S D Burman and “Other” Male Playback Singers :: 2

The previous episode of the three-part article of S D Burman and Other Male Playback Singers, we had covered the period from the beginning of his career in 1946 till 1949. This was the period when S D Burman was still striving to create his own firm space in the field of Hindi Film Music world.

Presently, we take up the second set of S D Burman’s songs of ‘Other” Male Playback Singers chronologically can be set to the period 1950 to 1955.

Our period begins with two films, Mashal and Afsar, which were to become the key thrust engines that were to provide the much needed escape velocity to S D Burman’s career to attain e respectable orbit space among the front-ranking music directors of the Golden Era of Hindi Films.

Once having attained an assured specific space, S D Burman went on to use the established male playback singers like Mohammad Rafi and Kishore Kumar for most of the major male solo and duet songs. He also chose other front-line male singers like Manna Dey, Talat Mahmood, Hemant Kumar and Mukesh as and when so required.  So use of ‘other’ male singers is now more situation-specific, and, perhaps, to a great extent of S D Burman’s choice.

S D Burman – Arun Kumar Mukherjee

Upar Gagan Vishal’ of Mashal (1950) is considered to have really breathed a lease of new life into S D Burman’s career. It is said that SDB was so disillusioned that he was on the verge of leaving this Ashok Kumar’s Bombay Talkies banner production incomplete. He was dissuaded from doing so, and as is said the rest was history.

Jab Ham They Tumhare Aur Ham They Tumhare …Wo Thode Se Din They Kitane Pyare – Mashal (1950) – Lyrics: Pradip

Arun Kumar Mukherjee was Ashok Kumar’s cousin. Probably, that may have titled the scale in his favour for playing back to Ashok Kumar on the screen. Arun Kumar Mukherjee does not sound wanting to the demands of the situation.

Mohe Lagaa Solva Saal, Haye Main To Mar Gayi – Mashal (1950) – With Shamshad Begum – Lyrics: Pradip

The song is principally filmed on the Cuckoo, so Shamshad Begum has obviously the lion’s share of the song. Arun Kumar gets to sing just a few lines, but the lines are indeed very catchy.

S D Burman – Man Mohan Krishna

‘Afsar’ (1950) was the maiden film under Dev Anand’s home banner, Navketan Films. The film did not do that well on the box office, but Suraiya’s songs for the film certainly were quite popular. The film went on to build S D Burman’s permanent association with Navketan Films, which have given us quite a few of the very memorable songs under S D Burman’s baton.

Jat Khol De Kiwad Pat Khol De,….Badhaai Dene Ko Aaye Hai Tere Dwar – Afsar (1950) – Lyrics: Vishwamitra Adil

Sadhu Ke Ghar Chhokariyan Do, Ik Patli Ik Bhari – Afsar (1950) – Lyrics: Vishwamitra Adil

Man Mohan Krishna is typically associated with serious character roles. He has rendered quite a few numbers of very popular songs on the screen. S D Burman has sprung a surprise herein by recording quite light-mood songs in Man Mohan Krishna’s voice.

[The clip here below has both these songs clubbed together.]

S D Burman – Hridaynath Mangeshkar

Hridaynath Mangeshkar possibly chose to focus more on music direction over playback singing.  His maiden – Marathi – film as an independent music director was Akash Ganga (1955).

Lehron Ke Saath Naiya Mori Khele – Babla (1953) – Lyrics: Sahir Ludhyanavi

Hridaynath Mangeshkar was around 15 years old when S D Burman has recorded this song. The song recounts adolescent pleasure of launching the paper boats into the rain water streams in the street.  So we can expect that the song may have been performed by an adolescent protagonist on the screen. Hence, probably, the choice of Hridaynath Mangeshkar, with a suitable natural voice, for the playback.

S D Burman – Jagmohan Baxi

Jagmohan Baxi (and his music direction partner Sapan Sengupta) had started his career as chorus singer at Salil Chaudhary’s Bombay Youth Choir. And yet, the Sapan Jagmohan duo are remembered for a handful tunes for 42 films for which they had composed the music  – like, Phir Wo Bhuli Si Yaad Aati Hai (Begana, 1963);  Kho Diye Hai Sanam Kitane Janam Teri Talash Mein (Teri Talash Mein, 1968); Main To Har Mod Pe Tujhko Dunga Sadaa (Chetana, 1970) etc.

