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Carnival of Blogs on Golden Era of Hindi Film Music

Carnival of Blogs on Golden Era of Hindi Film Music – May 2021

Welcome to May 2021 edition of IXth Volume of Carnival of Blogs on Golden Era of Hindi Film Music.

We pay our tribute to Vanraj Bhatia who left for heavenly abode on 07.05.2021.

(Photo: Rajya Sabha TV/YouTube)

Vanraj Bhatia dies at 93, He was best known for the music of films such as Ankur, 36 Chowringhee Lane and TV show Tamas, has passed away at the age of 93. The veteran music composer was battling poor health and financial constraints.

‘An Indian film without songs is meaningless’ – Jyoti Punwani draws memories from her interviews with the legendary composer Vanraj Bhatia himself explained what made his music so unique…. “The first duty of music is to express the film’s texture, and the second is to be able to stand on its own feet. It must be absolutely perfect,” he said…. “When I compose, I make the music matter in the film, even if the director pushes it into the background. Like my teacher would say, you must speak the same language as everybody else, but infinitely better.”

When Vanraj Bhatia asked me to mail his opera DVD and resume to the world’s major opera housesLuis Dias – In an interview in early 2013, the great music composer professed to me his love affair with opera and shared his earnest hopes.

Night Music for Solo Flute (Rachel Woolf) by Vanraj Bhatia

Legacy Of The Enigmatic Vanraj BhatiaSunil Sampat – On the occasion of a felicitation of Bhatia at the NCPA in March 2017, Zakir Hussain said, “Vanraj Bhatia is India’s greatest ever composer. Period.” 

Young Vanraj with his family

Vanraj Bhatia’s extraordinary, multi-faceted oeuvreRanjit Hoskote – The composer’s transcultural experiments were always intense and persuasive.

I have always liked Vanraj Bhatia’s interview with Irfan, of Rajya Sabha TV – Guftagoo with Vanraj Bhatia for his candid views. The song that Vanraj Bhatia refers to @22.48 is Barse Ghan Saari Raat – Tarang (1984) – Lata Mangeshkar – Vanraj Bhatia – Raghuvir Sahay

It’s a long narrative number describing a deserted wife’s desolation. About the song, Lataji recalls, “It was one of the most difficult and complex songs of my career. [Ref: Vanraj Bhatia’s CHALLENGE for Lata MangeshkarSUBHASH K JHA]. The story that is connected with the song is also narrated by Harish Bhimani in In Search of Lata Mangeshkar’ (1955, Harper-Collins, ISBN 81-7223-183-0) – excerpted as hereunder, as a footnote on page 102 – “Composer Vanraj Bhatia rushed in excitedly….exclaiming, “(Lata) Bai stayed back yesterday to listen to my recording !”……”….The intent of this passage is that Lata Mangeshkar, who never waited to check back on her recording, was keen to know how the song was recorded.

We now move on to other tributes and memories:

The Masters: Majrooh Sultanpuri – Majrooh’s simple turns of phrase expressed the most profound emotions. With more than 6,000 songs in over 300 films to his credit, Majrooh’s poetry traversed the gamut from the soulfully romantic to philosophical, cynical and devotional.

Remembering Bulo C Rani who debuted as independent music director in Pagli Duniya (1944).

Remembering Naushad: The music director beyond compareAjay Mankotia – Naushad passed away on May 5, 2006 – 15 years ago. But old masters never die. The music lovers and connoisseurs still adore him.

India’s DeMille: Remembering Mehboob Khan on his 57th death anniversaryShaikh Ayaz   – We know him as the ambitious maker behind Bollywood’s greatest ode to Indian womanhood (1957’s Mother India) and perhaps as the founder of Mumbai’s iconic Mehboob Studio. But Mehboob Khan was more than that.

‘Teesri Kasam’ was the perfect meeting of minds between Phanishwarnath Renu and Shailendra – Phaniswarnath Renu had named his youngest daughter Waheeda Rehman, after the actor who played the lead in Teesri Kasam.

Dattaram Part 1: Under the shadow of big banyan tree with songs of Mukesh and Manna Dey – Even as several of Dattaram;s songs with Mukesh and Manna Dey have had large following, Dattaram was not limited Mukesh And Manna Dey.

Kaif Irfani – A Forgotten name – Here is his very popular, romantic song Dil Tujhe Diya Tha Rakhane KoMalhar (1951) Mukesh / Music – Roshan

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

Laxmikant-Pyarelal’s story is as much about friendship as it is about their tunesGanesh Vancheeswaran – The 1963 B grade film, Parasmani set the tone for an unprecedented 35-year-long run for Laxmikant-Pyarelal, in which they offered 3,000-odd songs they composed in about 500 films.

Pyarelal (left) and Laxmikant. Courtesy Rajeshwari Laxmikant.

Ban Mein Bahar Aa Gayee, Man Mein Umang Chaa Gayi – Balwant Singh was born in 1918.He got his break aas a singer, for Bomaby Talkies’ film Jeevan Prabhat (1937).. Here is his duet with Devika Rani from the film – Tum Meri Tum Mere Saajan (Music – Saraswati Devi = Lyrics: J S Kashyap).

Digging (Into) the ’60s and early ’70s Songs of Usha Uthup/Iyer – Usha Uthup has a very special voice as far as Indian film singers go, a bit lower and thicker even than many western female singers’, and it often has a certain unusually appealing hoarseness too. before she sang in Hare Rama Hare Krishna for R.D. Burman, she got a role singing as part of a Shankar-Jaikishan soundtracks in Bombay Talkie (1971) – Hari Om Tat Sat and Good Times and Bad Times..

May 2021 episode of Fading Memories, Unforgettable Songs takes up Manna Dey – Chale Ja Rahein Hai…. 1954 – 1955. Till now we have covered his songs for the year(s)  

1942 – 1946 in our 2018 issue,

1947-1950 in the 2019 episode, and

1951 – 1953 in the 2020 episode.

When Rafi sang for Hanuman, Manna for Ravan… – On the legendary Manna Dey’s 102nd birth anniversary, Subhash K Jha traced an interview he had done with Mannada way back in 1997.

We now move on to songs on other subjects –

Romantic Songs with a Third Person – These are songs where apart from the couple in love, there is someone else in the frame – either obtrusively or unobtrusively

Here’s A Vintage Pic Of Raj Kapoor And Wife Krishna

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

  • Sharada: Of love that is beyond labels – Starring Meena Kumari and Raj Kapoor, LV Prasad’s Sharada is the kind of romance that makes you question your understanding of love, and how meaningful relationships can exist, even with the strangest labels.
  • Awara: Of nature vs nurture – Starring Raj Kapoor, Nargis and Prithviraj, Awara is set in an era where climbing out of the vicious cycle of poverty was near impossible, and strangely enough, times haven’t changed much in the last 70 years.

The Catch-22 Songs which juxtapose options and thus, present dilemmas. Some are frivolous whereas the others are weighty.

Composers sing for themselves: Ten songs are the songs where a composer actually recorded—and it was included in the film in question—a song in his/her own voice

Anand Bakshi on his legacy as a film lyricist: ‘My songs will beat just as our heart beats’ – An excerpt from a biography, Nagme, Kisse, Baatein, Yaadein – The Life & Lyrics of Anand Bakshi, Rakesh Anand Bakshi, Penguin Random House India, of the songwriter whose career in Hindi cinema spanned six decades.

Rabindra Sangeet in Films: 10 Songs Sankhayan Ghosh presents a range of songs, from the obvious to the not-so-obvious to the innovative.

Regional Star, Hindi Also-Ran: Ten Actors, Ten Songs –who, for some reason or the other, never could make it big in Hindi cinema.

‘क्या भूलूँ क्या याद करूँ’ – a journey into what one wants to forget and what to remember.

In continuation to our tradition of ending the post with a few songs of Mohammad Rafi, each one of which basically has a link with the topics discussed in the present post.

