Dilip Kumar: The Substance and The Shadow ǁ 1 of 4

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Dilip Kumar: The Substance and The Shadow – An Autobiography – as narrated to Udayatara Nayar

Hardback | 230 x 150 | 450pages | ISBN 9789381398869

Publishers: Hay House India

In a very technical sense, this is the third book on Dilip Kumar, the previous two being Dilip Kumar: Star Legend of Indian Cinema by Bunny Rueben and Nehru’s Hero: Dilip Kumar In The Life Of India by Lord Meghnad Desai.

In fact, the very genesis of the present autobiography is that whatever has been written earlier about Dilip Kumar is considered to be ‘full of distortions and misinformation’. So less is known about Yousuf Khan, the substance, and it is so natural to get myths floating around a towering figure of the stature of Dilp Kumar, the shadow, that “an authentic, heartfelt and compelling narrative”, in the form of an ‘autobiography’ would invariably whip up the appetite for the various ‘aspects of life and times of THE titan of Indian Cinema.

This is not a review of the book, but a fairly selective, critical appraisal that would provide a reasonable insight into the contents of the book, and thereby in the principal protagonist, Dilip Kumar, born on 11th December, 1922 as Mohammad Yousuf Khan, the fourth among eleven children of nice, gentle and pious Pathan couple – Mohammad Sarwar Han and Ayesha Bibi.

The contents of the book is spread over four phases – The Personal Life of Yousuf Khan; First and Second Innings at the Hindi Film Cinema; Marriage and Life with Saira Banu and Reminiscences by actors, directors, friends and relatives.

We would take up each section every week, starting with –

The Seeds of a Flight of a Fruit Merchant’s Son, Yousuf Khan, The Substance,  To The Legendary Thespian Dilip Kumar, The Shadow

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The book opens with a Foreword by Dilip Kumar’s wife Saira Banu. She extols ‘widely known admiration’ in an ardently pride narrative and in the process, presents some quite interesting facets of the persona of Dilip Kumar: image

§ Dilip Kumar is a fanatically voracious reader. The range of the subjects he reads is as much varied as is his range of histrionics. Dilip Kumar is also very keenly fond of good poetry, classical music and dance.

§ His persona transcends lands, religions and castes. He sternly refuses to see negative side of anyone or any situation.

§ His secular beliefs spring straight from his heart and his respect for all religions, castes, communities and creeds. His closet friends are Parsis.

§ He is very fond of his family.

§ He would never want to miss out on enjoying any of the splendour of nature’s beauty.

§ Flying kites, with the whole family in the toe, is great love. He maintains his treasure of his kites and manja with as much care and as much detail as he maintains his personal wardrobe.

imageUdaytara Nayar, a veteran journalist and writer on her own, is also a very close friend of Dilip Kumar and Saira Banu. In Introduction (A Dream Come True), while presenting the challenge of drawing out Dilip Kumar from his dislike of talking about himself, has been quite painstaking in documenting the frequent use of chaste Urdu in a fairly flowing English narrative. Of particular interest are the accounts of Dilip Kumar’s grasp of management skills as a complete professional and awareness of social responsibilities as a star and a role model. His uncanny choice of Premnath in a negative role in Aan (1952) as a key driver of the publicity or “He never faked anything, be it his appreciation..or his concern for a colleague” or meticulously studying the script and character and then to draw upon from his keen sense of observation are typical takeaways for a professional in any field of activities.

The first eight chapters vividly describes the built up of base of Yousuf Khan’s metamorphosis into Dilip Kumar takes place.image

Yousuf Khan’s date of Birth, in the Kissa Khwani Bazaar of a famous city of Peshawar in the then undivided India’s North West Frontier Province itself would find a mention in the chronicles, because a huge fire had gutted the goldsmiths’ workshops in that area. Yousuf’s Dadi’s opinion of her grandson’s arrival on this earth amidst blizzard and fire was further bolstered by fakir’s prophecy that the child was “made for great fame and unparalleled achievements.” Dadi’s extra efforts to protect her grandson form the evil eyes of the world seemed to transform Yousuf into an ‘loner at school, getting lost in the make-believe world of pictorial books.’

The pain of The Matriarch and Her Brood giving infant Yousuf a very ugly look to protect him from the evil of the world was to surface from the subconscious of Dilip Kumar while playing early tragic roles in career of the soon to be titled tragedy king. The isolation at the school did not seem to affect young Yousuf’s activities at home, but the mental agony of the characters that Dilip Kumar portrayed on the screen did lead him to seek help of psychotherapy.

The Escapades and Adventures of childhood years of Yousuf certainly seem to have ignited Dilip Kumar’s sense of storytelling. Young Yousuf would walk to the city square every day, in the toes of his father, Aghaji, to listen to unfolding of a narrative by one of the maulanas. He would not only enjoy the narrative but also let his fertile imagination conjure up characters and situations in his mind so graphically that back home he would try enacting the characters with the lines spoken by maulana. Several years later these embedded experiences were to unfold in the storytelling exercises for the cinema! Dadi was the first censor Yousuf came across in his life. She would abruptly curtail a story being told at the congregation of the family members around a bon fire of a sigdi on winter night, if she felt it was it was not good enough to be told in the presence of women and children. In his solitudes Child Yousuf also indulged in the pastime of imitating ladies and men who came visiting his parents. Among these visitors was the elder son of Yousuf’s father’s Hindu friend Basheshwarnath Kapoor, who would stun the ladies with his handsome appearance. That was Raj Kapoor’s father, Prithviraj Kapoor.

Off To Bombay: A New Chapter Begins when Yousuf’s father shifted to Bombay to explore the business potential in the wake of the news of impending world war. During the journey to Bombay by Frontier Mail, family friends would come to meet them with refreshments at some of the stations. Some of them were Hindus. When the trains stopped at stations, the vendors would sell ‘Hindu Chai, Hindu Paani, Muslim Chai, Muslim Panni. The travelling Khan family did take little notice of the difference. Adolescent Yousuf grew up in an atmosphere of warmth and affection. He was extremely shy, but not unhappy. There was no more shaving of his pate now (in the year 1937). The growth of thick black hair elicited compliments form all ladies, which would yield into a ritual by his mother for shooing away the evil eye. ‘Today, in (his) ninety-second year, (Saira Banu) performs the same ritual every time a visitor says something about,, looks or good health or when… dozens of people come for (autographs) and praise.. work!’

