The Micro View of the Songs of 1948 @ SoY – Female Solo Songs – Other Female Singers

We have so far covered Suraiya, Geeta Roy, Shamshad Begum, Raajkumari and Surinder Kaur in our Micro-View of Female Solo Songs of 1948. These are the female playback singers who had fairly extended tenure during the (so-called) Golden Era of the HFM – the period from’50s till ’60s (or some cover even mid’70s.).

We have observed that even as these singers had quite a remarkable quantitative share of the songs, the songs which did remain well-known even in the Golden Period were really very few.

With this disclaimer of my personal bias, I decided to curtail songs of other female playback singers into one post. Hence, I have chosen one song of these ‘other’ female singer each. Even the, the list is fairly large. Most of these singers have had three to more than 10 songs in their account of 1948. So collectively they form what statisticians would call a very dominant tail of normal distribution curve.

Ameerbaii Karnataki – Taqdeer Ne Hansa Ke Hamein Phir Ruladiya – Shehnaz – Ameerbai Karnataki – Dukhi Premnagari

Dilshad Begum Jawani Pukare Jivan Ke Sathi – Birhan – Lachchhi Ram –

Hameeda Bano Koochch Bhi Na Kaha Ho.. Aur Keh Bhi Gaye – Parai Aag – Ghulam Mohammad – Tanveer Naqvi

Husn Bano Pee Ansoo Pee, Aahein Bhar Ji – Pardesi Mehman – Hansraj Behl – Pandit Indra

Johrabai Ambalewali – Bus Mein Kar Ke Wo Bas Kar Gaye – Padmini – Ghulam Haider – Tanveer Naqvi

KhursheedPacchataynge Jo Hamein Barbad Karenge – Aap Biti – Hari Bhai – Hasrat Lakhanavi

Lalita Deulkar Jai Bolo Mahatma Gandhi Ki – Khidki – C Ramchandra – P L Santoshi

Meena Kapoor Boot Polish Karwa Le Babu Boot Ploish Karwa Le – Ghar Ki Izzat – Pt. Govindram – Ishwar Chandra Kapoor

Meena KumariAata Hai Dil Mein Pyar Kyon Chhede Hai Bar Bar Kyon – Bichchade Balam – Bulo C Rani – Narendra Sharma

Munnavar SultanaMera Nanha Balam Na Bole – Patjhad – Ghulam Haider – D N Madhok

Parvez KapadiaHum To Motor Khareed Ke Le Aayenge – Hum Bhi Insaan Hai – H P Das + Manna Dey – G S Nepali

Sulochana KadamJahan Koi Na Ho Wahan Chalenge Hum – Lal Dupatta – Gyan Dutt – D N Madhok

Sitara (Kanpuri)Dil Ki Jaban Par Aaye To Kya Karoon – Pugree – Ghulam Mohammad – Shakeel Badayuni

Uma DeviKahi Jiya Dole Ho Ho Kaha Nahi Jaaye – Anokhi Ada – Naushad – Shakeel Badayuni

Mrs. Vishnilal Kisi Tarah Dil Hi Na Jab Chain Paaye – Anjuman – Bulo C Rani – Majrooh Sultanpuri

It may also please be noted that I have not included those female singers who, to the best of my knowledge, did sing some songs in 1948, but that was in the capacity of an actress in the respective film.

In the next episodes(s) we will take up solo songs of Lata Mangeshkar for Micro-View of Songs of 1948

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Fading Memories…. Unforgettable Songs: November, 2017

Salil Chowdhury’s Hindi Film Songs in Other Languages

Salil Chowdhury (b: 19 November 1922; d: 5 September 1995) was as multifaceted as was talented.

We know the gems he has created as a music director. But he was a poet and playwright too. He has composed many of his Bengali poems as NFS Bengali songs. Songs like Gnaayer bodhu, which he composed at the age of 20, brought about a new wave of Bengali music. Almost every notable singer of that time from West Bengal had sung at least one of his songs. That he wrote story for Do Bigha Zameen, based on his short story Rickshawalla is now a well-known detail of his writing abilities trivia.

