apte – on SoY last month.

Main Chup Nahin Rahoongi: Ten ‘Outspoken Woman’ Songs also is an article on the occasion of International Women’s Day. Lara lappa lara lappa (Ek Thi Ladki, 1949) has strongly advocated gender equality way back in 1949.

We pick up other tributes and memories:

As it happens, we have some excellent posts  covering the past epidemics in different parts of world, as captured in Hindi films-

Looking Back at My Old Review of Dr. Kotnis Ki Amar Kahani – This was a film about a doctor who goes to China to help cure a plague, which incidentally is now at the root of coronavirus pandemic.

‘No harm in asking him, is there?’ How Rajendra Kumar got Bertrand Russell to be in a Hindi movie  – Edited excerpts from the biography ‘Jubilee Kumar’ reveal the story behind the Nobel laureate philosopher’s cameo in the 1967 movie ‘Aman’.

Dharti ke Lal – Earliest Depiction of the Great Bengal Famine – The Great Bengal Famine, a holocaust that obliterated nearly 3 million Bengalis in a span of a year or so is mostly forgotten and undiscussed. The first film to illustrate the tragedy of the famine was Dharti Ke Lal (Children of the Earth, 1946) by Khwaja Ahmad Abbas. Amitava Nag looks back at this classic.

A scene from Dharti Ke Lal

A Norwegian folk song that is cathartic, sublime and upliftingShobha Mudgal – As we seal borders and lock ourselves in fearing for the survival of the human race, this is a voice (singing about Heiemo, a girl who sings with such a perfect voice that even the water-spirit Nykkjen falls in love with her) that I find cathartic, sublime and uplifting.

In the Musical Memory of Meena Kapoor is in fact a second part of comprehensive post on Meena Kapoor on her first death anniversary 23 November 2018 by Shalan Lal.

Nutan’s understated yet powerful performance in Bandini is a masterclass in acting – Set in pre-Independence India, Bandini tells the story of Kalyani (Nutan), a young woman who has been sentenced to life in prison after she murders the wife of her lover, Bikash (Ashok Kumar).

7 Films That Prove Shashi Kapoor Was Way Ahead of His Time – Looking back at a collection of the actor’s and producer’s way-ahead-of-the-times films, when it was still possible to fly over the cuckoo’s nest – Dharmaputra (1961), Sidhdhartha (1972), Satyam Shivam Sundaram (1977), Kalyug (1980), New Delhi Times (1984), Utsav (1984), Sammy and Rosie Got Laid (1994)

Shashi Kapoor in Junoon is a masterclass in how to humanise an unlikeable man – Shyam Benegal’s historical drama based on a Ruskin Bond story, The Flight of Pigeons,  brings together the very best of Hindi cinema.

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

In our Manna Dey birth centenary series, after Manna Dey and his contemporary lead actors, we have taken up Manna Dey’s Comedy Songs. covers Manna Dey- In the January 2020 episode we began from the beginning of Mehmood’s acting career, till Ziddi (1964), and in February, 2020 episode, the songs composed by Roshan, Hement Kumar and Chitragupta had been covered . In the present, March 2020 episode we take up Mehmood’s Manna Dey comedy songs composed by R D Burman

March 2020  episode of Fading Memories, Unforgettable Songs takes up S N Tripathi: Unremembered music director of remembered songs: 1961 – 1968Prior to this, we have covered S N Tripathi’s unremembered songs

from 1941 to 1950 in 2017,

from 1951 to 1956 in 2018, and,

from 1957 to 1960 in 2019.

We will now take up the articles on other subjects:

Humour and fantasy in Arvind Desai and Chhoti si Baat is about two scenes from Hindi films of the 1970s, about the use of soft weapons against privilege

Mr India may have been played by Anil Kapoor but Sridevi was the best thing about it – the movie’s most iconic line, said to perfection by a wonderfully creepy Amrish Puri, reportedly wasn’t even going to make the final cut, but Javed Akhtar, who had written the film with his long-time writing partner Salim Khan before they split, insisted on it. And thank god for that, because what even is Mr India without “Mogambo…khush hua”?