In The Growing Up Years, the family had shifted to Deolali (a hill station in Maharashtra, located about 180 km form Mumbai). Yousuf learnt English to a quite proficient degree. He also started taking keen interest in soccer. In fact, at that stage he had a desire to become a soccer champion and his father desired an OBE attached to his name. He met Raj Kapoor after many years at Khalsa College. In fact, theirs was not merely a friendship of two individuals in the same profession but a bonding that grew from well-placed trust and respect. Even as Yousuf was always trying to help his father, a destiny was being cared for him by the Almighty.

The Poona Interlude helped teenaged Yousuf find his own bearings, gain some valuable experience. That taste of a little bit of ‘freedom’ also made him unsure whether he would be able to continue to submit to the will of his father, and take over his mantle.

At that point of time, inevitable changes led to The Return of The Prodigal to Bombay, pining for warm, indescribable security of family and familiar surroundings.

Whilst in Bombay, Yousuf was now keenly searching for a meaningful occupation. One morning he happens to meet his father’s acquaintances. Dr. Masani. One thing led to another. Yousuf met Devika Rani and landed up with a job of Rs 1250 per month. This was The Turning Point. He also met Ashok Kumar, marking the beginning of a friendship that was to last and entire lifetime.

In addition to these chapters on his-pre-film life, Dilip Kumar has chosen to end the book with Family Matters to present his reply to persistent question asked to him: Whether there is anything at all that (he regrets) and wish(es) to obliterate from the canvas of (his) life. One such episode is his getting involved, under pressure, with lady named Asma Rehman. That mischievously perpetuated ‘second marriage’ was an error of judgement by a fallible human being. Saira Banu, despite the hurt caused to her pride and because of her intense faith in him, stood solidly by him. The whole episode strengthened their closeness and emotional dependence on each other. During the episode it was wrongly represented that Saira could not bear a child. The truth is she did conceive a child (in 1972), but was lost in the eighth month of the pregnancy because of several medical complications. Dilip Kumar also goes into a deep retrospective when he passionately narrates his attempts to give each of his brother and sister to scale the heights that he dreamt for them. He felt a moment of proud and that lump in the throat when Lata Mangeshakar, whom he fondly calls his ‘younger sister’, sang for him Allah Tero Naam on the eve of her soulful rendering of Ae Mere watan Ke Logo at a function in the presence of the then Prime Minister Jawhar Lal Nehru in Delhi.


We will take up next part of the article – First and Second Innings at the Hindi Film Cinema – on 19 February, 2015

Carnival of Blogs on Golden Era of Hindi Film Music – January 2015

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Welcome to January, 2015 edition of Carnival of Blogs on Golden Era of Hindi Film Music.

It is Songs of Yore once again to bang start the New Year with The Jewel in the Crown of Naushad: ‘Rattan’ (1944) so as celebrate 2015 as the Year of Naushad in the 75th year of his debut.

On Naushad’s birthday (25th December), a different aspect of his music is presented in Eight Instrumental Dance Numbers by Naushad (and a pic from a ninth), which are positively delightful, even though they might not be as well-known as his vocal songs:

  1. Cuckoo in Anokhi Ada
  2. The snake dance from Dastan
  3. The festival dance in Mela
  4. Cuckoo in Aan
  5. The “Blind Man’s Bluff” dance in Dillagi
  6. Sitara Devi’s dance in Mother India
  7. The festival group dance from Dulari and 8. Geeta Bali’s gypsy dance in the same film

And a pic from Suraiya’s lovely little semi-classical dance at the miserable wedding in Anmol Ghadi:

suraiya-anmol ghadiOn C Ramchandra’s birth anniversary (12th January) SoY has chosen The Master of Musical Comedies C Ramchandra and his ‘Patanga’ (1949), “because it comes in the watershed year of the change of era when Lala Mangeshkar hits the scene like a tornado, and sweeps away the yesteryear singers like Amirbai Karnataki, Shamshad Begum etc.” On a more broader canvas, Ten of my favourite C Ramachandra songs….is specifically (the) songs which he composed, not just songs he sang.

My favourite O.P. Nayyar songs – It is an irony that one of the finest music composers in Hindi cinema is known today more for the one thing he did not do [did not record a song with Lata Mangeshkar], rather than what he did!

I have picked up Poocho Na Hamein (Mitti Mein Sona, 1960, Asha Bhosle) from the songs listed in the post.. There is no video available and the longer version of the song is also not easily traceable. There is another beautiful song in the same film sung by Asha Bhosle, Yeh duniya rahe na rahe kya pata, mera pyar tujhse rahega sada.

We have two excellent links to the Radio Ceylon program on O P Nayyar: Tribute to O.P.Nayyar~Radio Ceylon 28-01-2013~Morning – Part 1 and Part 2 and Part 3

OPN died a reclusive man, in touch with only a few friends on 28th January, 2007.

Remembering N. Dutta (Datta Naik) – 30th December, 2014 marks the 27th death anniversary of the unfairly under-rated and lesser known composer, Datta Naik, also credited as N. Dutta.

I have picked up these songs from the songs posted:

Chand Bhi Koi Diwana Hai (Apna Ghar Apni Kahani, 1968, Singers: Mahendra Kapoor and Asha Bhosle):

Aye Dil Zuban Na Khol (Naach Ghar, 1959, Lata Mangeshkar)

Nashe Mein Hum Nashe Mein Tum Mohammad Rafi-Suman Kalyanput (Black Cat, 1959).