His interest in music made his cast his net wide from Western classics like Mozart to folk songs of Europe to folk songs of East India to enable him to innovate a d experiment. For example, his Dil Tadap Tadap Ke Kah Raha Hai (Madhumati 1958) does seem to have a very strong influence of  a150+ years old Silesian (South-Western) Polish folk song Szla dzieweczka do laseczka ( The girl was walking to the forest)

He was one of the music directors of the school who would  so much accord high priority to the music that they would they were insistent upon setting the music first and then set the lyrics of the song to it. Salil Chowdhury was an excellent arranger who was proficient in several musical instruments, including flute, the piano, and the esraj.

We may know that he has composed music for over 75 Hindi and over 40 Bengali films. Many of us may further know that he composed songs for around 27 Malayalam films. And of course, some of us may also know that he did compose music for even Tamil, Telugu, Kannada, Oriya, Assamese, a Marathi and Gujarati film as well.

In this tribute post to Salil Chowdhury we have chosen to bring on one page his Hindi songs that have been transposed to other languages. Such songs are so very large number that they would need several posts to cover them all. So we have chosen here the Hindi songs that have receded from our memory such that we get at least one song form each of the languages he composed songs.

(Note of credit for the core information for this post: I have sourced the other language song version-links as well description about these other language songs from the one the most complete online data base of Salil Chowdury’s work, World of Salil Chowdhury. Gautam Choudhury has so painstakingly and lovingly built up the entire collection. Gautam Choudhury himself has recorded several instrumental albums on which he plays harmonica, recorded tribute albums to Salil Chowdhury’s legacy:

So here is our tribute to Salil Chowdhury:

One of many Hindi to-from Bengali songs:

Dil Mera….Na Jaane Re Naa Jaane Re Biraj Bahu (1954) – Shamshad Begum – Lyrics: Prem Dhawan

Gayatri Basu’s “Naa Jaani re” in Bengali ‘Aaj Sandhaay’ (1954) is as haunting and appealing as Shamsaad Begum’s rendering.

(Bengali-)Hindi – Malayamam connection

Dhitang Dhitang Bolay, Dil Tere Liye Dolay – Awaz (1956) – Lata Mangeshkar – Lyrics: Prem Dhawan

The Malayalam version is “Thaiyam Thaiyam” (Neelaponman (1975) a duet by P.Susheela and P.Jayachandran.

The source for both these is a 1954 Hemant Kumar’s NFS – a Salil classic – “Dhitang Dhitang Bole” with a totally new arrangement

(Bengali-)Hindi – Telugu connection

Kai Baar Yoon Bhi Dekha Hai Ye Man Ki Jo Seema Rekha Hai – Rajanigandha (1974) – Mukesh – Lyrics: Yogesh

This one had quite a contemporary Telugu version – Nayanalu Kalise Toli Saari  – a duet by P.Susheela and S.P.Balasubramaniam in Chairman Chalamayya (1974).

It had three Bengali versions as well:

Hindi –Tamil connection

Ay Mere Dil Gaa Pyaar Ki Dhun ParDil Kaa Saathi Dil (1982) – S Janaki, Chorus –  Lyrics: Manohar

This film is Hindi dubbed version of Malayalam film, which had become so popular that its Tamil and Telugu versions were also dubbed.

The Tamil version of in this film-dubbing chain was Paruvamazhai (1978) which had the equivalent of the above song Thenmalar Kannikal which is also in S Janaki’s voice.

Here are the Malayalam and Telugu versions as well.

If this was not enough, out of nowhere appears another ‘unknown’ film called Mera Damaad (release date 1995) with another Hindi version of this song. Gautam Choudhury writes: Sometimes I think Salil just lost the track (no pun intended) of his version table! –  Jhir Jhir Barse Aaj Gagan Se – Anuradha Paudwal, Sabita Chowdhury, Amit Kumar and Shailendra Singh

It seems the root source is a 1977 Usha Mangeshakr NFS, O phooler dal, in Bengali.

(Bengali-)Hindi – Kannada Connection

Naam Mera Nimmo Muqaam Ludhiyaana – Sapan Suhaane (1961) – Lata Mangeshkar, Manna Day, Dwijen Mukherji – Lyrics: Shailendra

A very fast-paced song wherein male leads Manna Dey and Dwijen Mukherjee aby support Lata Mangeshkar who so ably does the justice to the tempo and the mood of the song.