Dekho Maane Nahi Roothi Hui Haseena Kya Baat Hai – Taxi Driver (1954) – with Asha Bhosle – Lyrics: Sahir Ludhyanvi

S D Burman has used Talat Mahmood and Kishore Kumar too for playback of Dev Anand in this film. Apart from these singers, S D Burman, as well most of the music directors who have composed Dev Anand songs, have tried several voices of regular playback singers like Mohammad Rafi, Manna Dey, Hemant Kumar as well. Additionally, Salil Chudhary has experimented with Dwijen Mukherjee, Anil Biswas with Shankar Dasgupta and C Ramchandra with his own voice for Dev Anand.

S D Burman – Thakur (Pran)

Pran would hardly be remembered to have acted in lead roles in films like Khandan (1942) during the first phase of career between 1940 -1947. He is most remembered for his roles as villain in his most illustrious second innings and then equally respected for his character roles in the 3rd phase of his career.  Many of his fans will immediately recollect some of the iconic songs that he enacted on the screen when acting as character actor.  But to imagine him in the tick of a very very light-hearted song  and that too trying to sing a few lines too, when cast in the role of a villain,  is something that nobody would ever imagine. S D Burman has so cleverly croaked voice of Thakur (Pran) to create a very unique song.

Dil KI Umange Hai Jawan,….Rang Mein Dooba Hai Sama – Munimji (1955) – With Hemant Kumar and Geeta Dutt – Lyrics: Sahir Ludhyanvi

The song will not go down in the record books only for the use of voice of Pran to add to the mockery in the mood of the song, but also possibly for Hemant Kumar being able to match the leg-pulling teasing tone of Geeta Dutt in this song.

S D Burman – S Balbir

Balbir got typed into an accompanying playback singer, but most of the connoisseurs of HFM recognize and appreciate his contribution in that song.

Nigaho Ke Tere Jalwe Ki Aas Raheti Hai, Ha Tere Bagair Tabiyat Udas Raheti Hai, Aa Bhi Ja Ke Tera Intezar Kab Se Hai –Society (1955) – with Mohammad Rafi – Lyrics: Sahir Ludhyanavi

Can you guess whose arrival or appearance is so keenly awaited?

The first half of the period of 1950-1960 was the beginning of the picking up in so far as S D Burman’s career is considered. As a result, we have seen a very different pattern in the types of ‘other’ playback singers which he has used, the corresponding situations in the film, and hence on the composition of the song.

In our next episode, we will take up the concluding phase of  S D Burman’s career and revisit S D Burman’s use of ‘other’ male playback singers in that period.

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The Micro View of Best Songs of 1947 : Female Solo Songs – Amirbai Karnataki [1]

Amirbai Karanataki is one of the stalwarts of post-playback singing period of the vintage era, who also acted in the films. This is strongly validated in the present year in terms of the number of solo songs that she has rendered. Her songs of C Ramchandra or of Naushad – she is the lead singer for Elaan – indicate that she had quite successfully transitioned to the new style of singing which was being ushered in the by the younger crop of music directors.

It is said that the rising graph of career post-1943 film ‘Kismet’ had peaked in 1947. We also have split her solo songs of 1947 into two posts, so as to do justice to the fairly large numbers of her solo songs this year.

Tumhari Yaad Ko Dil Se Bhulake Aayee Hun – Beete Din – A Dinkar Rao –

So Ja…So Gaee Man Ki Aas Re – Beete Din – M A Rauf –

Agar Tum Na Milate Agar Tum Na Aate – Beete Din – M A Rauf –

Mere Dil Ki Tarah Hai Sitar Tar Tar – Beete Din – A Dinkar Rao

Ghanghor Ghata Ghanghor Ghata Phir Chhaayi Hai – Beete Din – A Dinkar Rao

Din Kabhi Aise Bhi Aayenge Kise Maloom Tha – Diwani –  Gyan Dutt – Shams Azimabadi

Kat Rahi Hai Beqai Mein Har Ghadi Tere Bagair – Diwani – Gyan Dutt – Shams Azimabadi

Allah Nigahban Tera Allah Nigahbaan – Elan – Naushad Ali – Ziya Sarhadi

Ayi Ye Azal Zindagi, Gam Ka Zamana Tal Gaya – Elan – Naushad Ali – Ziya Sarhadi

Kuchch Aur Sitam Honge…Rote Hue Aayen Hai, Rote Hue Jaayenge – Elan – Naushad Ali – Ziya Sarhadi

Insaan Ki Tahzib Pe Ehasan Hamara– Elan – Naushad Ali – Ziya Sarhadi

Teer Laga Teer Haye Kya Karun Loot Gayee Taqdeer Haye Kya Karoon – Kismat Ka Sitara – Alla Rakhkhaa Quraishi – Roopbani