Naina Kyun Bhar Aaye (Dharmputra, 1961, Asha Bhosle)

Laage To Se Nain (Chandi Ki Deewar, 1964, Talat Mahmood and Asha Bhosle)

In addition, I have one more song Askon Ne Jo Paaya Hai (Chandi Ki Diwar, Talat Mahmood), which has been very fondly been referred to by Captain Narendra Phanse in his regular article in Web Gurjari.

My favourite Mahendra Kapoor songs – Ends with a very rare song sung by Asha Bhosle, Usha Khanna and Mahendra Kapoor from the 1969 film B-grade film Killers, starring Ajit, Dara Singh and Sheikh Mukhtar. “Mere Dil Zindagi Safar Hai” is picturised on Helen and Dara Singh in a circus. A lovely song, Usha Khanna sings surprisingly well and MK has a small bit right towards the end. Brilliant music by OPN.

On her 76th birth anniversary on 8th January, from My favourite songs of Nanda, I have selected

Kajrey Badarwa (Pati Patni, 1966, Lata Mangeshkar, R D Burman)

Pyar Bhari Yeh Ghatayein (Qaidi No 911, Manna Dey-Lata Mangeshkar, Dattaram)

From my side I would add Thahariye Hosh Mein Aaoon To Chale Jaaiyega (Mohabbat Isko Kahate Hain, Mohammad Rafi, Suman Kalyanpur, Khayyam).

IMIRZA777 pays A Tribute… People who left us in 2014.

Last month, we had taken note of the articles published on Shailendra’s birth anniversary. We have been able to find two more very interesting video features – An Affair to Remember: Celebrating Shailendra, the lyrical genius and Rajya Sabha TV’s Virasat in which Rajesh Badal has anchored Lyricist ‘Shailendra’

A thumri from different films has presented Baat Chalat Nahi Chunari Rang Daari from Ladki – 1953 (Singer: Geeta Dutt, composer: C Ramchandra) and Rani Rupmati -1959 (Singers: Mohammad Rafi and Krishna Rao Chonkar, Music: S N Tripathi)

Our friend Samir Dholakia has forwarded Hanste dekha to boley sitaare…o piyaa pyaare, which sounds C Ramchandra-like, is composed by S D Burman for “Chaalis Baaba Ek Chor”(1954). Bhagwan Thavrani helps in remembering Jaane Kitni Baar Hriday Se Maine Use Pukara (Sapna – 1969 – Jaidev).

The story of Film Music will never be complete without taking the due cognizance of some of the great musicians and arrangers who worked ‘behind the curtain’ in creating these songs were Antony Gonsalves, Antanio Vaz (Chic Chocolate), Sebastian D’souza, Frank Fernand, Enoch Daniels, Van Shipley, Manohari Singh, Kersi Lord, Maruti Rao Keer among many others. One such unsung music arranger is Kishore Desai, presented @ Bahaaron se keh do mere ghar na aayen. A few of the popular songs of the golden period of Hindi film songs in which he played mandolin/sarod are as under:

Song Movie Music director
Bechain nazar betaab jigar Yasmeen (1955) C Ramchandra
Dil ka na karna aitbaar koi Halaku (1956) Shankar Jaikishan
Kaun aaya mere man ke dwaare Dekh Kabira Roya (1957 Madan Mohan
Ghadi ghadi mora dil dhadke Madhumati (1958) Salil Chowdhury
Sakhi re mera man uljhe tan dole (played Sarod) Chitralekha (1964) Roshan
Aage bhi jaane na tu Waqt (1965) Ravi
tum bin jaaun kahan (Rafi version) Pyaar Ka Mausam (1969) R D Burman

Kishore Desai composed many NFSes. The present article has remembered Bahaaron se keh do mere ghar na aayen (1965) Singer-Mukesh, Lyrics-Shiv Kumar Saroj. Incidentally, Captain Narendra Phanse in his regular article in Web Gurjari (referred hereinbefore, too) remembers Shiv Kumar Saoj’s song in Mukesh’s voice – Tere Labon Ke Muquabil Gulab Kya Hoga.

We also take note of Text of 75 Cult Songs (1931-2006), wherein, on the occasion of (in 2007) platinum Jubilee of talkies, ‘Screen’’s attempts to look at 75 cult songs – the creme-de-la-creme of mega-hits that have crossed economic, cultural and geographical barriers and thus defined and redefined tastes and trends in Hindi film music have been captured.

SoY has continued with the Multiple Version Songs series with Multiple Versions Songs (20): Male Solo and Duet or Chorus.

And now over to exclusive articles on Mohammad Rafi…

§ On the 90th birthday anniversary of Mohd Rafi saab some rare mix melodies

§ JIS RAAT KE KHAWB AAYE- RAFI (WITH NAUSHAD SPEAKS)- FILM- HABBA KHAATOON (UNRELEASED)

§ A Tribute to Mohd Rafi – Part 1- From among 25 songs presented in this part , I have selected Tum Poochtey Ho Ishq Bala Hai Ki Nahin (Nakli Nawab, 1962, Bipin-Babul)

§ A Tribute to Mohd Rafi – Part 2 also has a very wide range of duet songs, of which I have selected

Mat Poochiye Dil Hai Kahan, Dil Ki Manzil Hai Kahan (Hum Matwale Naujawan, 1961, Co-singer – Mukesh, MD: Chitragupta)

Tumhein Dil Se Chaaha Tumhein Dil Diya Hai (Chand Aur Suraj, 1965, Co-singer: Suman Kalyanpur, MD: Salil Choudhary

Dil Toh Pehle Se Hi Madhosh Hai (Baharein Phir Bhi Aayengi, 1966, Co-singer: Asha Bhosle, MD: OPN)

• And of course we have a score of recent posts on Meri Awaaz Suno

Ravi Shankar Sharma and Mohammad Rafi’s combination is remembered for generations

Why I see Rafi Sahab as a role model?

What makes Rafi Sahab the ONE and ONLY

Mohammed Rafi – Suron Ke Betaaj Badshah

Aa Rafi Phir Aa

We would continue our pursuit of the golden period of Hindi Film Music during 2015 …….