Tum Hase To Gam Sharmaya – Dana Pani (1953) – with Shamshad Begum – Mohan Junior – Kaif Irfani

Aate Jaate Aankh Bachana ..Haye Re Tera Jawaab Nahin – Mehbooba (1954) – with Shamshad Begum – OP Nayyar – Majrooh Sultanpuri

Mujhe Jag Ki Bana De Malika, Phir Malik Ban Mere Man Ka – Dark Street (1961) – with Suman Kalyanpur  – Dattaram – Gulshan Bawra

Shokhiyan Nazar Mein Hain – Aasra (1966) – Laxmikant Pyarelal – Annad Bakshi

I look forward to your inputs to enrich the contents of Carnival of Blogs on Golden Era of Hindi Film Music.

Disclaimer: This monthly series of posts is my best-effort-based compilation of posts on Hindi film songs that I normally visit regularly. As I record my sincere thanks to all the original creators of these posts, any other posts that I have nor covered herein shows my lack of awareness of existence of such posts and is by no means any disrespect to their work. The copyrights to the posts, images and video clips remain the properties of the original creators.

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Carnival of Quality Management Articles and Blogs

Carnival of Quality Management Articles and Blogs – May 2021

Welcome to May 2021 edition of the IXth volume of Carnival of Quality Management Articles and Blogs.

We recapitulate that the 2021 theme for the IXth volume of our Carnival of Quality Management Articles and Blogs is Future of… as the basis for Creating and Maintaining Sustained Success.

We base our discussion on the subject for the present episode on A TED talk, Back to the future (1994), from the playlist The history of the future. In the talk, Danny Hillis outlines an intriguing theory of how and why technological change seems to be accelerating, by linking it to the very evolution of life itself. The presentation techniques he uses may look dated, but the ideas are as relevant as ever…. In essence, the talk has this to state on its key theme of accelerating changes –

The humanity has started abstracting out. We’re going through the same levels that multi-cellular organisms have gone through — abstracting out our methods of recording, presenting, processing information….In the process, we have speeded up time scales. The process is feeding on itself and becoming autocatalytic. The more it changes, the faster it changes.

There is an equally strong school of thought that thinks otherwise.

‘If the pace of change really were unprecedented, then conventional wisdom holds we’d better darn well slow it down, so no one gets hurt.  Either way, the commentators warn, “buckle up.” Here is one, by Alvin Toffler in 1970.:

‘ “It has become a cliché to say that what we are now living through is a “second industrial revolution.” This phrase is supposed to impress us with the speed and profundity of the change around us. But in addition to being platitudinous, it is misleading. For what is occurring now is, in all likelihood, bigger, deeper, and more important than the industrial revolution. Indeed, a growing body of reputable opinion asserts that the present movement represents nothing less than the second great divide in human history, comparable in magnitude only with that first great break in historic continuity, the shift from barbarism to civilization”.

‘Why have people long believed that their eras were unprecedented when it came to the rate of change? There are two reasons. First, at least today, it is hard to get attention if you say that “there’s nothing new here, at least in terms of the pace of change.” Second, it’s simply human nature. Most of us overestimate change in a few things around our lives and ignore most of the rest that changes very slowly, if at all.

‘None of this is to say that technology-driven change isn’t happening. Of course it is—and it’s making our lives much better. But the pace of change appears to be no faster than in prior eras, and just as economies did fine despite Luddite impulses then, ours will do fine now. So, let’s all take a deep breath and say together: “Technological change is not accelerating, but it would sure be nice if it would.” ‘[1]

Scott Brinker has formulated Martec’s Law, which states, Technology changes exponentially, organizations change logarithmically…..there have been hundreds of best-selling books written on the difficulties of personal and organizational change. Empirically, the limit of change for humans is less than linear. In other words, it’s not feasible for an organization to change faster than that. But it’s certainly possible for an organization to change more slowly — or not at all. In fact, in the absence of good leadership, stagnation seems like the default outcome. But even with great leadership, an organization can’t win by outracing technology. It needs a more nuanced strategy….In A.G. Lafley’s book, Playing to Win: How Strategy Really Works, he drives home the point that strategy is choice. It’s decisively choosing to do certain things and to not do others….That is the crux of technology management. We can’t adopt all technological changes, but we can consciously choose some. Great technology management is choosing which changes to absorb — ideally those that are best aligned with the organization’s overall strategy….In the graph, it’s intentionally deciding what’s in (the red shaded area) and what’s out (the blue shaded area)….. To succeed, technology management must explicitly address how those technologies will be absorbed into the operations and the culture of the organization.

A successful tech-enabled transformation requires organizations to make progress on several paths simultaneously. … Only by following a structured, comprehensive playbook can companies translate their transformation priorities from strategy to action. A two-step methodology supported by several enablers can provide companies with the direction, priorities, and organizational capabilities to maximize the value of such investments. Indeed, companies that took a comprehensive approach to their transformation generated more than twice as much value as organizations focused solely on technology improvements. [2]

Charlie Feld, in his article, Change Management: Leading Through Technology Changes, states: There are three major competencies that great IT leaders need in order to get the lay of the changing landscape: pattern recognition, technical savvy and street smarts.

One may tend to conclude that one should consciously map the change and act in accordance with the organization’s long-term strategy of maintain its competitive advantage.

We will now turn to our regular sections:

We now watch ASQ TV, wherein we refresh our viewpoints about–

The Quality Professional’s Changing Workplace – This episode investigates how the global pandemic and digital transformation are changing the quality professional’s workplace.

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

Commit to Improvement – Most continuous improvement programs are treated as the latest management fad; therefore, people look at it as just another “program of the month” being pushed by management. …This is not the way the organization conducts its other business. In fact, the continuous improvement effort is often at odds with the existing processes and metrics, so it is destined to limp along on its way to mediocrity and eventual failure…. Continuous improvement is more about rigor and discipline than it is about technique.

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

Rules: Good or Bad? – English actor and author Alan Bennett once said, “We started off trying to set up a small anarchist community, but people wouldn’t obey the rules.” … We equate rules with the difference between order and chaos. We often, quite negatively, associate rules as being an obstacle to success. …Depending on your perspective, those seen breaking the rules are either bad people or trailblazers and pioneers…These quotes express more accurately captures the essence— “Learn the rules like a pro, so you can break them like an artist” (Pablo Picasso ) or “Know the rules well, so you can break them effectively.” (the Dalai Lama)…. Although much has changed in the last year and the near future can look a little daunting, understanding the rules of before, what is happening now, and how it may affect us moving forward is always good practice.

I look forward to your views / comments / inputs to further enrich the theme of Future of… as the basis for Creating and Maintaining Sustained Success.

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


[1] Technology Feels Like It’s Accelerating—Because You’ve Been Watching Too Many TED TalksRobert D. Atkinson

[2] Accelerating the impact from a tech-enabled transformation By Venkat Atluri, Aamer Baig, and Satya Rao

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Carnival of Blogs on Golden Era of Hindi Film Music

Carnival of Blogs on Golden Era of Hindi Film Music – April 2021

Welcome to April 2021 edition of IXth Volume of Carnival of Blogs on Golden Era of Hindi Film Music.

We pay our tribute to Shashikala (Javalkar) who left for heavenly abode on 04.04.2021.

Kyon Muje Itani Khushi De Di – Shashikala – Beete Hue Din – Shishir Krishna Sharma – is a comprehensive life sketch of Shashikala, published seven years back.

The Greats: Shashikala remembers various roles she has played on the screen.

Ten of my favourite Shashikala songs in which Shashikala lip-syncs to the song. These could be solos or duets.

Whilst on the subject, in our Fading Memory, Unforgettable Songs episode of March 2021, we had noted a very young Shashikala in Masti Bhari Bahar Ne Masatana Kar Diya (Pugree (1948) – Shamashad Begum – Ghulam Mohammad – Shakeel Badayuni)

We now move on to other tributes and memories:

8 songs that prove Anand Bakshi was Hindi cinema’s lyricist for the common manUnnati Sharma and Shreyas Sharma – While some of his contemporaries and seniors like Sahir, Majrooh and Gulzar are considered more ‘poetic’, Anand Bakshi kept it simple and read the pulse of the masses.