Sahir Ludhianvi biopic to be adapted for the screen = The treatment will be based on Akshay Manwani’s biography ‘Sahir Ludhianvi: The People’s Poet’.

Also read:

‘I have lit fires with songs of rebellion’: Memories of Sahir Ludhianvi’s college years

Remembering Nehru, Gandhi, Ghalib: Four poems by Sahir Ludhianvi

The unspoken passion of Sahir Ludhianvi and Amrita Pritam

Sahir Ludhianvi’s hard-hitting, haunting words make ‘Phir Subah Hogi’ relevant even today – The 1958 Raj Kapoor and Mala Sinha-starrer was all about criticising the government, talking about cruel realities and helping the disadvantaged. BJP leader L.K. Advani revealed that he and Atal Bihari Vajpayee, who would go on to be prime minister, had once sought comfort in this film after an election loss in 1958.

A podcast about Gol Maal and other Hindi-film comedies – It centres on Hrishikesh Mukherjee’s Gol Maal, and such other themes of masquerade and self-discovery,  the contributions of Utpal Dutt and Rahi Masoom Raza, and the spectrum of comedy in Hrishi-da’s films (from Deven Varma’s deadpan “shabd-phenk” to the broad slapstick Biwi aur Makaan).

Rajendra ‘Jubilee’ Kumar’s lonely years: ‘I helped all those I could. Where are they today?’– In Jubilee Kumar, Seema Sonik Alimchand writes about the life of one of Bollywood’s biggest superstars and the year he almost had no films.

Nasir Husain’s Hum Kisise Kum Naheen is all about the music = R.D. Burman, Majrooh Sultanpuri, Kishore Kumar, Asha Bhosle, Mohd Rafi — this 1977 superhit was powered by its all-star music team.

We end 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, we have picked up:

Jis Pyar Mein Ye Haal Ho – Phir Subah Hogi (1958) – with Mukesh – Khayyam – Sahir Ludhyanavi

Jiyo To Aise Jiyo Jaise Sab Tumhara Hai – Bahu Beti (1965) – Ravi – Sahir Ludhyanavi

Kya Hua Tera Wada – Hum Kissi Se Kum Nahi (1977) – R D Burman – Majrooh Sultanpuri

Ishq Ne Sar Par Todi Quayamat – Junoon (1978) – Vanraj Bhatia – Jigar Morarabadi

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
Carnival of Quality Management Articles and Blogs

Carnival of Quality Management Articles and Blogs – March 2020

Welcome to March 2020 edition of Carnival of Quality Management Articles and Blogs.

For the year 2020, we have chosen the core subject of Revisiting Basic Quality Concepts w.r.t. the sustained success of the organization We picked up

We take up Organizational Context as our first core concept –

An organization’s context involves its “operating environment.” The context must be determined both within the organization and external to the organization. It is important to understand the unique context of an organization before starting the strategic planning.[1]

The organizational context can be viewed as situational opportunities and constraints that affect the occurrence and meaning of organizational behavior as well as functional relationships between variables. Context can serve as a main effect or interact with personal variables such as disposition to affect organizational behavior.

The reasons to understand the context of the organization, essentially, are –

  • if we do not understand situations, we will not understand person situation interactions.
  • Context is also implicated in the poorly understood “missing linkages” (Goodman, 2000) that can explain how individual or team activity gets translated into larger organizational outcomes.
  • it helps us to better convey the applications of strategy at planning, implementation, review and improvement stages

The understanding of organizational context

  • Affects the observed range of organizational variables under consideration.
  • As a consequence of range restriction, context can have a profound effect on the base rates of key organizational variables across occupations or locations, or over time. In turn, such variations in base rates will have a marked impact on the imputed importance of these variables, their meaning to actors and observers, and the inferred significance of their correlates.
  • Can affect the cause and effect relationships
  • Can help understand the likely effect of the strategic directional change that may take place in response to the dynamics of the context
  • Helps in understanding the interacting and interrelated ripple effects of any trend or an isolated, black swan, event. The mechanics of context can be quite subtle, and small changes in context often matter greatly.
  • Can affect the validity of the organization’s purpose[2]

The following graphic is used to understand any and all organizations, no matter how simple or complex, large or small.  It is used to clarify the relationship between this way of understanding context and our way of understanding content – the actual collaborative action that drives the organization forward day in, day out.