Main Janati Hun Tum Na Aaoge Kabhi Piya – Leela – C Ramchandra – G S Nepali

O Preetam Pyare Chhod Chali Gharbar – Leela – C Ramchandra – G S Nepali

The list of songs for which I have not been able to locate the digital links is also very large:

  • Aj Meri Kismat Ka Sitara Chamaka – Diwani – Gyan Dutt – Shams  Azimabadi
  • Hansati Jaa Bal Khati Jaa Dard Kisi Ka – Diwani – Gyan Dutt – Shams  Azimabadi
  • Dekho Dekho Ji Jawani Udi Jaye Nazar Lalachaye – Hatimtai – A Kumar –
  • Nazar Mithi Mithi Ada Pyari Pyari – Hatimtai – A Kumar –
  • In Paimano Mein Aali Kya Chiz Chhalakati Raheti Hai – Kaun Pardesi – Ali Hussain Muradabadi – Muzatar Bahzadi
  • Din Khushi Ke Yaad Aa Kar Rah Gaye, Hum Phakta Aansoo Baha Kar Rah Gaye – Kaun Pardesi – Ali Hussain Muradabadi – Muzatar Bahzadi
  • Chain Paoge Na Aaram Kahi Paoge, Yaad Rakhana Mujhe Tum Bhul Ke Pachhtaoge – Kaun Pardesi – Ali Hussain Muradabadi – Muzatar Bahzadi

In our next episode, we will take 2nd, concluding, part of Amirbai Karnatali’s Solo Songs for 1947.

The Micro View of Best Songs of 1947 : Female Solo Songs – Rajkumari

We now take up the solo songs of female singers whose main body of work falls into the vintage era.

Among the vintage era female singers Rajkumari stands out because of a very distinct melody in her that era’s signature metallic-heavy-bass-oriented-female voices.

Obviously, none of the song I had heard earlier. So I have no means to categorise these songs into the ‘popular’ tag. However, I find many songs very appealing only after a couple of hearings during this project.

Aye Chand Tu Ab Bata De Mera Chand Kahan Hai – Bhakta Ke Bhagwan  – Chhanalal Thakur – Kavi Mansavi Prantijwala

Sajani Chhoti Si Hai Baat Dekho Bhul Na Jana – Bhakta Ke Bhagwan – Chhanalal Thakur – Kavi Mansavi Prantijwala

Sharam Se Naina. More Naina Zuk Zuk Jaaein – Dehati – Premnath – Rammurti Chaturvedi

Dekho Ji Aayee Suhani Raat ….Ghataen Chhai Hai Ghanghor – Doosri Shaadi – Govind Ram – Ishwar Chandra Kapoor

More Rote Nain Ro Ro Marenge Tum To Chale Ho – Gaon – Khemchand Prakash – D N Madhok

Shokh Nazaron Ke Machalane Ka Zamana Aa Gaya – Hatimtai – A Kumar

Kal Jamuna Tat Par Aaoge Murzai Kali Hamare Man Ki – Neel Kamal – B Vasudev- Kedar Sharma

Bhool Jate Hai Bhool Jaya Karen Azamate Hai Azamaya Karein – Neel Kamal – B Vasudev- Kedar Sharma

Saiyan Ne Ungli Marodi Re, Rama Qasam Sharma Gayi Main  – Parwana – Khursheed Anwar – D N Madhok

Zalim Tera Khayal Satae To Kya Karun – Sajani – L Amar / Afzal Lahauri – Razi Banarasi

The songs for which I could not locate the digital link:

  • Bhakt Ke Bhagwan Tera Hi Naam Smaran Tera Hi Gun Gaan – Bhakta Ke Bhagwan  – Chhanalal Thakur – Kavi Mansavi Prantijwala
  • Aaya Mausam Naya Rut Badalane Lagi – Chalate Chalate – Khemchand Prakash – Lal Chand “Bismil’ Peshawari
  • Tumane Jaga Di Meri Jawani Mujhko Suna Ke Prem Kahani – Diwani – Gyan Dutt – Shams Azimabadi
  • Kahe Do Kaali Ghatayen Daraye Na – Gaon – Khemchand Prakash – D N Madhok

We will take up Micro View of Amirbai Karnataki’s solo songs for 1947 in our next episode.

The Micro View of Best Songs of 1947 : Female Solo Songs – Shamshad Begum

The solo songs of Shamshad Begum also have fairly large foot print in 1947. Here again, I have heard a very few songs earlier. Shamshad Begum solo songs that I listened here for the the first time are likeable enough. However, to a person who is initiated to the Hindi Film Music in ‘60s, these would need more repetitive hearing to appreciate the nuances of the songs.