It appears that opportunity to re-use this tune came up when Kannada film had a situation for a cabaret dance.  The case in point is:  Dooradinda Bandhantha for film Samasayaphala (1971) by L R Eswari . The song has undergone changes in all spheres except the basic structure of the tune. Guatam Choudhury notes that a regular column writer on Kannada film songs, Sridhar Rajanna writes that:  “Dooradinda bandanta sundaraanga jANa” ….is the best cabaret ever, sung by LR Eswari, has excellent rock and roll style guitar music. It is still popular in orchestras and is frequently played on A-I-R.

At the back of the tune must be some Bengal folk tune. So a Bengali version probably was called for to record the nuances of the original tune. The result is Sabita Chowdhury’s NFS of 1963 – Jhilmil jhauer boney.

(Bengali-)Hindi – Oriya Connection

Salil Chowdhury has composed music for only one Oriya film – Batasi Jhada (1981). The film had a Sabita Chowdhury song Rimjhimi Nishaa Bharaaye Raakhi.

Bengali film Antarghaat (1980) has a chronologically earlier version – Jaanina jaanina  – in Asha Bhosle’s voice.

Its Hindi version came up in an obscure 1989 film Aakhari Badla. The song was Jaane Kaisaa Jaadoo Ye Chal Gayaa. This version was too in Asha Bhosle’s voice. Its video clip shows that it is a cabaret-type dance number. That leads us to believe that Bengali and Oriya versions would have been filmed for similar situations.

(Bengali-)Hindi – Marathi Connection

The only Marathi film that Salil Chowdhury did was Sunbai (1982), produced by Hridaynath Mangeshkar.  Guautam Choudhaury writes: Lata wanted to sing her favourite song once again in Marathi. She finally got to sing the same song three times in as many languages! I must say that the Marathi version ‘Preet Khule Maanjhi Soneri’ is equally beautiful.

The original Bengali song, recorded in 1961 – ‘Saat Bhaai Champaa Jaago Re’ is a classic and every Bengali knows it.  This song seems to have been based on a Sihalese folk tune.

It’s slow hindi version in Mere Bhaiyaa “Pyaas Liye Manwaa” is also wonderful and also sung by Lata.

Assamese Connection

Salil Chaowdhury has done two Assamese films – Aparajeyo in 1970 and Manas Kanya in 1985. Gautam Chowdhury has not mentioned any Hindi connection to the songs of these films.

Gujarati Connection

Salil Chowdhury’s only Guajarati film was Ghar Sansar (1978).

This film had a Guajarati folk tune based Prafull Dave song – Ho Halo Re Hansa- penned by a noted Gujarati poet Venibhai Purohit.

This song has only Bengali version in a 1980 film ‘Parabesh’ – O Ghoomer Moyna Paakhi by Asha Bhosle

and a Malayalam version in a 1975 film ‘Ragam’- Omanathinkal by P. Susheela .

We will end our post with a couple of Salil Chowdhaury’s Mohammad Rafi’s songs in other languages.

Zindagi Hai Kya Sum Meri Jaan  Pyar Bhar Dil Meethi Juban – Maaya (1961) – Lyrics: Majrooh Sultanpuri

It is said that this song is based on the theme of Charlie Chaplin’s very wellknown film Lime Light.

Salil Chowdhury had recorded a Bengali NFS – Jhar Jhar More – in the then Bengali and Hindi film hero Biswajeet. Biswajeet had made his Hindi Film debut with Bees Saal Baad.

Like his other contemporary Bengali music director S D Burman, Salil Chowdhury also had an inherent dislike for Mohammad Rafi’s natural Punjabi loudness as against a Bengali voice’s ‘tenderness’. SDB had had to use Rafi for a good many of songs from Pyasa (1957) till Aradhana (1969). In contrast, Salil Chowdhury seems to have used Rafi only when he had to. Dil Tadape Tadapaye, Unke Milan Ko Rarase Woh To Na Aaye (Poonam Ki Raat (1965) – Lyrics: Shailendra) is said to be one such case.

Salil Chaudhury had recorded this song in Bengali by Shyamal Mitra

and by Debabrat Biswas.

I personally feel that each of the singers has done justice to the delivery of the song in his own style.

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

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

Business Sutra |4.1| Board versus CEO

Business Sutra |4| Conflicts

We have covered three episodes of Devdutt Pattanaik’ TV serial on CNBC 18:  Business Sutra.