A Daughter’s TributeRatnottama Sengupta – A Films Division festival ‘A Daughter’s Tribute’, screened three documentaries made by daughters as tribute to their celebrated parent. Nargis by Priya Dutt, And They Made Classics…. by Ratnottama Sengupta and The Last Adieu by Shabnam Sukhdev, were screened at Nandan in Kolkata. Ratnottama Sengupta, the curator of the festival writes about the concept and the experience of the festival.

The young Nargis – a still from the documentary Nargis

Book Review: Vinod Mehta’s ‘Meena Kumari: The Classic Biography’ – Instead of discussing Meena Kumari’s cinema (which, normally would be the main reason anyone would want to read this book), Mehta focuses on Meena Kumari’s personal life, and how that personal life affected her professional life.

‘Kohinoor’, the 1960s gem that had Bollywood’s tragedy king & queen at their comical bestUnnati Sharma – Starring Dilip Kumar and Meena Kumari, the 1960 film directed by S.U. Sunny broke the shackles of tragedy and provided audiences wholesome entertainment.

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

·  Bollywood Songs for Expecting Mother or Parents

·  The Songs written by Hasrat Jaipuri for Other Musi…

·  Shamshad Begum – The Highest Paid Female Playback .

April 2021 episode of Fading Memories, Unforgettable Songs takes up Hasrat Jaipuri – Beyond Shankar Jaikishan: 1959, continuing the annual series of Hasrat Jaipuri’s songs with Music Directors Other Than SJ. Till now, we have covered –

The songs from 1950 to 1953 in 2017,

The songs from 1953 to 1955. In 2018

The songs from 1956 -1957 in 2019, and

The songs from 1958 in 2020

We now move on to songs on other subjects -.

Jogi, Bhogi or Dhongi  brings the gay, colourful mood Holi.

Hindi songs with Tonga (Ghoda Gadi) beats lists only one song per composer. Here is one that is a gem for ever – O Matware Sajna Chala Gaya Mera Pyar, Dil Dhadke Main Kya KarooN, Hua Ye Paheli Baar  – Faulad (1963) Asha Bhosle – G S Kohli – Faruq Kaiser

Songs with a Regional Twist lists the Hindi film songs that have a phrase or two or even an entire line which is from a different Indian language; but, the rest of the song is in Hindi.

Triad of Singers lists songs where three (or more as the case may be) playback singers sing for a single actor or actress in a single movie – for example.

Geeta Dutt (Aaja Bedardi Baalma), Lalita Deulkar (Bachpan Ki Yaad Dheere Dheere Pyar Ban Gai) & Surinder Kaur (Badnaam Na Ho Jaaye, Mohabbat Ka Fasana)  – Film – Shaheed (1948)| Actress – Kamini Kaushal| Composer – Ghulam Haider

How vicarious songs came to the aid of bashful actors in Hindi filmsAjay Mankotia @ajaymankotia – How should the budding romance between the protagonists be depicted on screen, when the script forbids them from directly doing so? Enter buskers and vicarious music to aid.

The ‘College’ Songs is a list of songs picturised in a college campus or mostly in the college building.

Best songs of 1944: And the winners are? – SoY continues with year-wise reviews of the best songs of the year.

In continuation to our tradition of ending the post with a few songs of Mohammad Rafi, each one of which basically has a link with the topics discussed in the present post.

Dil Ko Chedti Hai Tamanna Tumhi To Ho – Lachak (1951) – with Asha Bhosle – Moti Ram – Hasrat Jaipuri

Mere Dilber Mujhpar Khafa Na Ho – Dharmputra (1961) – N Dutta – Sahir Ludyanvi

Aji Aisi Nazar Ko Kya Kahiye Jo Yaar Na Apna Pahechane – Johar Mehmood In Goa (1965) – Kalyanji Anandji – Farooq Qaiser

Haye Kya Ye Shararat, Kya Ada Hai, Tauaba Re Ye Shararat Kurban Is Ada Ke – Jung Aur Aman (1968) – G S Kohli – Anjaan

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 2021

Welcome to April 2021 edition of the IXth volume of Carnival of Quality Management Articles and Blogs.

We recapitulate that the 2021 theme for the IXth volume of our Carnival of Quality Management Articles and Blogs is Future of… as the basis for Creating and Maintaining Sustained Success.

I have picked up two articles relating to Future of Industry. Here too I have avoided going into details that relate to impact of digital technologies but have chosen to focus on the issues that should concern the management in general.

Note: This subject has no correlation to Industries of Future.

The future of industries: Bringing down the walls – As the boundaries between suppliers, producers and consumers and, in some cases, between whole industries shift, the separating walls are being brought down.…. It is expected that all industries will be transformed by the technology shockwave, lowering cost bases, and improving operational efficiency as well as demanding greater integration with customers and suppliers.

Five big issues for companies –

1. Have you got an outcomes’ focus or are you still stuck in a physical product mindset?

2. What are you doing to avoid commoditisation of your business?

3. Are you building a platform presence?

4. Are you leading with or being left behind by advanced technology?

5. Have you got your timing, right?

The ‘Future of Industries’ report discusses these and a number of other questions. Download it to find out more and join in the discussion with PwC.

Industry Of The Future: We Need To TalkMike Hughes – The industrial world still inhabits an environment of proprietary systems and vendor lock-in long since abandoned by the IT sector. This is throttling innovation and progress.

Credit: Getty Images

Many organizations recognize that next-generation industrial automation must be interoperable and break free from the locked-in model we currently accept. Interoperable and portable application software is a must for next-generation industries…… The factories and industries of the future, will have machines, operations and IT systems integrated and understand each other, talk and collaborate—where agility, sustainability, and productively are just a matter of choosing the best-in-class solution for your operation.

The Future of Industry | Accenture sums up succinctly the challenges as it states – The world is changing, and all industries are facing a tectonic shift. Let’s embrace the new, together…..

We will now turn to our regular sections:

We now watch ASQ TV, wherein we refresh our viewpoints about–

Shared Meanings from Top to Bottom – Charlie Barton, President, Barton Consulting LLC, discusses the importance of shared meanings of words for organizations, and the negative business implications that could occur without that common knowledge.

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

Organizational Culture – Workplace culture takes work but delivers value – Peter F. Drucker, the famed educator and management consultant, said, “There is nothing as useless as doing efficiently that which should not be done at all.” …. Maybe more important for effectiveness and efficiency is workplace culture. As times change so must the culture. …We must learn to be aware of one another from a cultural background before we can learn to work together effectively. We need to realize it is not so much what we say as much as the manner in which we express ourselves that can adversely affect mutual understanding…. A lack of understanding and sensitivity can be injurious to the environment. There must be balance in the workforce just as there is in any other situation. We must learn to appreciate the differences between generations and learn to adapt. 

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

Truth or Fallacy – Depends on how you look at it. – Sunk costs are defined as costs that have already been incurred and cannot be recovered. Proponents of the sunk cost fallacy argue that since it is a cost paid in the past and unrecoverable, it should be removed from any future decision making. But that does not stop sunk costs from being a part of our psyche…The sunk cost fallacy, in a way, is not just forgetting the time, money, and effort that went into producing something, but not allowing it to blind us to what we truly want or need. … “The sunk cost fallacy means making a choice not based on what outcome you think is going to be the best moving forward, but instead based on a desire to not see your past investment go to waste,” said Julia Galef, president of the Center for Applied Rationality.[1]

I look forward to your views / comments / inputs to further enrich the theme of Future of… as the basis for Creating and Maintaining Sustained Success.

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


[1] Julia Galef: The Sunk Costs Fallacy | Big Think

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Carnival of Blogs on Golden Era of Hindi Film Music

Carnival of Blogs on Golden Era of Hindi Film Music – March 2021

Welcome to March 2021 edition of IXth Volume of Carnival of Blogs on Golden Era of Hindi Film Music.