The basis of classifying a song as ‘popular’ mainly rests on the fact of that I did listen to these songs on the radio in ‘60s – which was my sole contact with Hindi Film Songs in those days. The classification of ‘popular’ and ‘other’ (solo songs) categories, thus, necessarily reflect this limitation of my personal imbalanced knowledge.  ‘Jumka Gira Re’ finds the place under ‘popular’ category because I have heard the song several times in the recent started-to-listening- on-net years, as the song invariably comes for any discussion when the relative recent Mera Saya version comes up for any discussion. Both versions relate to the periods of totally different song composition styles, and hence not within the bounds of comparison on any count.

The songs for which I have not been able to locate the YT or digital liks also works out to so many that if YT links were indeed available, we would need to have split the solo songs of Shamshad Begum over two posts.

Popular solo songs

Ham Dard Ka Afasana Duniya Ko Suna Denge – Dard – Naushad Ali – Shakeel Badayuni

Ye Afsana Nahi Zalim Mere Dil Ki Haqeeqat Hai – Dard – Naushad Ali – Shakeel Badayuni

Jhumka Gira Re Baraili Ke Bazar Mein – Dekhojee – Tufail Faruqee – Wali Sahab

Other Solo Songs

Ga Kuchch Bawari Ga – But Tarash – Ghulam Haider –

Ay Falak Tu Hai Satane Ke Liye – But Tarash – Ghulam Haider –

Ay Falak Kab Tak Satata Jaega – But Tarash – Ghulam Haider –

Jisne Jalaya Ashiyaan Usko Salam Ho – Chheen Le Azadi – Hansraj Bahl – Pt Indra

Na Sata Na Sata Bairi Sapne Na Sata – Chheen Le Azadi – Hansraj Bahl – Pt Indra

Baalam Mohe La De Saajan Mohe La De Chunariya Hari – Dekhojee – Tufail Faruqee – Wali Sahab

Bansuriya Haye Toot Gayi Man Ki Wo Jo Geet Nahi Haye The Maine – Dekhojee- Tufail Faruqee – Wali Sahab

O Rasiya Tune Kahe Ko Nain Milaye – Dekhojee- Sabir Hussain – Wali Sahab

Anagana Bole Kaag Re Ujjada Man Ka Baag Re– Doli- Ghulam Muhammad –  Nazim Panipati

Tera Man Kahe Dole Main Jaan Gayee – Doli- Ghulam Muhammad –  Majrooh Sultanpuri

Kisi Deepak Ki Dhun Mein Bechara Jalata Hai Patanga Pyara – Doli- Ghulam Muhammad –  Majrooh Sultanpuri

Man Bhooli Kathayen Yad Na Kar, Phir Sawan  Ke Din Aayenge – Doosri Shadi – Govind Ram – Ishwar Chandra Kapoor

Ghat Par Ik Matka Ik Matki Dono Pyase Jaate Hai – Duniya Ek Sarai – Hans Raj Behl – Kedar Sharma

Chanda Ki Chandani Na Suhae To Kya Karein – Duniya Ek Sarai – Hans Raj Behl – Kedar Sharma

Panchhi Bhool Gaya Wo Gaana Bhhool Gaya Azad Hawaein – Ek Kadam – Prakash Nath Sharma – Avtar Visharad

O Raja Re Mohe Apni Bana Le Re – Leela – C Ramchandra – Qamar Jalalabadi

[Note: I had included this song under Solo Songs of Geeta Roy as well, because some references credit the song to her. However, HFGK has credited the song to Shamshad Begum.]

Zule Hiya Nache Naiya….Aaye Piya Ho Aaye Piya – Naiya – Anil Biswas

Hamein Jinse Pyar Unse Main Kya Kahun, Kya Kahun – Pahela Pyar – Premnath – Balam

Haye Re Ghir Ke Badal Aaye Jiya Ghabaraye – Pahela Pyar – Premnath – Ishwar Chandra Kapoor https://www.youtube.com/watch?v=35ld31NsOHg

Yeh Duniya Muhabbat Nibahana Na Jaane – Pati Seva – Gulshan Sufi – Wahid Quraishi

Do Nayano Ke Oat Mein More Pritam Ka Dera – Shikarpuri – Muhamad Shafi- A Shah Aziz

The songs for which I have not been able to locate the soft links:

  • Chhail Chhabili Masat Hawaein – Bhanwar – Khan Mastana –
  • Dukh Dard Ki Maari Hun – Bhanwar – Khan Mastana –
  • Mithi Mithi Loriya – Bhanwar – Khan Mastana –
  • Banka Chhaila Motorwa Uday Liye Jaay, Jiya Dol Raha – Bhookh – Anil Biswas – Dr. Safdar Aah
  • Balam Pardesiya Sajan Pardesiya – Dekhojee – Sabir Hussain – Wali Sahab
  • Ab Phir Se Phir Phir Se Yaad Aaye Kyun – Ek Kadam – Prakash Nath Sharma
  • Ek Kadam Aur Ek Kadam – Ek Kadam – Prakash Nath Sharma
  • Khelo Ji, Khelo Khelo Khelo Babu Ji O Raja – Intezar Ke Baad – Khan Aziz – Gafil Harnalvi
  • Nazariyon Se Dil Bhar Doongi Chhoone Nahin Dongi Shareer – Pahela Pyar – Premnath –
  • Balam
  • Maine Likh Likh Chiththhiyan  Dali Sajan Ko Han Han Balam Ko – Pati Seva – Gulshan Sufi – Wahid Quraishi
  • Beech Bhanwar Mori Naiya …Chhod Balam Pardes Ab Ghar Aa Jaa – Shikarpuri – Muhammad Shafi – A Shah ‘Aziz’
  • Tere Bagair Phir Koi Baat Meri Bani Nahi – Shikarpuri – Muhammad Shafi – A Shah ‘Aziz’

We will take up Micro View of Solo Songs of Rajkumari for the year 1947 in our next episode.

Carnival of Blogs on Golden Era of Hindi Film Music – June, 2018

Welcome to June, 2018 edition of Carnival of Blogs on Golden Era of Hindi Film Music.

The month of June is the month of anniversary of one of our most frequently visited blogs – Songs of Yore. SoY has completed 8 years this June.  True to the spirit and now the tradition, the 8th Anniversary post has presented songs that are not only not heard of but have very interesting stories to go along with.

And, now, we take up the tributes in June, 2018:

Suraiya: The Last Nightingale of Bollywood – While paying the tribute to her on 89th birthday (15th June, 1929), D P Rangan has traced her biography and presented 20 of her less-heard songs.

Shyama- Sun Sun Sun Zalima – An early song where Shyama first made an impact is the second version of the main love duet, ‘Tu Mera Chand Main Teri Chandni’, from A.R. Kardar’s Dillagi (1949) starring Suraiya and Shyam. The original version was filmed on the stars, but this version on Shyama voiced by Geeta Dutt is less known.

Remembering Legendary Composer Vasant Desai, born as Atmaram Desai on 9th June 1912, known popularly by his nickname, Vasant Desai. His compositions in Hindi and Marathi films had their share of popularity. He has composed background scores for very unique films, like Yaadein (1964) and Achanak (1974), over and above many others like Zalzala (1952), Ferry (1954), Kabhi Andhera Kabhi Uajala (1958).

Nutan- An Actress Par Excellence – 4 June 1936 / 21 February 1991 – Nutan’s mother, and a leading actress of her times, Shobhana Samarth launched her in Hamari Beti (1950), and the rest, as is said, is history. Nutan had a song in her own voice in the film too

Tujhe Kaisa Dulha Bhaye Re Banki Dulhaniya – Hamari Beti (1950) – Snehal Bhatkar – Pt. Phani

Snehal Bhatkar – A Tribute – was born as Vasudev Bhatkar on 17th July 1919, and passed away on 29th May, 2007 in Mumbai.

[Note: We had also published a ‘Fading Memory..Unforgotten Songs’episode,  Snehal Bhatkar – Hamaari Yaad Aayegi, last year.]

Rajendra Krishan-The Lyricist who gave us many Immortal Songs – born on June 6, 1919 to Parvati and Jagannath Duggal in Jalalpur Jattan of Gujarat district (now in Pakistan), Rajendra Krishna was an equal among the great contemporary stalwarts. He gave lyrics to a wide variety of songs, ranging from Ghazals to Bhajans, Geets to Nazms with great flair. His songs are simple, inventive and full of meaning.

May, 2018 episode of Fading Memories, Unforgettable Songs is dedicated to Dattaram, wherein we had remembered his songs from Ab Dilli Door Nahi, Paravarish, Qaide No. 911 and Santan.