The first presented to us the most visible form of the business – the corporation: its meaning, its purpose and its action perspective. In the second episode Devdutt Pattanaik discusses Leadership: Role of the leader, Context of the leader and Leadership in different business cycles. The third episode relates to the Business Ethics and Morals:  business ethics and dilemmas, relationship between owner and the organization  and The Right (Dharma) – the Ramayana way and the Mahabharata way.

The present episode, 4th one in the series, deals with Conflicts.

When one is looking at conflicts, we automatically seek answers. In this case, we want mythology to answer all our problems. After all it is the repository of ancient wisdom. But a repository does not offer prescriptions. It cannot offer prescriptions because every context is unique. All repositories can offer are principles and frameworks that facilitate decision-making. So, one feels that he is cheated by mythology. It is not the fountain of solutions, we hope it will be. It makes us skeptical.  As humans we seek prescriptions. In today world, gurus are becoming prescription-providers, rather than decision-facilitators, which not a good thing to have happened in the first place.

Business Sutra |4.1| Board versus CEO

A conflict of interest (COI) is a situation in which a person or organization is involved in multiple interests, financial or otherwise, one of which could possibly corrupt the motivation or decision-making of that individual or organization.

The presence of a conflict of interest is independent of the occurrence of impropriety. Therefore, a conflict of interest can be discovered and voluntarily defused before any corruption occurs. A conflict of interest exists if the circumstances are reasonably believed (on the basis of past experience and objective evidence) to create a risk that a decision may be unduly influenced by other, secondary interests, and not on whether a particular individual is actually influenced by a secondary interest.

A widely used definition is: “A conflict of interest is a set of circumstances that creates a risk that professional judgement or actions regarding a primary interest will be unduly influenced by a secondary interest.”

Few videos to further clarify the concept:

Ethics Defined: Conflict of Interest

Conflict of interest

Beware conflicts of interest | Dan Ariely

In this short talk, psychologist Dan Ariely tells two personal stories that explore scientific conflict of interest: How the pursuit of knowledge and insight can be affected, consciously or not, by shortsighted personal goals. When we’re thinking about the big questions, he reminds us, let’s be aware of our all-too-human brains.

Conflict of Interest

John is a successful business man and has many great things going on for him. Today however will challenge John in a way he never thought possible….he has to interview his ex-girlfriend that is applying for a job where he works for.

Conflict of Interest: A Discussion

Dr. Daniel Sweeney, Director of the Institute for Enterprise Ethics, Discusses “Conflicts of Interest,” with Professor John Holcomb, Department of Business Ethics and Legal Studies, Daniels College of Business.

Sample of Keith White’s Conflict of Interest presentation

We also examine a few articles that relate to the conflict between the Board and the CEO:

What CEOs Really Think of Their Boards  – Jeffrey Sonnenfeld, Melanie Kusin and Elise Walton : CEOs believe it is important to address problems and opportunities they are uniquely positioned to observe. They know that their strategic visions and personal legacies can be undone by bad governance, and they have plenty to say on the subject. … The conversations showed that the CEO–board relationship is more complicated and nuanced than the standard debates about corporate governance recognize. Undoubtedly, those debates will continue…. In the end, therefore, is the advice to the experts and advisers seeking to improve board performance: Turn the focus to the human level—to “what’s really going on in that boardroom,” in William Donaldson’s phrase. And listen to every informed perspective on what goes on there, including the CEO’s.

The Four Tiers of Conflict of Interest Faced by Board Directors by Professor Didier Cossin and Abraham Hongze Lu :

A tier-I conflict is an actual or potential conflict between a board member and the company. Major conflicts of interest could include, but are not restricted to, salaries and perks, misappropriation of company assets, self-dealing, appropriating corporate opportunities, insider trading, and neglecting board work. All board members are expected to act ethically at all times, notify promptly of any material facts or potential conflicts of interest and take appropriate corrective action.

Tier-II conflicts arise when a board member’s duty of loyalty to stakeholders or the company is compromised. This would happen when certain board members exercise influence over the others through compensation, favors, a relationship, or psychological manipulation. Under particular circumstances, some independent directors form a distinct stakeholder group and only demonstrate loyalty to the members of that group. They tend to represent their own interest rather than the interests of the companies.