Carnival of Quality Management Articles and Blogs – January 2015

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Welcome to January 2015 edition of Carnival of Quality Management Articles and Blogs.

For the year 2015, we would strive to follow a different pattern than that for the last year.

In the first part, we will put up articles related to Improvement – in its any shade of grey. The second part will take up the blog of any one of the Influential Voices Blogroll Alumni members and will explore that blog in some more depth. The third part will be our regular columns of Article from the blog of Bill Troy, ASQ CEO and the related monthly round up, a look up at an ASQ TV Episode and the continuing series on ASQ’s Influential Voice .

We begin our present episode with articles related to Improvement. Since we have taken up to follow this subject for the whole year, we will take up 3 to 5 articles that come up in the first cut of the search every month. This may certainly mean that what we take up each month, may not the last word, nor it may the exhaustive treatise.

Let’s be honest. How many times have you achieved all of your yearly goals?

The problem is not with goals. Goals provide focus, create momentum and help us stay on track.

The problem is with the goal setting process itself – choosing the right goals and setting up the right support for them.

1. Start with your current goals. Keep your previous goals in mind to create a sense of flow.

2. Connect your goals to a larger purpose that shows why they are important, and helps answer the question “What’s next” once they are achieved.

3. Goal setting is not always a logical process. Sometimes it can make a difference to just hold the intention of something you really want to do, even if you don’t have any idea of how you will achieve it.

4. Write your goals down and put them somewhere visible.

5. Don’t keep your goals a secret.

6. Set up processes and practices that support your goals.

The 90-day Performance Improvement Cycle

In contrast to the annual cycle, the 90-day performance improvement cycle is simply about focusing on and elevating just one performance priority over a 3-month period…. 90 days is a much more tangible timeframe than a year; we can feel its length almost viscerally and can see its end in our mind’s timeline…. It matters far less that we reach our targets each 90 days than we make steady and learned progress…. It’s through action that the world changes, not through thinking and planning.

The Hardest Part of Lean is to See the Waste William A. Levinson, principal, Levinson Productivity Systems – like poor quality, waste effort is built into the job where it is then taken for granted…

The Performance Improvement Blog is about Increasing learning and effectiveness of leaders and managers in organizations. As a way of review of the year 2014, the blog owner, Stephen J Gill has selected five blog posts that seem to have had the most interest for readers. Here are the links of these posts:

Eight Leader Habits of a Learning Culture

The World is Fast…And Learning Must Be Faster

Cultural Barriers to Organizational Learning

Why Your Organization Needs a Learning Culture

Learning to Learn Collectively

International Society for Performance Improvement ® – ISPI – and its members use evidence-based performance improvement research and practices to effect sustainable, measurable results, and add value to stakeholders in the private, public, and social sectors. Founded in 1962, ISPI is the leading international association dedicated to improving productivity and competence in the workplace. ISPI represents performance improvement professionals throughout the United States, Canada, and 44 other countries.

In the second part, we have Complexified’s Blog from among the Influential Voices Blogroll Alumni. The blog has a good deal of refreshing contents. We have selected two of the articles from the blog so as to open a peep-in window to the blog:

“Works better; costs less.”  A catchy phrase, a good slogan. When it comes to the work of government, regardless of political orientation, everyone agrees they want government to work as well as possible.

No matter what method is used, in or out of government, the successful improvement organizations have some things in common:

1)Focus on the Process, not the People.  Deming and others taught that 80-90% of the problems with the output or outcomes of a process of work, are the result of a lousy process, NOT the fault of the people.

2) Everyone has to acquire deep knowledge of the current process in order to make meaningful change.

3) Decisions need to made based on data and facts, not people’s opinions.

4) Differences of opinion need to be fully considered in open, and resolved through respectful dialogue.

5) Failure is an opportunity to learn.  All results provide information to help drive future improvements.

6) It’s not enough to just make it “better, faster, cheaper.”  Aim also at creating “more smiling faces” among your employees, customers, and suppliers.  You’ll be glad you did.

That’s the main part of it.  One more item is needed, in the private sector, but especially in government.

7) Maintain the commitment to continuous process improvement.  Leaders must support the work, making time and resources available to meet, act, and learn.

If these points, or a similar list, were drawn up as a Charter to Improve Government, would you support it?  Would you encourage your government organizations to sign the charter, and commit to continuous improvement?

We turn to our regular sections now:

Bill Troy, ASQ CEO is trying something a little different for the monthly topic for discussion – ‘Is Quality Ambitious Enough?’. The article presents Brooks Carder’s poser – whether ASQ’s mission: To increase the use and impact of quality in response to the diverse needs of the world, is ambitious enough, particularly when quality is responsible for many of the things that make life better.

Julia McIntosh, ASQ communications , in her ‘’December Roundup: What Does Ambition Look Like in Quality?’ notes that – “Not surprisingly, this became a somewhat contentious topic among the group.

And then move over to ASQ TV Episodes: The Lighter Side of Quality–Stop Saying That, Please

This is an ASQ TV dramatization, wherein Quality professionals tell us through social media what they wish their co-workers would stop saying

Our ASQ’s Influential Voice for the month is – Jennifer Stepniowski

clip_image002Jennifer Stepniowski is the person that’s passionate about what they do. She is the nerd that shows up to the quality conference wearing a “Got Quality?” shirt. She is Communications Director at Pro QC International and an adjunct instructor at Hillsborough Community College. For Pro QC, her primary responsibilities included supplier development, process design and implementation, and training of on-site resources.  In her current position as Communications Director, she develops and executes the organization’s marketing strategy.  She enjoys market research, promotion, representation at trade events. She blogs @ Quality Time.

We have picked up the article, My Family Is SMART! New Year’s Resolution Success, from the blog. Incidentally, it fits with the theme of the present edition.

“Despite using the SMART template for success…we just failed on follow-through.  we failed before we even got started…we needed something visual to represent what we wanted to accomplish…I thought about linking the success of a potted plant with our goals…As time passes, the plant (and the habits we hope to change) will simply flourish as long as we are aware of them, appreciate them and give them the attention they need to thrive….Is it SMART? I like to think so, but time will tell.”