The “roof” and the “foundation” can be understood as the organizational context – who we are, where we’re going, why we’re going there and how we’re going to treat each other along the way.  In the foundation, we find the organization’s “come from” – the solid purpose for being, the mission, the core values, the key standards, value propositions and roles and rules of engagement.  And in the roof, we find the “go to” – the vision pulling us toward the desired future, the goals, the objectives and priorities.

And the middle of the house represents the organizational content – the human beings who are collaborating and communicating and coordinating with each other… and are doing so in a way that’s guided by the foundation and in service to the roof.  [3]

It is vital to design processes in the context of all the dimensions of the organization (mapped out in our Eight Dimensions below).

It is useful to view organizations as webs of relationships and processes in order to understand, shape and effectively work with them. Remarkably, most organizations attempt to control, restrict, or manage information and knowledge (of such relationships). Controlling information flows may appear possible when organizations are viewed mechanistically, as linear causal chains. But when viewed as complex networks (like the Internet) the only conclusion to be reached is that information is uncontrollable and necessary for the health of the system.

When an organization shares information and knowledge about the challenges it faces, the people within the organization are able to hold meaningful dialogues about these challenges, increasing their understanding of themselves and their roles. This understanding can then become the basis of a shared culture that can effectively evolve in response to challenges.

Professor Bidhan Parmar gives business leaders useful tips for implementing change. He explains the importance of organizational context and the “ecosystem” in which these changes might take place.

Understating the organizational context is an on-going activity. The organizations who aspire sustained success embed this process establishes, maintains and continually improve this process, since the organizational context forms one of the vital inputs to its quest for sustained success.

[N.B. – Detailed note on The Organizational Context can be read / downloaded by clicking on the hyper link.]

We will now turn to our regular sections:

In the series the Organizational Culture, we have attempted to look at ‘Organizational Culture  and Organizational Leadership. We have briefly explored the subject, and in the process, laying foundation for linking it up with their relationship with the sustained success later in the series.

We now watch ASQ TV, wherein we look at a few relevant videos from the past:

    • Change Management – Change is one thing organizations can count on. Learn how to lead, implement and sustain changes successfully.
    • Effective 21st Century Quality Leadership – Mike Turner, Managing Partner, Oakland Consulting, discusses the business challenges of the 21st century, and how quality professionals should respond in order to meet them.

Jim L. Smith’s Jim’s Gems posting for February 2020 –

    • Predictability – If you want to know what’s in store for your future, consider your current thoughts…What do you consistently think about? What do your thoughts dwell on and visualize for your future? What do you expect to happen? What do you believe you can cause to happen?.. The point is that it is your present thoughts that, to a reasonable extent, determine your future…The point is that although you can’t always control what happens in the outside world, you can control your inner world – your thoughts…When you do that, you unleash significant energy which translates into a tremendous drive. All that’s required is to start thinking positively. Henry Ford’s quote, “Whether you think you can, or you think you can’t, you’re right” still holds true.
    • Build Better Customer Relationships – A good experience is key to customer advocacy – Customers can tell you what they value about your core products and the surrounding support services. Combining external measures from your customers with internal quality metrics has the potential to improve business performance and continuously outpace your competitors…To be successful, companies must commit to turn satisfied customers into loyal customers and turn loyal customers into advocates…Even before prospects (stage 1) become customers (stage 2), you need to start addressing their expectations. Once they become customers, your goal is to deliver what you promised and ensure that they’re satisfied (stage 3). Beyond satisfaction, you must strive to ensure that you deliver consistently positive experiences and build a strong relationship that develops loyal customers (stage 4) and, ultimately, advocates (stage 5)… It means delivering a positive experience each time the customer interacts with your organizations. On the rare occasions where customer experiences don’t go as planned, your organization must do whatever it takes to quickly make it right. ..Delivering positive customer experiences involves everybody in the organization. It’s the reason your business exists.