A tier-III conflict emerges when the interests of stakeholder groups are not appropriately balanced or harmonized. Shareholders appoint board members, usually outstanding individuals, based on their knowledge and skills and their ability to make good decisions. Once a board has been formed, its members have to face conflicts of interest between stakeholders and the company, between different stakeholder groups, and within the same stakeholder group. When a board’s core duty is to care for a particular set of stakeholders, such as shareholders, all rational and high-level decisions are geared to favor that particular group, although the concerns of other stakeholders may still be recognized. Board members have to address any conflicts responsibly and balance the interests of all individuals involved in a contemplative, proactive manner.

Tier-IV conflicts are those between a company and society and arise when a company acts in its own interests at the expense of society. The doctrine of maximizing profitability may be used as justification for deceiving customers, polluting the environment, evading taxes, squeezing suppliers, and treating employees as commodities. Companies that operate in this way are not contributors to society. Instead, they are viewed as value extractors. Conscientious directors are able to distinguish good from bad and are more likely to act as stewards for safeguarding long-term, responsible value creation for the common good of humanity. When a company’s purpose is in conflict with the interests of society, board members need to take an ethical stand, exercise care, and make sensible decisions.

So we quickly take up what Devdutt Pattanaik has to say in Segment 1 of the episode 4 – Conflict – Board versus CEO, as the Indian Mythology’s point of view.

The Annunaki of ancient Sumerian texts were a council of gods and goddesses; perhaps the earliest known form of a consultative group – a concept that in modern business is referred to as the board of directors.

Mr. R. Gopalakrishnan, ED, Tata Sons: I would ask a question about corporate governance. I recognize that companies are social structures and we have imported the corporate concept from West. But at the end of the day, people interact between themselves within the corporation through the social mores of the society from which they have sprung up. We have devised corporate governance in the last 10 years based on the Anglo-Saxon model of  how the board should interact within  itself and with the management.  I wonder whether you have any suggestions on how the cultural moorings of Indians can be better played out in the way our corporate governance rules and procedures are currently laid out so that we can get a more effective form of corporate governance even if it’s not so efficient.

The question is how they are working together. If they are working well together then it’s fine. What happens when this conflict – who becomes more powerful. Usually it is not either or. What you have is a set of rules that are almost as if you have the commandments. You have the king and you have the prophets and each one is checking who is following the rules. There is a level of suspicion that you know the King on his own is perhaps not going to follow the rule.  Then he must be constantly watched.

Now if I’m the promoter. I have done the business on my own without board and have done a successful business on my own. Now as I grow in size per force the rules force me. Because I need more funds, I need to create a board of directors. Suddenly I  see that just because I’ve got access to  more funds my freedom is being taken  away from me – that same freedom that  enabled me to grow the business is being  taken away from me – and therefore the  relationship starts getting soured.

Let us look at the biblical examples. There are stories of King David of what he wants to do, but is constantly being warned by the prophets that you cannot do what you want to do; you have to align within the rules. Thus, there is this great tension between the King and the prophets. For example he has an extramarital affair which is forbidden; he wants to build a temple which is forbidden.  He is constantly doing things because he wants to fulfill his individual will rather than what is the appropriate conduct within the by the commandments and by the law and the voice of God.  That narrative is very strong in the Bible – you cannot be an individual you have to be subservient to an impersonal entity called the law.

These are the sources from which the idea of governance has come into India. The idea is relatively alien because the focus over here is on the king. If the king is an honest man then things will fall into place. The education of the kings played a lot of role. But today what we are saying is we want Ram and to create Ram, we will produce a set of rules. Rules don’t make Ram.

I’m curious. Even the Kings in ancient India must have had a council of ministers, ministers that advise the king and also kept the king in check, to some extent by offering him the right advice; nudging him constantly in the right direction. Is there a parallel in our scriptures that draws from the Western model of governance but Indianises that?

You see the king was never kept in check. The Council of Ministers was to counsel, to advise the king. But ultimately the king was like what is called a host (Yajman). He is performing the great sacrifice – a Yagya – and he is offering all the things to the fire (the Swaha). All his decisions are the swaha. Whatever comes from the Yagya is the result of his actions, his decisions, his swaha. What is the SWAHA. It is how you pour things into the fire.  Once you throw it out, it doesn’t come back.  It is your decision. What comes back to you is the direct result of your decisions. Nobody keeps you in check. There are ministers and there are the sages (rishis) and the wise men (pundits). Everybody sitting around you is supporting you to do the Yagya. Ultimately in the Yagya, who is the Yajman, who is the decision maker, who takes accountability? Is the Board taking the accountability or is the CEO taking the accountability?