Articles Written:

Quality Progress (ASQ Print Publication) § Blog Boom (7/14) § Quality in the 1st Person – Be the Change (12/13)

Pro QC Newsletter (Editor and Content Developer)

§ A Systematic Issue Management Process – Manufacturing Quality Application § Classifying Quality Defects: Is it Major, Minor or Critical § Determining the Costs of Quality § ISO 26000: Introducing the New Social Responsibility Guideline § Marketing Quality: The Big Picture § Quality Tools for Successful New Year’s Resolutions § Understanding the Inspection Process

MasterControl

§ Four Common Quality Misconceptions § Grid Analysis for Simplified Supplier Selection § Quality Inspiration

Pro QC Blog (Editor and Content Development)

§ http://blog.proqc.com

I look forward to your active participation in enriching the blog carnival as we pursue our the Improvement journey ………….

2014 in review

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The WordPress.com stats helper monkeys prepared a 2014 annual report for this blog.

Here’s an excerpt:

The concert hall at the Sydney Opera House holds 2,700 people. This blog was viewed about 8,800 times in 2014. If it were a concert at Sydney Opera House, it would take about 3 sold-out performances for that many people to see it.

Click here to see the complete report.

Carnival of Blogs on Golden Era of Hindi Film Music – December 2014

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Welcome to December, 2014 edition of Carnival of Blogs on Golden Era of Hindi Film Music.

We begin our journey with anniversary tributes.

One of the finest actors, Deven Varma, passed away on 2nd December, 2014

Tribute to Great Actor Deven Verma and Tribute to Deven Verma are the clips from the TV programmes .

Remembering Deven Varma, intimately describes him as “one of Hindi cinema’s finest and most atypical funny men in the 1970s and 1980s, most memorably in the work of Hrishikesh Mukherjee, Basu Chatterji and Gulzar – films where Varma provided a counterpoint to the louder comedy elsewhere in the industry.It’s telling to look at the function Deven so often performed in those films: sutradhaar, vidushak, naatak-rachita rolled into one.

In an article in (gujarati) Divya Bhaskar, Dipak Soliya remembers Deven Varma’s contribution to subtlety that he introduced to the comedy in films. Of the three Filmfare awards that he got, even as two – Chor Ke Ghar Chor and Chori Mera Kaam- were for the traditional loud roles, his third award for Angoor established his subtle style at a very high pedestal.

Among many songs that Deven Verma had enacted on the screen, we pick up Baa Adab Baa Mulahisa Hoshiyar (Aaj Aur Kal – 1963- Ravi) epitomizing his style.

Happy Birthday, Sharmila Tagore and Dharmendra!, marks the 70th birthday of the lovely Sharmila Tagore and the 79th birthday of the hunky Dharmendra, and Ten of my favourite Dharmendra songs has pre-70s film songs that the author has seen. To make this challenge a little tougher, only solos (No duets) in which Dharmendra’s character does the singing are included..

Ten of my favourite Geeta Dutt  solos and its follow up article Ten of my favourite Geeta Dutt duets have pairing articles The Unforgettable Geeta Dutt and Unforgettable Geeta Dutt – Part 2 respectively. Among very memorable songs presented in these articles, we pick up Yaaron Kisi Se Na Kehna, Chhabili (1960), Snehal Bhatkar, with Nutan as a co-singer for a special mention.

Happy Birthday, Dilip Saab remembers his 92nd birthday on 11th December.

The joker and his disguises – Raj Kapoor as innocent and masochist presents a very fine analysis of persona of Raj Kapoor. The article also chooses the occasion to present author’s favorite the “Yeh Mera Prem Patra” sequence, including a two-minute prelude before the song itself starts, as one of the finest presentation of declaration of love on the silver screen.

Jiyo Toh Aise Jiyo (Bahu Beti, 1965) has led to remembering My favourite Shailendra songs

We had also remembered some very informative articles on Shailendra’s songs in our issue of December 2013.

Now we move onto other articles.

SoY has concluded its series of articles on Best Songs of 1951.

The penultimate article seeks to choose the best duet for 1951, from among 38 duets (which include songs having both male, both female, and more than two singers) in the list of 144 memorable songs of the year in Best songs of 1951: Wrap-Up 4. The article has first shortlisted the duets which are immensely popular till today, or which can be indisputably regarded as all-time great songs, regardless of their popularity. It may be observed that the duets of 1951 would easily figure among all-time great songs. The final choice crowns Seene mein sulagate hain armaan – Tarana – Talat Mahmood /Lata Mangeshkar jointly with Dum bhar jo udhar munh phere – Awara – Mukesh and Lata Mangeshkar.

The concluding article, Best songs of 1951: Final Wrap-Up 5, has very aptly presented the analysis, with the help of analytical tools, in continuation of the summing up of views by SoY’s very knowledgeable readers. The active multifaceted, discussions make the series quite engrossing and interesting. The final choice has rested with Anil Biswas, as The Music Director for the year 1951.

Item songs leads to Special issue ‘item’ of Motherland Magazine with several articles linking film item songs to older traditions.

12 must-have Hindi songs for your travel playlist! is a motley mix of old and new that should be in every traveller’s playlist.

Ten memorable prayer songs from Hindi films is a consensus-based selection, iterated through several criteria.

Discussion, Info and Great Pics Related to the Earliest Appearances of Cuckooo (thanks to Mel!) provides the link that Mel supplied for a very comprehensive post that he wrote about Cuckoo in French…… this post is worth a look just for the pics, clips, and extremely extensive filmography.The post also pose an exploratory question as to whether the little girl in the following picture, from 1943 film Prithvi Vallabh, is Cuckoo?

Is this CuckooWhilst on Prithvi Vallabh, here is one of its iconic song – Tailap Ki Nagri Gaana Nahin Bajana Nahin.