And, now the posts on other subjects:

What’s the Good Word? – On 31st May 2018, for the 11th year running, Indian kids dominated the annual championships of the Scripps National Spelling Bee championship. The winner was Karthik Nemmani.  Taking the cue from this event, the post goes on enlist songs to do with words and spellings –

For Dev Anand,flirtation was an innocent pastime – Author has picked up these narratives from Dev Anand’s autobiography Romancing with Life before presenting 10 Romantic Songs of Dev Ananad.

How SD Burman missed out on a Filmfare Award for his greatest soundtrack ‘Guide’Anirudha Bhattacharjee  &  Balaji Vittal – Edited excerpts from a new biography, S.D. Burman: The Prince-Musician, of the celebrated music composer reveal the background maneuvering that denied ‘Guide’ its glory.

‘Every Song Has a Story’: In Conversation with Anirudha Bhattacharjee and Balaji Vittal with Antara Nanda Mondal on the occasion of S.D. Burman: The Prince-Musician. The writer duo talk about how their adoration for music maestros SD Burman and RD Burman, their love for music and their curiosity behind the making of those evergreen songs led them to write biographies of their idols – their challenges, discoveries, the journey and more.

The Greats: Nargis and The Many Moods of Nargis are the two key posts penned to document the author’s new found adoration of Nargis. Additionally, there are reviews of her films Lajwanti (1958), Raat aur Din (1967) and Barsaat (1949) till now in June, 2018.

Bombay in songs which are unheard and un-posted.

Bandits, Indian Style’ recalls the songs from movies that revolved around the Indian style dacoits. Each of the film mentioned herein also has documented the name of the actor who played the role of the dacoit too.

The Popularity Of Bollywood Songs is captured here in one song from each decade, starting with ‘30s.

Romantic, sad, a stage performance, a Mujra, and club Songs of ‘Dil Lagana’ in nearly all sorts of songs that have been presented in this post.

I Compose I Sing – ‘Aaj jaane ki zid na karo amazes not only for its unbeatably high number of people rendering it, but also in the fact that every single person who has sung it has stuck to the same original tune made in 1973.’ On that note of composition of the song, the article goes on to list a few instances of artists who sang for themselves.

Ten of my favourite dream sequence songs is a follow up post to the last month’s Ten of my favourite Khwaab/Sapna songs. And then we have Ten of my favourite ‘dreamt’ songs are the songs that are actually dreamt. People fall asleep and, in their dreams, a song plays out.

Actions Speak Louder Than Words – The idea of charming the snakes is Indian. The modus operandi of this process to charm involves swaying the snake repeatedly to hypnotize the creature. If that works, the phrase “actions speak louder than words” will find endorsement. The instrument used for the job is called been, which is a generic name, the specific one being pungi. Kalyanji (Anandji) Shah decided to play an early French synthesizer called clavioline to simulate the pungi’s sounds, initially in Naag Panchmi (1953, Music: Chitragupt, Lyrics: G S Nepali). The key song here was the Asha Bhosle-rendered O Naag Kaheen Ja Basiyo Re”.

Hindi songs with Sapera (Been) Dhun – The first Sapera based Hindi films was ‘Sapera’ in 1939. We have not been able to get a song from it with the Been dhun.

The dancing girl, the king and the nation begins with a narrative review of Amrapali (1966) and Vyjayantimala’s enactment of eponymous heroine who is a performer, dancing for the pleasure of others as well as for self-expression. The post then goes on to introduce Ruth Vanita’s book Dancing with Nation.  The book examines the cultural importance of the Hindi-film courtesan (a word used to cover such designations as nartaki, devdasi and tawaif – all terms with subtle differences in meaning, which have experienced semantic shifts over time).

We have commenced Micro View of Best songs of 1947: And the winners are? with male solo songs of Other Male Singers and concluded micro review of male solo songs with MY Top Male Solo Songs. We have then continued with micro view of female solo songs, wherein till now we have covered solo songs of Suraiya and Geeta Roy.

In our tradition of ending our post with article on Mohammad Rafi or a topical song of his, I have picked up songs that basically have link with the topics discussed in the present post.

Tune Teri Nazar Ne Kafir Bana Diya – Fariyad (1964) – With Mubarak Begum – Snehal Bhatkar – Kedar Sharma

Gori Kar Le Tu Aaj Singar – Inasaniyat (1955) – C Ramchandra – Rajinder Krishna

Dilbar Dilbar Hayya Habi O Dilbar – Aao Pyar Karein (1964)  – Usha Khanna – Rajender Krishna

I earnestly seek your suggestions / inputs / criticisms so as to make our Film Blog Festival more interesting and live.