It comes down to that that in today’s world and age it would be almost impossible to live without a set of rules, constantly telling people that hey if you’re not doing what these rules set out for you to do then you are doing the wrong thing. How do we leave companies entirely to the governance of an individual? How do we build in checks and balances through a board? And yet, how do we create equality between the board and the CEO or the promoter or the king?

Implicit in your questions is the premise that if the rules did not exist, there would be anarchy and chaos.

To some extent!

You see this is a Western construct. What do I mean by that?  The idea that laws create order, if we remove laws there is no order and there is chaos is a Western construct.  In the Indian construct, if there were no laws it’s not chaos. Therefore in the Western mythology the images of dragons exist if you read a Mesopotamian mythology or if you read Greek mythology, there is always this image of dragons, which exists and it is the great hero, the great king who comes and tames the dragon and creates order with rules.  But in the Indian context if you take away the human being completely what exists is nature – Prakruti. What is nature?  Nature is not disorganized, the nature is not chaotic. What you have in nature is the instinct of survival and only the fit survive and might is right. Now that is what exists in nature. So when I create culture I am creating the very opposite.  It is not might as right. Meek have rights, too. So it is about a world where I go out of my way to help the helpless.

Now how do I do that?  Will the rules make me do that or I genuinely want to do that? If I don’t want to help the helpless, despite being a human being if I behave like an alpha male which rule is going to control me.

In short, your response to Gopal’s question is that no there is no Indian code of governance that can be created or a code of governance that is contextualized to our conditioning. Here in India there is no such thing because no set of rules can actually help you be a better person.

Let me give you an example of rules and from our story. When you read the Ramayana, you know one of the most famous lines in the Ramayana is Raghukul Rit Sada Chali AAyee, Pran Jaaye Par Vachan Na Jaye – There always has been a custom in the Raghu lineage, you may lose life, but never break a promise. When you read this line you have to ask us the question – when Ran goes to the forest, is he obeying his father or is he obeying the law?

Well, his father’s word is the law. So, meekly follow that.

It is not what father has said. It is Raghukul Rit – the law of the clan is more important. It is the Ragu family, the dynasty to which he belongs to. So, is Ram obeying the father or is Ram obeying the law?

There is no conflict in obeying either one because the both are saying the same. The law is the custom of his family or the tradition is to follow what your father says. He is obeying the both right now.

Let us look at the same narrative as it continues over time. At the last chapter of the book the same law says: the King’s wife shall be of unblemished reputation.

He followed that as well, didn’t he?

Exactly and so what is the narrative inadvertently saying – be careful of laws. If you stick to them and not look at the spirit of the law, then there can be trouble at the other end.  Why did laws come into being?  It came into being to help the helpless; to move out of the animal desire to dominate. For the might to have rights you had the law so that the meek have rights too. But look at this law – an innocent pregnant woman has been told to leave to the forest because the law becomes more important and Ram is Maryada  Purshottam (100% Compliance. So here we see too much of alignment to the laws. Indian scriptures are always wary of laws because laws seem to be arcane, removed from context; while Indian thought is all about context.

In business we cannot create rules that are contextual to every business, its leader and its future. So we need something that is uniform.  That is the honest truth of this game.  So, is there anything that is more suited to the Indian way of thinking as opposed to importing what is a Western code of governance, and then trying to fit it onto Indian companies and saying, ‘hey, we understand that you guys are not all equal; but the board is supposed to stand up to the CEO and the CEO is supposed to defer to the board. So how to make it work?

I think this is where the humanity has to be worked out. Everywhere we are talking about a code transforming people into good people. I need a code to make me good. That is what it comes down to this one single argument – give me this law which would make me good. That is a very difficult thing to achieve. We have to ask ourselves – are we working towards creating leaders who know why they are doing what they are doing? These are things that are not even being addressed. We are focusing so much on the law because we have given up on human beings.  Missing human beings do not work.

The processes are important, structures are important, laws are important, conducts are important. You have constitutions being changed every day. You can change Indian constitution 20,000 times. That will not make a politician’s honest.

So the answer to Gopal’s question is that boards at best can play an advisory role but they cannot really keep the CEO in check, they cannot stop him from exploiting a loophole which he has decided to nor can they make him a better person than he actually is.