We pay our special tribute to Sahir Ludhyanvi on his birth centenary:

Sahir Ludhianvi at 100: Why the poet and film lyricist was the original ‘Angry Young Man’Akshay Manwani – With his incisive poetry and plainspokenness, Ludhianvi consistently raised uncomfortable questions and expressed bitter truths.

Remembering Sahir Ludhianvi: Privileged to have sung his lyrics, says museBella Jaisinghani – “Do you know, it was Geeta Dutt and I who originally sang ‘Kabhi Kabhi mere dil mein’ for a Chetan Anand film in 1959-60. It got shelved and I don’t even have a recording. Khayyam Sahab’s tune was nearly the same as the one that was released later’ says Sudha Malhotra.

No other poet expressed separation in the same manner as Sahirsaab: Gulzar – I remember that he was never allowed to leave the stage without reciting his famous poem on the Taj Mahal — ‘Meri mehboob kahi aur mila kar mujhse’ — it was very, very popular with the people.

Sahir Ka Khayal Aaya: Sahir’s Anti-War Poem in a Unique PlayAntara Nanda Mondal – To commemorate legendary poet-lyricist Sahir Ludhianvi’s 100th Birth Anniversary, Delhi-based theatre group Pierrot’s Troupe’s premiered its unique monologue play Sahir Ka Khayal Aaya on March 7 at LTG Auditorium, New Delhi.

Sahir at 100: The ‘pal do pal ka shayar’ who doesn’t fade even 41 years after his deathUnnati Sharma and Shreyas Sharma – his lyrics and poetry still resonate for their philosophical tinge, symbolism & social consciousness.

We now move on to other tributes and memories:

Remembering Indeevar – Part I and Part II pay the tribute to The lyricist on the occasion of his 24th death anniversary.

50 years of Anand: a tribute – Everyone who loves Hrishikesh Mukherjee’s Anand agrees that it is one of the warmest, most life-affirming of Hindi films. As it turns fifty, the dominant memory is of the terminally ill hero, played by Rajesh Khanna, spreading cheer and inspiration, determined to live a badi zindagi (big life) even if he isn’t fated for a lambi (long) one.

50 years of Anand — Hrishikesh Mukherjee’s timeless classic is an ode to lifeUnnati Sharma – If director Hrishikesh Mukherjee had had his way, his 1971 classic Anand would have looked a lot different. One of Bollywood’s first superstars Raj Kapoor would have played the title character, and Bengali star Saumitra Chatterjee would have been Dr Bhaskar Banerjee.

Remembering Ninu Mazumdar – the composer and the singer is a tribute to Ninu Mazumdar on his 21st death anniversary (9 September 1915 – 3 March 2000)

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

March 2021 episode of Fading Memories, Unforgettable Songs takes up Ghulam Mohammed and His Singers: 1943 – 1949. In the month of his death anniversary, we commence an annual series that relives his known and less known songs.

Ghulam Mohammad – A Tribute lists popular songs of Ghulam Mohammed, as a follow-up to Ghulam Mohammad’s rarely heard songs.

On Basu Bhattacharya’s Anubhav: Middle Cinema, meet avant-garde, the first film in Bhattacharya’s ‘marriage trilogy’, the other two being Avishkaar and Griha Pravesh

We will now take up the articles on other subjects:

Amitabh Bachchan and India’s battle to preserve its film heritageSoutik Biswas – Shivendra Singh Dungarpur, an award-winning filmmaker, archivist and restorer, of the Film Heritage Foundation has been at the forefront of restoring and preserving Indian films efforts.


A still from the 1958 Bollywood drama Night Club, now preserved in the archive

The Perils of Alcohol: Hindi Films’ Moral Lessons and Tips for Women is a list of ‘drunken women songs’, with following caveats:

  • Caveat 1: The woman must be the heroine, not the vamp. That knocked Hoon abhi main jawaan out of the running.
  • Caveat 2: She must truly be drinking, not pretend drinking. (That took care of a host of ‘sharabi’ songs..)
  • Caveat 3: It has to be alcohol, no other forms of intoxication allowed. NoDum maaro dum or Ye aankhen uff yumma.
  • Caveal 4: All songs had to be from pre-80s’ films.

Pick of the list is Aaj ye meri zindagi– Yeh Raaste Hai Pyar Ke (1963) – Asha Bhosle- Ravi- Shakeel Badayuni.

Romancing with ‘Zindagi’ confines the list to the songs in which ‘Zindagi’ is the main subject

Songs that Shun Love – for example Jis Pyaar Mein Yeh Haal Ho – Phir Subah Hogi, 1958 – Md.Rafi and Mukesh – Khayyam; Sahir Ludhianvi

Once Upon A TimeYe Un Dinon ki Baat Hai is divided into three sections – Pen Portraits, Reminiscences and Perspectives.

On Shadow Craft, a book about the aesthetics of black-and-white Hindi cinema – For anyone who loves black-and-white cinema – and likes the idea of a creative work being encountered in its original form rather than disfigured to meet contemporary tastes – the computer-colourisation of old films is cause for teeth-gnashing.

Songs of the Unsure/Insecure Lover – for example – Main Tumhi Se Poochti HunBlack Cat, 1959 – Md. Rafi and Lata Mangeshkar – N.Datta – Jan Nisar Akhtar.

In continuation to our tradition of ending the post with a few songs of Mohammad Rafi, each one of which basically has a link with the topics discussed in the present post.

Beta Dar Mat….Aahein Bhar Mat… – Bahi Behan (1959) – N Dutta – Sahir Ludhyanvi

Log Kahte Hain Ke Hum Tum Se Kinara Kar Lein – Bahu Begum (1967) – Roshan – Sahir Ludhyanvi

Qaza Zaalim Sahi..Ye Daawa Aaj Duniya Bhar Se – Laila Majnu (1976) – Jaidev – Sahir Ludhyanvi

Hum Mein Hai Kya Ke Humen Koi Haseena – Nawab Saheb (1978) – C Arjun – Sahir Ludhyanvi

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, 2021

Welcome to March 2021 edition of the IXth volume of Carnival of Quality Management Articles and Blogs.

We recapitulate that the 2021 theme for the IXth volume of our Carnival of Quality Management Articles and Blogs is Future of… as the basis for Creating and Maintaining Sustained Success.

Presently, we will first take up A future direction for quality management standards, not for what it notes what is in the store for the next revisions of ISO standards. I have picked up the article for the basis of these revisions, which indicates the new way of looking at the fundamentals of the thinking in the times to come. As such, the edited excerpts show only what is relevant, in general.

The eight future concepts are:

  1. Customer experience is the sum of all perceptions, impressions and reactions that a customer has in a series of activities. It involves everything from initially discovering and researching a product or service, through shopping, purchasing and using the product or service to following up with the brand afterwards.
  2. People aspects are all the factors that impact people’s abilities to perform tasks, their interests (eg motivation and preferences), their differences and relations (individual differences and social behaviour), and how an organisation can enhance performance by getting the best from people.
  3. Change management is identified as a systematic approach to initiate, develop, implement and communicate a transition or transformation in an organisation’s identity elements. These elements include the organisation’s  vision, mission, culture, values, policy, strategy, objectives and/or processes.
  4. Integration – An integrated management system (IMS) integrates many systems and processes into one complete framework, enabling an organisation to work as a single unit with unified objectives. When an organisation integrates management systems it can achieve better alignment between its systems, strategic direction, objectives, and the context of the organisation.
  5. Knowledge management is a discipline focused on ways that organisations create and use knowledge. While this concept itself is not new, there are important aspects that now need to be considered in relation to the use of, for example, big data, machine learning, blockchain, code of ethics, copyrights and intellectual property.
  6. There are several emerging technologies that will impact an organization in the future. The extent of digitisation is constantly growing in organisations. There are many possibilities for companies to use intelligent networking and artificial intelligence (AI) for making decisions based on rapidly changing data.
  7. Ethics and integrity are critical to the organisation’s ability to achieve sustainable success. All company decisions, actions and stakeholder interactions must be aligned with its moral and professional principles of conduct. These principles should support all applicable laws and regulations and are the foundation for the organisation’s culture, values and attitudes.
  8. Organizational culture refers to the collective beliefs, values, attitudes, manners, customs and behaviours that are unique to an organisation. Leadership establishes the organisational identity through the culture it develops and promotes.