The Micro View of Best Songs of 1947 : Female Solo Songs – Geeta Roy

Barring a few well-known song, personally for me, the songs that I heard here, during this micro review, are the ones that I had heard for the first time. This simply means that most of songs that I had heard were of Geeta Dutt, and not those of Geeta Roy. And I always believed I have had many Geeta Roy/Dutt songs!

The number of Geeta Roy’s solo songs for 1947 too add up to our hypothesis that the year is an open-field for transition-vintage era singers,  Many of the songs presented here have not been credited to Geeta Roy in HFGK, but the knowledgeable up-loaders have credited them to Geeta Roy. And as we listen to the songs, we would concur too, save the song appearing at the end of this post.

The numbers also merit spanning our micro-analysis over two posts, but I have accommodated them in one post only, risking the lengthier than normal post..

Popular solo songs

Yaad Karoge Yaad Karoge Ik Din Ham Ko Yaad Karoge – Do Bhai – S D Burman – Raja Mahendi Ali Khan

Mera Sundar Sapna Beet Gaya Main Prem Mein Sab Kuchch Haar Gayi – Do Bhai – S D Burman – Raja Mahendi Ali Khan

Other Solo Songs

Aankh Mein Kyon Ashq, Lab Pe Rahe Haye Kyon – Bhookh – Anil Biswas – Dr. Safdar ‘Aah’

Is Jag Mein Garibon Ka Nahi Koi Thikana – Bhookh – Anil Biswas – Dr. Safdar ‘Aah’

Bigadi Hui Taqdeer Meri Aa Ke Bana De – Dil Ki Rani – S D Burman – ?

Kyun Balam Ham Se Rooth Gaye Kyun Lage Naina Chhooda Gaye – Dil Ki Rani – S D Burman – Y N Joshi

Aayenge Aayenge Aayenge Mere Man Ke Basaiya Ayenge Re – Dil Ki Rani – S D Burman

Mere Piya To Gaye Pardes Re Haye Vasant Ritu Kyon Aayee – Do Bhai – S D Burman – Raja Mahendi Ali Khan

Hamein Chhod Piya Kis Desh Gaye, Piya Laut Ke Aana Bhool Gaye – Do Bhai – S D Burman – Raja Mahendi Ali Khan

Gulshan Mein Aayee Bahar, Ho Rasiya Loot Sake  To Loot – Kaun Pardesi – Ali Hussain Muradabadi – Muztar Bahzadi

Daman Ko Haath Se Chooda Kar Chale Gaye – Qasam – Sajjad Hussain – Anjum Pilibhiti

Aye Dil Bata Kisko Karoon Pyar – Qasam – Sajjad Hussain – Anjum Pilibhiti

Ya Rab Hamari Aah Mein Itana Asar Nahi – Qasam – Sajjad Hussain – Hameed Hyderabadi

Woh Jisko Meeta Baithe Woh Unki Hi Duniya Thi – Qasam – Sajjad Hussain – Hameed Hyderabadi

Suna Ja Koi Geet Aye Dil Suna Ja – Qasam – Sajjad Hussain – Hameed Hyderabadi

O Shyam Meera Ke Girdhari Ab To Darshan Do – Mere Bhagwan – with Chorus  – Sajjad Hussain – Shewan Rizvi

Mujhe Bawari Bawari Log Kahe Main Geet Piya Ke Gaati Hun – Mere Bhagwan – Sajjad Hussain – Shewan Rizvi

Main Hun Phoolon Ki Raani, Kanton Mein Rahanewali – Paheli Pahechan – Bulo C Rani – Pandit Indra

Nai Baharein Aayee Tum Hi Naa Aaye – Rasta – Zafar Khursheed –

Aayi Nazar Andhere Mein Roshani Mujhe – Raasta – Zafar Khursheed – Arsh Haidari

Dukhiyon Pe Hai Dukh Dard Ka – Sagar Tarang – Piyami – Pandit Indra

Woh Dil Gaya Woh Dil Ke Sahare Gaye – Tohfa – M A Rauf (Usmania) – Rafiq Gazanavi

The song for which I could not find the YT / soft link:

Hans Hans Ke …. – Utho Jago – Aziz Khan, Ibrahim – ?

Special Note:

O Raja Re Mohe Apni Bana Le Re – Leela – C Ramchandra – Qamar Jalalabadi

[HFGK credits this song to Shamshad Begum, however many of the internet references credit the song to Geeta Roy(!¡). Whatever may the truth, the voice does sound more like Geeta Roy to me. So what can be the correct status?]

We will take up Micro-Analysis of solo songs of Shamshad Begum for the year 1947 in our next episode.