We also have some interesting posts from some new searches or from some of the friends who have not been regularly contributing articles on the subject of our blog carnival”

Captain NarendraPhanse has, in his usual poetic style, remembered some forgotten gems by Lata Mangeshkar, with an icing on the cake with a Juthika Roy and Suraiya songs each. Since the article is in Gujarati, I have listed out these songs here:

Sapana Bin Sajan Aayen – Shokhiyan (1951) – Jamal Sen

Tum Kya Jaano Tumhari Yaad Mein Hum Kitna Roye – Shin Shina Ki Boobalaa Boo (1952) – C Ramchandra

Mai Ri main kaase Kahoon - Madan Mohan , second version Lata Mangeshkar – Dastak 1970 – Madan Mohan

Aye Dil-e-Nadaan – Razia Sultan (1983) Khayyam

Tumhare Bulane Ko Ji Chahata hai – Ladli 1949 – Anil Biswas

Unko Ye Shikayat Hai Ke Hum Koochh nahin Kahate – Adalat 1958 Madan Mohan

Man Mohana Bade Joothe – Seema (1955) Shanker Jaikishan

• And a few Non-Lata Mangeshkar gems-

Meri Veena Ro Rahi Hai – Juthika Roy – Kamal Dasgupta

Man Mor Hua Matwala,- Afsar(1950) – Suraiya – S D Burman

• Kaun Bujaye Tapat More Man Ki – First version – Padma Devi, second version K L Saigal Amar Saigal

Old Hindi Songs Collection – from 50’s to 90’s era. On a blog dedicated to golden age of hindi music industry.

Shrikant Talageri has painstakingly collected Songs not included in the film Pakeezah, or perhaps intended for a sequel? These songs seem to be in a different style from the official Pakeezah songs.

Our friend Bhagwan Thavrani writes in to send the video clip – Tum Meri Jindagi Mein Kuchh [Unreleased Version] | Bombay To Goa – this tune was originally recorded in Hement Kumar-Geeta Dutt voice for GURU DUTT’s unreleased film RAAZ, later used by RDBurman in BOMBAY TO GOA, again not included in the film. See the similarity with KUCHH NA KAHO, KUCHH BHI NA KAHO (by Kumar Sanu) of ” 1942 – A Love Story. The song has a twin too, sung by Lata Mangeshakar.

And now over to exclusive articles on Mohammad Rafi…

Mohammed Rafi and Super Star Rajesh Khanna has critically laid up the songs under all the music directors and does make a very fascinating study by Moahammed Rafi fans.

In the telephonic interview, referred to in the article Royalty was the not main cause of Rafi-Lata Dispute: Usha Timothy, the readers share the fond experiences of singing with the top singers of India like Mohd. Rafi, Mukesh, Mahendra Kapoor (Dhol Baja Dhol Jania Film Vishwas), Kishore Kumar (Rafta Rafta Dekho Aankh Meri Larri Hai’ Film Kismat), , Shamshad Begum, Asha Bhonsle, Suman Kalyanpur, Hemlata, Krishna Kalle in a very short duration.  But Ms. Usha Timothy tells proudly that she always tried to copy like Mohd. Rafi sahib, not like Lata ji or Asha ji. Among many songs listed therein, we would take note of Usha Timothy’s maiden song (of course with Mohammaed Rafi) – Tu Raat Kharhi Thi Chhat Pe… Himalay Ki God Mein (1965) – Kalyanji Anandji.

We wish that New Year  2015 yield all the fruits of joy, happiness, usher in best of health and wealth and make happen the most memorable moments… to You and Your Family….

Carnival of Quality Management Articles and Blogs – December 2014

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Welcome to December 2014 edition of Carnival of Quality Management Articles and Blogs.

We are presently exploring Continual Improvement. October 2014 edition delved into basics of Continual Improvement, and November 2014 had had a look at Continual Improvement vs. Continuous Improvement.

For the present edition, we have randomly picked up a few articles to get a flair of the concept in actual practice:

  • Continuous Improvement at Two Companies (PDF, 362 KB) Todd Schneider shares lessons learned from helping to integrate continuous improvement into the operations of two companies. Examples of improvement projects at his current employer, Serigraph, show how teams used Six Sigma to improve yield by more than 20 percent, saving $40,000 in 10 months, and improve vendor material management, saving $192,000 per year. June 2011
  • Electric Utility Deploys Powerful Approach for Continuous Improvement (PDF, 313 KB) The Information Technology and Business Integration (IT&BI) Business Unit at Southern California Edison launched a three-year plan to increase visibility, awareness, and focus on continuous improvement efforts to better meet client needs. August 2010.
  • The Challenge of Overcoming Success (PDF, 428 KB) A combination of theory of constraints, Six Sigma, and lean helped a DNA testing laboratory take a holistic approach to process improvement. Redesigning the workflow and laboratory layout and introducing new operating rules increased capacity without increasing costs. March 2010
  • Can a Fishbone Diagram Stop a Bully? (PDF, 373 KB) In Community Consolidated School District 15, elementary students use quality tools to set goals, track academic progress, and even address behavioral issues such as playground bullying. September 2009.
  • PDSA: A Road Map to Improved Writing Skills (PDF, 340 KB) Using the plan, do, study, act cycle, Winston Campus Elementary in Palatine, Illinois, boosted sixth grade student writing test scores by 36 percent. September 2009.
  • Former Baldrige Recipient Rekindles Its Quality Fire (PDF, 256 KB) Since Community Consolidated School District 15 in suburban Chicago received the Baldrige award in 2003, front-line staff members have continued the improvement effort by relying on quality tools such as the plan, do, study, act model. August 2009.
  • Quality Club Teaches Today’s Learners to Become Tomorrow’s Leaders (PDF, 186 KB) Students who participate in a quality club at Hunting Ridge School in Palatine, Illinois, learn continuous improvement methods and then conduct training sessions for their peers. August 2009.
  • Quality Engrained in Culture at Iowa Hospital (PDF, 250 KB) The plan-do-study-act (PDSA) cycle, data-based decision making, and lean methodologies are part of the quality culture at Guttenberg Municipal Hospital. In 2008, the hospital received a Silver Award in the Iowa Recognition for Performance Excellence program. June 2009.
  • Rural Hospital Thrives With Continuous Improvement and Innovation (PDF, 210 KB) High patient satisfaction resulted from a culture change at Wright Medical Center. They shifted to a more open communication model and a pillar system that focuses on six areas of performance improvement. The hospital is now a destination of choice for healthcare in north central Iowa, with some of the highest patient satisfaction scores in the nation. April 2009.
  • Medical Device Manufacturer’s Continuous Improvement Approach Reduces Errors in Records (PDF, 236 KB) Using a three-tiered approach that included technology-, process-, and people-related solutions, MEDRAD reduced errors in product history records by 26 percent. February 2009.
  • Match the Change Vehicle and Method To the Job (PDF, 260 KB) Process improvement teams must understand the definitions of the methodology, tools and change vehicles available to them, because mismatches can be fatal to a quality improvement program.
  • From Continuous Improvement to Continuous Innovation (PDF, 95 KB) A close-up look at the concepts of continuous improvement, continuous innovation, discontinuous innovation, incrementalism, exploitation and exploration.
  • Continuous Improvement: Methods and Madness (PDF, 28 KB) Employee involvement, daily and evolutionary improvement, and focusing on product features are all characteristics of continuous improvement.