These eight future perspectives can be further viewed in the light of Gary Hamel’s seminal work ‘The Future of Management’. The book, co-authored by Bill Green, was published in 2007. His basic tenet is that most of the organizations “by a small coterie of long departed theorists and practitioners who invented the rules and conventions of “modern” management back in the early years of the 20th century. They are the poltergeists who inhabit the musty machinery of management. It is their edicts, echoing across the decades, that invisibly shape the way your company allocates resources, sets budgets, distributes power, rewards people, and makes decisions.

However, “the laws of management are neither foreordained nor eternal”.

“Whiplash change, fleeting advantages, technological disruptions, seditious competitors, fractured markets, omnipotent customers, rebellious shareholders—these 21st century challenges are testing the design limits of organizations around the world and are exposing the limitations of a management model that has failed to keep pace with the times.”

“What ultimately constrains the performance of your organization is not its business model, nor its operating model, but its management model.”

The management innovation has a unique capacity to create a long-term advantage for (the) company, and …. (the management of today) must …. first imagine, and then invent, the future of management.[1]

[Side Note: Management Innovation is defined as “..anything that substantially alters the way in which the work of management is carried out, or significantly modifies customary organizational forms, and, by so doing, advances organizational goals”. ]

In this video, Gary Hamel on the Future of Management, you can view Gary Hamel explaining the concept that he has enunciated in the book.

Additional reading:

The Future of Management Gary Hamel: The Future of Management Dr. Liano Greybe

The Future of Innovation Management: The Next 10 Years from Arthur D. Little)

We will now turn to our regular sections:

We now watch ASQ TV, wherein we refresh our viewpoints about–

Skills You Need for the Technical Era

Quality 4.0 is More Than Technology https://asq.realmagnet.land/quality-4pt0-research

Learn About Quality 4.0 https://asq.org/quality-resources/quality-4-0

Quality 4.0 Virtual Summit https://asq.org/conferences/quality-4-0

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

Change Perspective – In life not everything goes as planned or expected, even for the most successful people. But some people take failure very personally. It is our perspective that counts in the long run…. If you want to change your life, you need to first change your belief system. …. Anything that was learned – and our beliefs are learned – can be unlearned and relearned. Then, you will continue to act like yourself, but you will see yourself differently, so your behavior will be different. And when you change your behavior, you change the results. … Bhagwant Buddha preached : “What you think, you become. What you feel, you attract. What you imagine, you create.” In other words, change your perspective, and you change your life.

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

Speaking the same language – George Carlin once said, “Everybody smiles in the same language.”

In fact, our facial expressions can convey a plethora of information about our emotional state.  .. What is critical is — understanding the communication, whether it is verbal or non-verbal.

March 2021 issue of QualityMag provides insight on moving communication forward in the age of Industry 4.0, in the form of Surface Tools: Speaking the language of Industry 4.0” and “Choosing Your Words Wisely: Help us clear up the confusion of NDT terminology.”

I look forward to your views / comments / inputs to further enrich the theme of Future of… as the basis for Creating and Maintaining Sustained Success.

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

[1] Gary Hamel : The Future of Management

Categories
I Liked Music from films

Songs of 1945 @ SoY :: Summing Up : MY Top Music Director(s)

The year 1945 has been a year, where I happened to listen for the first time most of the songs that came up in the Micro View.  As such, all the (s0-called) objective or scientific measures that have been deployed for the selection of MY Top Music Directors seem to lose all the rationale that they had supposedly carried.

The only possible solution that appears plausible at this tage is to seek the quantitative analysis of the songs that I have short-listed at the stages of MY Top male solo songs, female solo songs and the duets and see which music directors have composed these songs.

Quantitative view My Top Solo songs of Male Playnack Singers, Solo songs of Female Playback Singers and the Duets –

Music Director Male Solos Female solos Duets Total
Bulo C Rani 1 3 2 6
Govind Ram 2 4 6
Amarnath 2 1 3
Srinath Tripathi 1 1 2
Gyan Dutt 1 1 2
Hafiz Khan 1 1 2
Ninu Mazumdar 1 1 2
G A Chisti 1 1 2
Firoz Nizami 1 1 2

Other than these, Shanti Kumar and Pt. Ganapat Rao have one sons each in Male Solo songs, Datta Koregaonkar, Khemchand Prakash, Dhiren Mitra, Anil Biswas, Arun Kumar, R C Boral have one each in Female Solo songs and C Ramchandra, Naushad, Lal Muahammad have one Duet each in MY respective ‘Top’’ lists.

This approach has resulted in Shyam Sundar, the music director who has given a run away popular albu, Village Girl, being left out of the consideration.

SoY has also presented an exhaustive analysis to arrive at the Best Music Director spot for the year 1945 in its Best songs of 1945: Wrap Up 4. Going by the popular choice, SoY has adjudged Shyam Sundar as the Best Music Director and Bulo C Rani getting special mention.


P.S. All the episodes of Micro View of Best Songs for 1945 @SoY can be read / downloaded from one file, by clicking on the hyper link.

Categories
I Liked Music from films

Ninu Mazumdar : A Trifoliate of Note, Lyric and Sound

Ninu is the family pet name of Niranjan Mazumdar (B: 9-9-1915 | D: 3-3-2000), who has 20 Hindi films to his credit as music director, 28 Hindi film songs in his own voice, one film each as lyricist and as a film director. Ninu Mazumdar was born in a community, which was traditionally more literate in those times. His father, Nagendra Mazumdar, was a dramatist and director of silent film era. Nagendra Mazumdar has also acted in a comedy cameo role in K L Saigal’s classic Tansen (1943). Ninu Mazumdar’s childhood upbringing happened under the guidance of his maternal grandmother at the then Gaikwad princely state Baroda. She herself was a leading social reformist. Here Ninu Mazumdar got his initial training in classical music under Ustad Faiyaz Khan and Ustad Imam Chili Khan.

In 1931, he came to Bombay and settled with parents. Here he met wide-ranging film personalities. His early initiation to Rabindra Sangeet also happened in those years. For some time, he had stayed in UP as well, where he picked up his liking for folk music as well as semi-classical music forms like, Chaiti, Hori, Thumri, Dadra etc. Soon he got his chance to compose music for Hindi films. His involvement in the world of music spanned singing, lyrics-writing, and music composition.  Avinash Vyas, his contemporary in the world of Gujarati Light Music, used call him trifoliate bael (Aegle marmelos) leaf  – स्वर, the (sound) note (the seven notes base of Indian Classical music), शब्द, the word (lyric of a poem) and सूर, the tune

The uncertain nature of Hindi films drove him to pick up invitation to join All India Radio (AIR) in 1954. His creativity fully flourished here. He introduced many budding Gujarati singers to the world of radio, and in the process popularized ‘light’ Gujarati music to the masses. He invited leading Hindi, Marathi and Gujarati poets to lend their poems to the AIR programmes to lend the breadth and depth to the Gujarati Light music. He introduced the concept of chorus singing into Gujarati light music with the help Bombay Choir Group (an association with which Salil Chowdhury also was associated). He is also credit with initiating one of the most popular programmed on AIR – Jaymala. His insatiable urge to learn and experiment led to him to learn Sanskrit after his retirement from a 20-year stint at the AIR service in 1974.

Ninu Mazumdar has composed music for 20 Hindi films, spanning a period of 1942 to 1967. Of these films, the films for which there is no trace on YT are: Masterji (1943) -co-music-director B R Deodhar; Pratigya (1943) – as recorded by Shri Harish Raghuvanshi in his famous Gujarati newspaper column article*- ; Rangile Dost (1944), Gudia (1947); Pul (1947); Ramshashtri (1944); Aflatoon (1950): Azamyish (1952) – except one song.  Ninu Mazumdar has penned songs for ‘Paristan’ (1944) and directed ‘Kuchh Naya’ (1948).