Carnival of Quality Management Articles and Blogs – June, 2018

Welcome to June, 2018 edition of Carnival of Quality Management Articles and Blogs.

A few days back I was reading the article Should Organizational Cuture Form Part of Your Quality Management System?. As I was reading through the article, I thought up of choosing Organizational Culture as our base topic for discussion this month.

The information that comes in a Google Search is simply overwhelming. I have selected a few articles here.

MSS 1000 defines organizational culture as group shared values and perceptions of acceptable and unacceptable behaviours.

NOTE 1: Culture is a socially driven phenomenon where people conform to norms to gain the acceptance of the group and resulting benefits.

NOTE 2: Culture cannot be directly imposed by the leaders of an organization – it establishes over time through the influence of a combination of leadership communication, example and compliance with the implemented management system. Behaviours that are encouraged or enforced over time influence and create the culture.

NOTE 3: A positive culture values justice, responsible questioning and equitably satisfying stakeholder needs and expectations.

What is organizational culture – Torben Rick broadly identifies it as

  • Culture is how organizations do things
  • The values and behaviors that contribute to the unique social and psychological environment of an organization
  • Organizational culture defines a jointly shared description of an organization from within
  • Organizational culture is the sum of values and rituals which serve as “glue” to integrate the members of the organization
  • Organizational culture is a system of shared assumptions, values, and beliefs, which governs how people behave in organizations
  • Organizational culture is civilization in the workplace
  • Organizational culture refers to the philosophies, attitudes, beliefs, behaviors and practices that define an organization
  • Culture is the organization’s immune system
  • It over simplifies the situation in large organizations to assume there is only one culture … and it’s risky for new leaders to ignore the sub-cultures

At its worst, corporate culture can be a drag on productivity and performance. At its best, it is an emotional energizer….Corporate culture is like an iceberg, with most of its weight and bulk below the surface. Don’t leave the organizational iceberg unattended!

And let’s not forget that the culture of any organization is shaped by leadership.

“The best definition of the word culture (workplaces included) that I’ve heard is that it’s how people behave when nobody is watching.”
— Gwyn Morgan

Michael D. Watkins, in his article ‘What Is Organizational Culture? And Why Should We Care?’, narrates perspectives that provide the kind of holistic, nuanced view of organizational culture that is needed by leaders in order to truly understand their organizations — and to have any hope of changing them for the better.

10 Principles of Organizational Culture by Jon Katzenbach, Carolin Oelschlegel, and James Thomas :

Three dimensions of corporate culture affect its alignment: symbolic reminders (artifacts that are entirely visible), keystone behaviors (recurring acts that trigger other behaviors and that are both visible and invisible), and mind-sets (attitudes and beliefs that are widely shared but exclusively invisible). Of these, behaviors are the most powerful determinant of real change. What people actually do matters more, than what they say or believe. And so to obtain more positive influences from your cultural situation, you should start working on changing the most critical behaviors — the mind-sets will follow. Over time, altered behavior patterns and habits can produce better results.

Culture eats process for breakfast.”

If you don’t work as hard on creating new culture, a culture supported by systems, structure, skills and style—your culture will eat your process.

— Unknown

Here are a few representative articles on impact of organizational culture on the effectiveness of the management systems:

We will now turn to our regular sections:

For the present episode we have picked up Bruce Rosenstein’s article ‘How To Be An Employee The Peter Drucker Way’ @ Competitive Strategy column of Management Matters Network….“There are many skills you might learn to be an employee, many abilities that are required. But fundamentally the one quality demanded of you will not be skill, knowledge, or talent, but character.”…The author presents similar selected quotes from that 1952 article of Peter Drucker, all of which remain as relevant today as they were in 1952.

We now watch one of the latest ASQ TV  episodes:

  • The Hidden FactoryIn this episode, learn about the concept of the hidden factory and how it can affect any organization regardless of industry. And discover how it can create misleading metrics that cause productivity to outrun quality.

Jim L. Smith’s Jim’s Gems posting for May, 2018 is:

  • Solving Difficult Problems – Dr. Peter Carruthers, one-time head of theoretical physics at Los Alamos National Laboratory, said that our unconscious is an important factor in solving problems….This means that while you certainly need to collect all the information possible, at some point it’s important to back off, relax, and trust that creative, productive mental work will continue even if you’re not aware of it. Sometimes “letting off the gas pedal”, leaves space for creative juices to flow….People who won’t relax their dependence on concrete, countable information often just can’t see possibilities that don’t fit into what they already know.

I look forward to your inputs / criticisms/ observations to enhance the utility of our Quality Management Blog Carnival.

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