We turn to our regular sections now:

Bill Troy, ASQ CEO had opened up a very timely debate on ‘Is Every Quality Professional a Leader?’ that can well shape the future of the profession. “Some have made the case recently that quality professionals lack the business skills needed to connect with the C-suite. Others note that quality professionals sometimes lack the “soft skills” needed to make the case for quality outside the quality department. Leadership encompasses all of the above. Business savvy, people skills, and decisive action all are required to get results in the world.”

Julia McIntosh, ASQ communications , in her ‘November Roundup: What Does Leadership Mean to Quality?. ASQ bloggers had interestingly diverse opinions on this topic. Some called for more quality training. Others said that being leader isn’t everyone.

And then move over to ASQ TV Episodes:

Quality Goes to School. In this episode we take a look at the role of quality in the classroom, see how origami can be used to teach “lean,” and learn about the brainstorming tool, the lotus flower diagram.

Improving Healthcare With Quality : Learn about the challenges of incorporating quality tools into healthcare, look at how one hospital implemented Six Sigma to improve patient discharge times, and explore design of experiments, a quality… tool that helped the hospital with its task. Read the full case study

Our ASQ’s Influential Voice for the month is – Rajan Thiyagarajan

clip_image002Based in Chennai, India, Rajan Thiyagarajan is delivery head at Tata Consultancy Services and a senior member of ASQ. He blogs @ Quality Matters, where he shares his own thoughts and opinions, on topics focused by ASQ. For example, an article last year – Remembering the Great Leaders of Quality – as a brief snapshot, presents key contributions of 10 greatest leaders of quality.

We do not have a fresh insight this month in so far as Curious Cat Management Improvement Carnival category is concerned.

However, in such an event, we do pick up an interesting article posted recently. We take a deeper view and look at India tab to select Frugal Innovation this month. The article takes a concise look at First break all the rules. The article goes on to talk about several methods for how to profit from reducing costs which seem misguided. Frugal innovation is about thinking about meeting the needs of huge numbers of customers that can’t afford conventional solutions.

There is a great quote from Jeff Bezos that captures one reason why organizations so often fail to address frugal innovation: “There are two kinds of companies, those that work to try to charge more and those that work to charge less.”

I look forward to your active participation in enriching the blog carnival as we pursue our journey to Continual Improvement in the New Year…………….with very Best Wishes

Carnival of Blogs on Golden Era of Hindi Film Music – November 2014

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Welcome to November, 2014 edition of Carnival of Blogs on Golden Era of Hindi Film Music.

We begin our journey with anniversary tributes.

Manna Dey – First Death Anniversary

The post lists Manna Dey’s five most iconic songs:

§ Dil Ka Haal Sune Dilwala - Shree 420 (1955) | Shanker Jaikishan

§ Tu Pyar Ka Saagar Hai – Seema (1955) | Shanker Jaikishan

§ Kaun Aaya Mere Man Ke Dwaare – Delkh Kabira Roya (1957) | Madan Mohan

§ Ae Meri Zohara Zabeen – Waqt (1965) | Ravi

§ Zindagi Kaisi Hai Paheli Haae – Anand (1970) | Salil Chaudhary

Also lists author’s choices 10 Manna Dey songs.

Mandatory Sahir Post of the week! – on his 34th death anniversary on 25th October

We select two songs form the post here;

  • Laage Tose Nain (Chandi Ki Deewar, 1964, N.Dutta) – Talat Mahmood , Asha Bhosle

Sahir Ludhyanwi also has a range of devotional songs to his credit – Allah Tero Naam (Hum Dono), and then that brilliant Asha song from Kaajal, Tora Man Darpan Kehlaye and that fervent Rafi prayer from Naya Daur, Aana Hai Toh Aah Raah Mein

A tribute to S.D. Burman – 39th Death Anniversary on 31 October

Author writes – SDB is one of favorite music directors. O.P. Nayyar is another music director I have a special fondness for.

Remembering Rehman… An extremely talented but highly underrated actor with a powerful screen presence

We pick up these songs form the post:

Remembering Sanjeev Kumar

Our pick is:

The Unforgettable Geeta Dutt .. (so) ironical that her first super hit song was to be eventually prophetic about her short, tragic life – Mera Sundar Sapna Beet Gaya, Main Prem Mein Sab Kuch Haar Gayi, Bedard Zamaana Jeet Gaya!

Our Picjk is:

Salil Chaudhary – versatile, experimenting, melodious

Happy Birthday, Sitara Devi!

..seven scenes represent a pretty nice range…Some of these are very lively and energetic dances, because she was extremely energetic (as Saadat Hasan Manto pointed out when he called her a typhoon). …also included are a couple of slower and less frenetic scenes that highlight her individual humor and unique expressions, because these have been an important aspect of her performances, too.