The Singer of His Own Compositions

To commemorate the death anniversary of Ninu Mazumdar, we will listen to his compositions in Hindi films in his own voice, as are available on YT at present.

Haay Haay Haay Haay Dil Ko Le Gaya Chor – Black Out (1942) – Ninu Mazumdar, Rehmat Bai – Lyrics: Wahid Qureshi

The song opens with prelude orchestration based on western music instruments. runs on a fast-western rhythm in the male voice and switches over to a slow waltz rhythm in the female voice. Ninu Mazumdar also easily improvises with scale variations in the second line.

If we have had more songs form this very first film of Ninu Mazumdar digitally available, we would have had enough proof of his intense willingness to experiment.

Main To Lambe Safar Ko Jaaungi, Saiyan Mera Ticket Babu – Kiran (1944) – Unidentified Female and Male Singer

HFGK records female and male singer as Unidentified. However, while uploading the following video on YT, Sadanand Kamath identifies female singer as Leela Chitnis and I would place my bet on the male singer as Ninu Mazumdar.

The song is light-hearted romantic song wherein the female singer enlists he wishlist and male singer agrees to meet that and more.

Pal Bhar Ki Aap Se Pahechan… Kal Se Aaj Suhanaa Lage – Paristaan (1944) – Ninu Mazumdar, Amirbai Karnataki – Lyrics: Ninu Mazumdar, Roopdas

The song rendition is more in the typical vintage era style, but Ninu Mazumdar’s orchestration has his own stamp, So are the skilful variations in throw of words by both singers as they melodiously sing the initial lines in after another. Amirbai Karnataki singing only one word ‘Bhala’, @00.54, with a little extension of the last vowel ‘aa’ is again ample testimony of Ninu Mazumdar’s experimentations. The first stanza opens on a higher scale at a slightly rapid beat and then switches on to an easier paced second line. This is how Ninu Mazumdar has used folk tunes in his compositions.

Bamna Ki Cchhori Dil Le Gayi, Ho Baniye Ka Put Jiya Le Gaya – Main Kya Karoon (1945) – Ninu Mazumdar, Hameeda Bano – Lyrics: D N Madhok

The song is set to Gujarati folk music – Garba- rhythm, but the delivery of the lyrics is very innovatively presented as a light mood song. In the initial line- mukhda- Hameeda Bano literally cuts through the line being sung by Ninu Mazumdar. In the first stanza, Ninu Mazumdar chirps in, almost as counter melody, at every pose by Hameeda Bano. Interestingly first stanza itself comes in seamlessly with the mukhada, without any intervening interlude music as usual.

O Gori Kahaan Chali Us Paar … Chhod Ke Ganv Ki Bahar – Jail Yaatra (1947) – Ninu Mazumdar, Meena Kapoor – Lyrics: Sajjan

Jail Yatra has attained fame more as Raj Kapoor’s one of those initial films where he was not the lead actor. Ninu Mazumdar has recorded songs filmed on Raj Kapoor in Raj Kapoor’s own voice. So the songs that Ninu Mazumdar has chosen to sing in his voice may have been filmed on the Gajanan Jagirdar, who was the lead actor in the film. Ninu Mazumdar is credited with using Meena Kapoor very early in her career.

The song composition is nearer to vintage ear style, but the song does not progress linearly. Every line of the song has some or other variation in the delivery. Ninu Mazumdar once more demonstrates his improvisation skill in the way he has used the folk dance music at the end of the song from 2.18 onwards.

Duniya Sari Jail Re, Jiski Unchi Hai Deewarein – Jail Yatra (1947) – Ninu Mazumdar – Lyrics: Sajjan

The song is basically set to Bengali folks baul styles tune. Ninu Mazumdar, as can now be expected, introduces his own improvisation in the template. The way chorus has been used in the song one such sweet improvisation.

Aayee Gori Radhika Brij Mein Balkhaati – Gopinath (1948) – Ninu Mazumdar, Meena Kapoor – Lyrics:  Surdas

In the glory of the fame that this song has got as the inspiration of Yashomati maiya se bole nandlala (Satyam Shivam Sundaram, 1978), it is perhaps being missed that is was Ninu Mazumdar who introduced the traditional ‘bhajan’ (prayer) music styles into Hindi films through the Surdas and Meerabai bhajans in this film.

Kaare Badar Baras Baras Kar Thak Jaaein Bar Bar, Re Birhan Ke Dware .. Gae Koi Aaj Koi Gaaye Re Malhar – Gopinath (1948) – Ninu Mazumdar – Ram Murti

Ninu Mazumdar has based the song on the folks ritual singing styles of wandering ascetics.

Piya Milan Kaise Jaogi Gori, Rang Roop Sab Jaat Raho Ri – Kuchh Naya (1948) – Ninu Mazumdar, Meena Kapoor – Lyrics:  Meera Bai

Ninu Mazumdar comes up in new style by singing the song in base scale. As a music director, he uses Meena Kapoor in a contrasting scale, to come down athe same scale in the last line, wherein Ninu Mazumdar also joins to end the song.

Kar Ke Singar Chali, Sajan Ke Dwar Chali Chatura Albeli – Part 1 – Teen Tasweeren (1954) – Kaumudi Munshi, Ninu Mazumdar, chorus – Lyrics: Prem Dhawan

Kaumudi Munshi**, a trained semi-classical singer, popularly known “Nightingale of Gujarat”, is an established and well-respected name in Gujarati ‘light’ music world. She started as chorus singer in AIR music programmes when Ninu Mazumdar was heading the Gujarati music programmes section. Ninu Mazumdar’s first wife, Shardaben, had passed away a few years back. The professional relationship between Ninu Mazumdar and Kaumudi Munishi got converted in personal relationship and they married in 1954.

This song is also set to a ascetic ritual folk rhythm. Ninu Mazumdar has very easily crafted the tune to a different mood, of a young maid expectantly looking forward to proceeding to her new, in-laws home.

The song has a twin part 2 which is a solo by Ninu Mazumdar. Since we only have an audio clip here, we are not able to ascertain the siutaion in which the song would have been filmed on the screen. However, the Kar Ke Singar Chali Sajan Ke Dwar of female version now becomes Kar Le Singar Chatura Albeli Jaan Hoga Sajan Ke Dwar in the opening line and the song takes a form of well-wishing message.

Dekh Liya Jag Wale Tera Jag Dekh Liya – Teen Tasveeren (1954) – Ninu Mazumdar – Lyrics: Prem Dhawan

In song based on wandering ascetic folk song style, Ninu Mazumdar has introduced a novel approach to the orchestration support.

We now have a song in Ninu Mazumdar’s voice, which is technically not his own composition.

Karo Hamein Parnam Karo Jee, Baar Baar Parnam – Manjhu, Ninu Mazumdar, Unidentified voice – Ramshahstri (1944) – Music: G Damle – Lyrics: Qamar Jalalabadi

Kaumudi Munshi’s site records Ramshastri in Ninu Mazumdar’s filmography. However, HFGK records G Damle as the music director for Hindi version of the film (YT has several videos of film’s Marathi version). The names of the singers have been added in addenda of HFGK , Vol. II -1941-1950, signifying that the information was available at a very late stage.

This led me to approach Shri Harish Raghuvanshi, whose article* mentions this film, Shri Har Mandir Sinh ‘Hamraaz’ of HFGK and Shri Arun Kumar Deshmukh, who has done pioneering posts on Atul’s Song A Day w.r.t. Ninu Mazumdar. Har Mandirji informs that Ninu Mazumdar himself had confirmed to him that he had composed songs for this film with another music director, K. Bhole.