I look forward to your views / comments / inputs to further enrich the subjects of Basics of Quality and Organizational Culture and their role in 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.

[1] Organization and its context

[2] The Essential Impact Of Context On Organizational Behaviour – Gary Johns,

[3] Context vs. Content, Part 3 of 3

Categories
I Liked Music from films

Manna Dey’s Comedy Songs – Mehmood [3]

In the first part of this Manna Dey’s songs for Mehmood, we saw Mehmood’s career graph on the rising mode. The second part can be said to be the period when his career had peaked. The present, third part takes off from the year 1966 where we had ended second part. As we progress through this part, we come across a stage whereat we feel the beginning of the end of Mehmood’s career. As we have set a limit of end of ‘60s as our period of interest in so far as our core of focus in so far as Manna Dey’s sinigang career in Hindi Films, we are relieved form not being forced to witness the final decline of Mehmood’s career. However, we may, still, will have to bear some pain of listening to some not-so comparable Manna Dey songs for Mehmood

Allah Jane Main Hoon Kaun – Pati Patni (1666) – R D Burman – Anand Baxi

Pati Patni was produced by Mehmood. This was the fifth film of R D Burman’s career. The song is tailor-made for Mehmood’s typical theatrics, but Manna Dey is able to make tolerable.

Meri Patni Mujhe Satati Hai – Pati Patni 1966 – with Surendra and Johnny Walker – R D Burman – Anand Baxi

In a rare situation, Om Prakash, Mahmood and Johnny Walker, three comedians of different styles and essentially of different periods have come together, in a song. Surendra sings for Om Prakash and Johnny Walker for himself – another rare incidence.

Kaise Dekha Hai Mujhe Ji O Ta Ta Thiyo Ta Ta Thiyo – Pati Patni (1966) – with Asha Bhosle – R D Burman – Anand Bakshi

This eve-teasing song, which, in Hindi films, invariably succeeds in sealing up the relationship of mutual love, is also tinged with a touch of comedy.

Nir Ta Ta – Chandan Ka Palna ((1967) – With Mohamad Rafi – R D Burman – Anand Baxi

This song is also a parody of classical singing. Rafi plays the role of Guru (Dhumal) to which the disciple, Manna Dey (Mehmood) plays pranks.

Baat Karate Ho Baat Karana Nahin Aata – Chandan Ka Palna ((1967) – With Asha Bhosle – R D Burman – Anand Baxi

Asha Bhosle (Mumtaz)  sings in the ‘modern’ style to Manna Dey’s (Mehmood) old-fashioned Bangla style, but that does not seem to have any adverse effect on their romantic feelings.

Aao Aao Aao Sanawariya – Padosan (1968) – R D Burman- Majrooh Sultanpuri

Padosan was the film wherein what is typically termed as supporting roles, play more dominant roles than the official lead pair. The song carries on the Mehmood’s parodying of south Indian (Tamil_ accented Hindi

Ek Chatur Naar — Padosan (1968) – with Kishore Kumar – R D Burman – Majrooh Sultanpuri

The song is said to be inspired from  Saraswati Devi‘ s composition [Jhoola(1941), Singer – Ashok Kumar,  Lyrics –  Kavi Pradeep. Manna Dey losing to Kishore Kumar in this song   is also said to be his quiet repentence of having won against Bhimsen Joshi in Ketaki Gulab Champak Ban Phoole [Basant Bahar, 1956, Shankar Jaikishan, Shailendra)

Muthu Kodi Kawari Hada – Do Phool (1973) – with Asha Bhosle and MehmoodR.D. Burman – Majrooh Sultanpuri

The song is a direct lift from a Tamil film. The first two words mean – Give me a kiss.

Mehmood, by now, seems to resort more and more to some loud theatrics for his comedy acts. Music director(s) and Manna Dey battle to maintain the classical or regional styles.

We end this episode here by taking up Manna Dey – Mehmood Songs composed by R D Burman only. In the next and concluding episode of Manna Dey – Mehmood combination we will continue our journey form 1966, but through the songs of other music director