The Doyenne of Vintage Era: Khursheed

….. such a prominent singer of the Vintage Era.. Endowed with a full-throated, open and powerful voice… Vintage Era refers to not only a period of time, i.e. the 1930s through 40s, but also, and more importantly, a different style of singing, which became extinct with the arrival of Lata Mangeshkar….. No singer represented this contrast better than Khursheed

Anil Biswas’s songs for Bombay Saigal: Surendra

…because of contractual difficulties inherent in the Studio Era, Anil Biswas could not compose for KL Saigal, even though their careers overlapped for over a decade, half of which was in Bombay itself where Saigal shifted from Calcutta in the early 40s. But, when Saigal was becoming a national sensation with the New Theatres in Calcutta, especially after Devdas (1935), Bombay was looking for its own Saigal, and its prayers were soon answered in Surendra – a tall, handsome young man, with a melodious voice, from Lahore.

Musical Shammi Kapoor

…When you speak of Shammi Kapoor, music cannot be far behind. All his films had that in common – melodious songs that were loud and energetic, joyous and boisterous, soft and romantic… the songs chosen (here) had him playing one instrument or another, or even multiple instruments in the same song…

We now take up visits to different sites which have several articles for our view:

Scroll .in

§ Remembering the Jewish refugee who composed the All India Radio caller tune

All India Radio’s caller tune has been heard by hundreds of millions of people since it was composed in 1936. Somewhat improbably, the melody, based on raga Shivaranjini, was composed by the Czech man.. Walter Kaufmann. He was the director of music at AIR and was one of the many Jewish refugees who found a haven in India from the Nazis.

Here’s a clip of one of his tunes, titled Meditation

§ Rediscover the virtuosity of Hindustani vocalist Amir Khan … a bandish ki thumri in raag Khamaj that he sang for the Bengali film Kshudhita Pashan. The music for this film was composed by sarod maestro Ali Akbar Khan.

§ ‘Sun Mere Bandhu Re': The double notes of S.D. Burman’s life – The thing about great stories is that there are a million way to say them and this is what makes reading Sathya Saran’s Sun Mere Bandhu Re ‒The Musical World of S. D. Burman a pleasure unlike any recent biography.

§ Before movie trailers, Indian producers used song booklets to publicise films – Ever since the release of India’s first talkie, Alam Ara, in 1931, songs have had the power of making or breaking a movie. Some releases scored big at the box-office only because of their repeat-value soundtracks. For music fans, the song booklet outlived the movie and became a record of who wrote the lyrics and who appeared in the production.

§ What’s Lata doing in a Britney Spears song? Western tunes with unlikely Bollywood samples – It’s not only Indian artists who get inspired by music from elsewhere. American music producers, with their penchant for overproduction and constant search for new, exotic sounds, have been sampling Bollywood music for years now. And it’s turned up in the most unlikely of places.

Songs, Stories, Books and More…

Before we switch over to our customary Mohammad Rafi ending of the carnival, we have a few more posts to visit –

  • My Favourites: Songs of First Love – What happens when you find that special someone? When Cupid’s arrows strike your heart, when one smile, one glance is enough to make your heart beat faster? How does it feel like to be in love? For that very first time?…..There is a special place in our poems and literature for pehla pyar. Perhaps it is the implication of innocence….the first realisation that someone else has become so important to your happiness….the hopes that he or she feels the same way about you….the dreams of living together forever…the expectation of happiness. … As always, Hindi films celebrate that first flush of love with songs. Seek, and ye shall find a cornucopia of songs that soak in this emotion…these songs that express many different shades of the same emotion.
  • Leke Pahela Pahela Pyar – Two other artists with Dev Anad and Shakeela were Sheela Vaz and Shyam Kappor, an assistant to Guru Dutt… the article narrates Shyam Kapoor’s fond memories of Gurudutt films, while updating on the present life of Shyam Kapoor.

Our friend Bhagwan Thavrani writes in to send the video clip – Woh dekho udhar chaand – Roop Kumari (1956) – Geeta Dutt , Manna Dey , because SN Tripathi has made exact replica later in 1961 as Nigahon mein tum ho – Jadoo Nagri. – Lata Mangeshkar

And now over to exclusive articles on Mohammad Rafi…

  • Combination of LP and Rafi in the films of Dharmendra and Jeetendra in the 1960s – By Dr. Souvik Chatterji – During 60s LP composed music for 71 films, which had pivotal songs of Mohammad Rafi.
  • HEADY WINE : Rafi-Dada Burman By K.V.Ramesh – Like many of his contemporaries SD Burman started out with his scores dominated by female voices. Shamshad Begum and Geeta Roy / Dutt were the two earlier voices usually associated with Dada Burman. The trend for male voices was seemingly straight forward – to replace Saigal Rafi sang his first song for S.D.Burman in ‘Do Bhai’(1947). Raja Mahendi Ali Khan’s ‘Duniya mein meri aaj andhera hi andhera’ is very Saigal inspired in so far as singing style goes.. In a movie dominated by two Geeta Roy killers – ‘Yaad karoge’ and ‘Mera sundar sapna beet gaya’ (both sung and emoted with exquisite pain) – it was but natural that this song probably sank without a trace and it’s not present in public consciousness.
  • Rafi’s Pancham note By Anuj Sharma – The combination of Rafi and Pancham produced around 110 songs and barring 4 – 5 songs each and every song of this combination was a gem….Even before Chhote Nawab happened in 1961, RD had already chosen Rafi for his first independent assignment under Guru Dutt Productions’ Raaz in around 1957. An eighteen year old Pancham had selected Rafi, Geeta Dutt and Hemant Kumar as his first set of singers for his first film….R.D’s third film ‘Teesra Kaun’ released in 1965 carried one solo by Rafi- ‘Meri jaan tu khafa hai to kya huwa’….. Do you hear SJ tune in the song????

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P.S. – Even before the post was published, Sitara Devi put the curtain down on her LIVE performances on 25-11-2014.

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