Shri Arun Kumar Deshmukh throws further light on the background of this film. He states that, “Film Ramshastri-44 was originally directed by Raja Nene. During the shooting of the film in 1943, Raja Nene along with Mukhram Sharma, Datta Dharmadhikari and few others decided to quit Prabhat. Keshavrao Bhole was the first MD for this film. He too wanted to quit, but he stayed, completed the work, and then left. This is told by Bhole himself. After Raja Nene left, Vishram Bedekar directed the film, but he too quickly left  and the film was completed by Gajanan Jagirdar as a Director. He was the Lead actor too in it. I do not know who this G. Damle is, mentioned as MD. Ninu might have assisted Bhole in this period.”

The audio version of the song also is very kindly provided by Shri Arun Kumar Deshmukh.

The following are the songs for which I have not been able to locate digital versions. Since, there was enough number of songs already available for one post, I have not troubled knowledgeable sources like Har Mandir Singh ‘Hamraaz’. Harish Raghuvanshi, Arun Kumar Deshmaukh, who already have taken enough pains to provide base material and clarifications even for the present post.

(Note: Subsequent to posting the article, Shri Arun Kumar Deshmukh has sent in audio files of three of the songs in the list herebelow. These files ar now auploaaded along with the respective songs)

Sajan aao chalein kahi door, is neele aakash ke neeche – Black Out (1942) – Ninu Mazumdar, Leela Sawant – Lyrics: Wahid Quereshi

Mauj kare duniya anadi bahar, phoolon se mauj kare – Amanat (1943) – Ninu Mazumdar, Jyoti, Harish – Neelkanth Tiwari, M A

Pujari ab to mandir kholo – School Mater (1943) -Ninu Mazumdar, Chorus – Lyrics: Pt. Indra

  1. Sipahi sipahi ab to bigul baja – School Mater (1943) – Ninu Mazumdar, Chorus – Lyrics: Pt. Indra
  2. Aa Bahar Kar Ke Phoolon Ka Singar – Pul 1947 – Neenu Mazumdar – Lyrics : Rammurti Chaturvedi
  3. Aaye Bhi Nahin Bit Gaye Din Bahar Ke – Pul 1947 – Neenu Mazumdar, Meena Kapoor – Lyrics: Rammurti Chaturvedi
  4. He Ji Dagmag Dole Hamari Naiya, Bichhad Gaye hain – Kuchh Naya (1948) – Ninu Mazumdar
  5. Bahut Rahi Babul Ghar Dulhin Chal Tere Piyu Bulai Hai – Kuchh Naya (1948) – Ninu Mazumdar
  6. Lena Fakiri Phir Kya Dilgiri, Sada Magan Mein Rahena Ji – Kuchh Naya (1948) – Ninu Mazumdar – Lyrics: Meerabai
  7. Koi Saaf Na Dekha Dil Ka, Ye Chola Ban Zilmil Ka – Kuchh Naya (1948) – Ninu Mazumdar
  8. ………Kar Le Singar – Kuchh Naya (1948) – Ninu Mazumdar

Notes:

  1. Rami Dhoban (1953), noted in the filmography of Ninu Majumadar at Kaumudi Mishi’s site**, apparently appears to be an error of memory, since HFGK database records Hiren Bose as music director,
  2. Kaumudi Munshi’s site** also notes that Ninu Mazumdar has sung a duet with Sardar Akhtar in Uljhan (1942, Music: Ramchandra Pal), but HFGK database does not validate this claim. All, except, the 20 songs that he has rendered in his own voice, belong to his early career of 40s. As such, I have not been able to locate the digital version of these songs:

Ninu Mazumdar consciously charted his own course at a time when vintage era music directors like R C Boral, Khmechand Prakash, Pt. Amarnath, Anil Biswas, Ghulam Haider, Feroze Nizami held the sway over the public taste. His compositions in the voices of other singers is also an equally interesting area which we will recall at some other opportune occasion.


Acknowledgements and references:

  1. * Harish Raghuvanshi’s Gujarati article “ઉત્તમ સંગીતના તરફદાર નીનુ મઝુમદાર
  2. ** Kaumudi Munshi’s website: The Life and Art of Kaumudi Munshi
  3. A pioneering anthology, ‘Gaurav Gurjari: – Nandini Trivedi, Published 2006; Publisher N M Thakkar and Co, Mumbai 400002., e-version  located at com @ hyperlinked title of the book.

The article is first published on Songs of Yore as Remembering Ninu Mazumdar – the composer and the singer.

Categories
Carnival of Blogs on Golden Era of Hindi Film Music

Carnival of Blogs on Golden Era of Hindi Film Music – February, 2021

Welcome to February 2021 edition of IXth Volume of Carnival of Blogs on Golden Era of Hindi Film Music.

We pay tributes to:

Alvida, In Memory: Bollyviewer, with a very heavy heart, to Bollyviewer, who blogged at Old is Gold, and then at Masala Punch, since 2008.

Rajiv Kapoor, actor in ‘Ram Teri Ganga Maili’ and director of ‘Prem Granth’, who passed way at the age of 58. He gave up acting in 1990, to focus on directing the home production Prem Granth in 1996 and producing Aa Ab Laut Chalenin 1999.

We now move on to other tributes and memories:

Kamal Swaroop on Mani Kaul: ‘A visionary and ahead of his time’ – As ‘Ashad Ka Ek Din’ turns 50, it’s time to revisit Mani Kaul’s transcendental cinema and painterly minimalism.

Mani Kaul during the shoot of Ahmaq (Idiot) in the early 1990s. Photo by Lalita Krishna.

 

The Greats: Pran – More often than not, he was the suave villain, clad in the gentleman’s clothing, the one who schemes to get his hands on the hero’s wealth or the hero’s girlfriend, or both. The post reminisces some of his best performances.

Nutan the poet is not known to many. The soft, sensitive poet called Nutan was far more beautiful. This poet would constantly observe the world with a keen eye. She used to make an effort to capture the life experience in words. In these efforts subconsciously she used to dwell in the spiritual world.

Remembering Madhubala, Bollywood’s Very Own Marilyn Monroe – Khalid Mohamed pays tribute to Madhubala’s incandescent performances and tragic life.

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

February 2021 episode of Fading Memories, Unforgettable Songs takes up Talat Mahmood: Duets with Geeta Dutt: A Rare Blend of Velvety Voice with Mellifluous Tone. To commemorate the memory of Talat Mahmood in the month of his birth runs the theme of his rare duets. Till now, this has been covered-

In 2017, an overview of Talat Mahmood’s duets receding from the memory.

In 2018, Talat Mahmood’s duets with rare co-singers,

In 2019, Talat Mahmood’s duets with Mubarak Begum and with Madhubala Jhaveri, and

In 2020, Talat Mahmood’s duets with Geeta Dutt, essentially from 1950 to 1952.

We will now take up the articles on other subjects:

How 22-year-old Vijay Anand dug in his heels to make his first film ‘Nau Do Gyarah’Anitaa Padhye – The film paved the way for Dev’s light comedies in the future, with songs taking the story forward. Goldie had become famous with his very first movie.The article is excerpted with permission from Goldie – The Man and His Movies, Anitaa Padhye, translated by Vikrant Pande, Amaryllis.

My Favourites: Songs About Gender Wars – Songs there are aplenty that extol the virtues of a ‘good’ woman. But here are some that fall in the category of nok-jhonk songs that run the gamut of emotions – the flirtatious, the teasing, even fighting to sell their wares – the battle is being waged for better or for verse. For example – Aji biwi ko ghar pe bithlaa ke – Minister (1959) – Asha Bhosle, Mohammed Rafi – C Ramchandra – Rajinder Krishan.

Songs of Stairs is a corollary to post on Terrace songs in two parts. An example of the typical song on the subject is Kahin Pe Nigahen Kahin Pe NishanaC.I.D (1956) – Shamshad Begum  – O.P.Nayyar- Majrooh Sultanpur. This is a song where the stairs have a completely different role to play. The post also refers to two other interesting articles – Film flashback: How the staircase played a starring role in Indian cinema (chronicling the thoughts of the legendary archivist P.K. Nair) and Stairway to Accessibility: the History and Symbolism of Stairs (by The Industrial Historian).

Songs of Raja-Rani are delightful because they are history-neutral and status-neutral.

 A Little About Tabla Master Zakir Hussain and His Kathak-Dancing Wife, Antonia Minnecola (who studied with Sitara Devi for three decades) – The post has two rare YT clips: Kathak Dance By Antonia Minnecola Ustad Zakir Hussain Peter Van Gelder (sitar) @ Basant Bahar Concert 1987 Berkeley California and Zakir Hussain – Kathak

Romancing the Stranger – Hindi films have Romancing the ‘Pardesi’ songs. However, one can be ‘ajnabi’ to someone with whom one has lived under the same roof for years. Nay, one can even be ajnabi to oneself

दो सहेलियाँ is a different subset of female duets that were picturised on two actresses, generally friends, one a lead actress and the other her friend, but those were not dance numbers. The list follows the rules – Stage performances, Street performances won’t be part of it. The lyrics should be directly addressed and not suggestive. For example, Dil Le Gaya Ji Koi Dil Le Gaya – Sanam (1950) – Suraiya & Shamshad Begum / Husnalal Bhagatram – Qamar Jalalabadi and Sharmake Zara Ae Mast AdaAladdin Aur Jadui Chirag (1952) Shamshad Begum & Asha Bhosle – S N Tripathi – Anjum Jaipuri

The lesser heard romantic duets of Manna Dey is the second and final part of the post, featuring lesser known light hearted romantic duets sung by Manna Dey with Suman Kalyanpur, Geeta Dutt, Shamshad Begum and Sudha Malhotra. The first part dwelt on Manna Dey’s romantic duets with the Mangeshkar sisters – Lata, Asha and Usha

In the Micro View of Songs of 1945  we have carried forward the micro view of duet songs in the form of Duets of Vintage Era (Male+) Singers, Part 1 and Part 2 and Female-Female Duets (+) to sum up with MY TOP duet songs.

All the episodes of Micro View of Duet Songs for 1945 @SoY can be read / downloaded from one file, by clicking on the hyper-link…

In continuation to our tradition of ending the post with a few songs of Mohammad Rafi, each one of which basically has a link with the topics discussed in the present post.

Unse Rippi Tippi Ho Gayi.. Yaane Baat Pakki Ho Gayi – Agra Road (1957) – with Geeta Dutt – Roshan – Prem Dhawan

Duniya Ki Nazar Hai Buri Zulfien Na Sawara Karo – Agra Road (1957) – with Geeta Dutt – Roshan – Prem Dhawan

Masti Mein Chhed Ke Taran Koi Pyar Ka – Haqueequat (1964) – Madan Mohan – Kaifi Azmi

O Lakshmi, O Sarsu, O Sheela – Kahin Le Chal (1968) (UR) – Shankar Jaikishan – Shailendra

Doobte Huye Dil Ko Tinke Ka Sahara Bhi Nahi – Kahin Le Chal (1968) (UR) – Shankar Jaikishan – Hasrat Jaipuri

Shokh Ankhe … Dekh Kar Surat Pe Pyar Aa Hi Gaya –  Kahin Le Chal (1968) (UR) – with Asha Bhosle – Shankar Jaikishan – Hasrat Jaipuri

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
I Liked Music from films

Songs of 1945 @ SoY :: Duets – Summing Up : MY Top Duet Songs

For the purpose of summing up the duets, I have picked up the ones that I liked on the first hearing.

So, here is the list, in no particular order:

Mohammad Rafi, Zohrabai, Shamshad Begum – Chhoti Si Ek Banayenge Naiya – Hamara Sansar – Pt. Govind Ram – Ramesh Gupta

Manna Dey, Amirbai Karnataki – Ye Rang Birangi Dor Hai…  – Mazdoor – H P Das – G S Nepali

Mukesh, Khursheed, Hamida Bano – Badariya Baras Gayi Us Paar, Liye Khadi Hai Preet Gagariya – Moorti – Bulo C Rani – Pt. Indra

Shrinath Tripath + Geeta Roy (?) – Aayee Beloonwali, Aayee Re, Koi Na Lena Mose Udhar – Aadhaar – Shrinath Tripati – M A Razi

Khan Mastana + Nirmala – Motor Gadi Chalane Wale O Balama – Chalis Karod – Pt. Govind Ram – Pt. Indra

Bulo C Ranii + Amirbai Karnataki – Asha Ko HaNsaye, Kismat Ko Banae = Preet – Bulo C Rani – D N Madhok

Surendra + Shamshad Begum – Nain Baan Se Kar Ke Ghayal, Rupvati KahaN Jaye – Ratnavali – Pt. Govindram – Brajendra Gaud

G M Durrani + Amirbai Karnataki – O Jaanewale Kuchh Kaheta Jaa, Kuchh Hamari Bhi Sunata Ja – Samrat Chandragupta – C Ramchandra – Pt. Buddhi Chandra Agrawal ‘Madhur’

Amar + Zohraba Amabalewali – Suno Ji Pyari Koyaliyan Bole, Mast Jawani Dole – Sanyasi – Naushad – Pt. Buddhi Chandra Agrawal ‘Madhur’

S D Batish + Shamshad Begum – Ye Dil, Ye Mere Pyar Ka Ghar  Tere Liye Hai – Shirin Farhad – Pt. Amarnath – Mazim Panipati

K L Saigal + Suraiya – Rani Khol De Apane Dwar, Milane Ka Din Aa Gaya – Tadbir – LaL Muahammad – Swami Ramanad

Amirbai Karnataki + Zoharabai Amabalewali – Piya Ki BasuriyaHui Kaleje Paar – Chhamia – Gyan Dutt – Pt. Indra / Qabil Amrutsari

Suraiya + Hameeda Bano – Bachpan Gaya Jawani Ayee, Dil Mein Kisi ne Li Angadai – Main Kya – Neenu Mazumdar – D N Madhok

Zohrabai Ambalewali + Shamshad Begum – RatiyaN GujaruN Kaise Hay Ram – Ratanavali – Govind Ram – Ram Murti Chaturvedi

Kalyani + Zohrabai Ambalewali + Noot Jehan – Aahein Na Bhari Shikawe Na Kiye – Zeenat – Hafiz Khan – Nakshab Zarachvi

In order to select the ones that I liked most, I willleave out the duest that I have heard several times prior to the present Micro Review –

Mukesh, Khursheed, Hamida Bano – Badariya Baras Gayi Us Paar, Liye Khadi Hai Preet Gagariya – Moorti – Bulo C Rani – Pt. Indra

Amar + Zohraba Amabalewali – Suno Ji Pyari Koyaliyan Bole, Mast Jawani Dole – Sanyasi – Naushad – Pt. Buddhi Chandra Agrawal ‘Madhur’

K L Saigal + Suraiya – Rani Khol De Apane Dwar, Milane Ka Din Aa Gaya – Tadbir – LaL Muahammad – Swami Ramanad

Kalyani + Zohrabai Ambalewali + Noot Jehan – Aahein Na Bhari Shikawe Na Kiye – Zeenat – Hafiz Khan – Nakshab Zarachvi

From the rest, I have selected one song each from the three different subcategories that we have used for classifying the duets for the present Micro Review:

Manna Dey, Amirbai Karnataki – Ye Rang Birangi Dor Hai…  – Mazdoor – H P Das – G S Nepali

Bulo C Ranii + Amirbai KarnatakiAsha Ko HaNsaye, Kismat Ko Banae = Preet – Bulo C Rani – D N Madhok

Suraiya + Hameeda Bano – Bachpan Gaya Jawani Ayee, Dil Mein Kisi ne Li Angadai – Main Kya – Neenu Mazumdar – D N Madhok

SoY has adjudged jointly =

Aahein na bharin, shikwe na kiye kuchh bhi na zubaan se kaam liya
Badariya baras gayi us paar
Rani khol de apne dwar, milne ka din aa gaya

as the Best Duet of 1945 in the overview Best songs of 1945: Wrap Up 3.

P.S. :

All the episodes of Micro View of Duet Songs for 1945 @SoY can be read / downloaded from one file, by clicking on the hyper link.