Yes, Absolutely.  You see, while it will not be there in the rational world, but in Indian thought it is that for every action there are consequences – if not in this life then in the next.

So, in the end, if there has to be a conflict, that conflict has to be about whether we have been able to create leader, who follow the law in spirit, who has not lost touch with the humanity whilst in the search for the results, who does not follow custom because he has to but because he inherently values a better world – for now and for the future.

In the second part of the 4th episode of Devdutt Pattanaik’s TV serial Business Sutra, we will see if The End Justifies The Means.

Note: The images used in this post are the irrevocable property of their respective creator. They have been taken up courtesy the internet, so as to illustrate the point under discussion.

The Micro View of the Songs of 1948 @ SoY – Female Solo Songs – Surinder Kaur

Surinder Kaur generally would not fall into the category of well-known names of the playback singers for an average Hindi Film Song fan. We did recognise her potential when we listened to the Female Solo Songs of 1949.

Popular solo songs

Badnam Na Ho Jaaye Muhabbat Ka Fasana – Shaheed – Ghulam Haider – Qamar Jalalabadi

Taqdeer Ki Andhi Aisi Chali….Ujhada Ummedon Ka Chaman Ham Kahan Aur Tum Kahan – Shaheed – Gjulam Haider – Raja Mahendi Ali Khan

Other Solo Songs

Mere Dil Ki Ram Kahani Sun Ja Meri Jubani – Lal Dupatta – Gyan Dutt – D N Madhok

Mere Uljhe Uljhe Sapne Sulaz Na Paaye – Lal Dupatta – Gyan Dutt – Manohar Khanna

Chanchal Man Kahe Dhadake, Ruk Ja Ruk Ja – Lal Dupatta – Gyan Dutt – (??)

Akhiyan Mila Ke Akhiyan Roye Din Ratwa – Nadiya Ke Paar – C Ramchandra – Moti B.A.

Ek Nazar Woh Yaad Hai Unki, Jisne Dil Pe War Kiya – Nao – Gyan Dutt – D N Madhok

Tum Ho Na Ho Hamare Lo Ji Ham Gaye Tumhare – Nao – Gyan Dutt – D N Madhok

Kitane Door Hai Huzoor Jaise Mulaqat Ho – Pyar Ki Jeet – Husnlal Bhagatram – Qamar Jalalabadi

Aana Hai To Aa Bhi Jaao Gar AAj Bhi Na Aaye To – Shaheed – Ghulam Haider – Nakshab Jarachavi

The song for which I could not locate the soft link:

Ab Tere Bina Mera Nahi Thikana, O Pardesiya – Nao – Gyan Dutt – D N Madhok

We will take up solo songs of Ameerbai Karanataki in our next episode in our The Micro View of the Songs of 1948 @ SoY series.

Carnival of Blogs on Golden Era of Hindi Film Music – October, 2017

Welcome to October, 2017 edition of Carnival of Blogs on Golden Era of Hindi Film Music.

October, 2017 is the month of Deepawali. So, ‘Let’s Celebrate Diwali!’ at the very beginning of our present blog carnival posts.

We dedicate our October, 2017 episode to Kundan Shah with a selected few obituaries published in memory of his passing away:

Kundan Shah passes away: How the Jaane Bhi Do Yaaro director served anger with bittersweet laughterSita Menon

The one thing that binds all of Kundan Shah’s work is the streak of comedy—of a varied kind | Photo Credit: The Hindu

Kundan Shah (1947-2017): Master of capturing grace in nonsenseNamrata Joshi

So Long Kundan, and Thanks for Inflicting Us With Your Madness and GraceSudhir Mishra

Why Kundan Shah’s Later Works Didn’t Match up to His GeniusSubhash K Jha

And then,

Veteran filmmaker and actor Lekh Tandon dies at 88 – Tandon acted in such films as Swades (2004), Paheli (2005), Rang De Basanti (2006), Chennai Express (2013) and Chaarfutiya Chhokare (2014). Among the films he directed were Amrapali (1966), Dulhan Wahi Jo Piya Man Bhaaye (1977), Agar Tum Na Hote (1983), Doosri Dulhan (1984) and Uttarayan (1985). Tandon also directed television serials Phir Wahi Talaash (1989) and Farmaan (1990).

Here is a retrospective Guftagoo with Lekh Tandon :

We will now take up tribute posts:

Ten of my favourite Roshan songs is a (belated) tribute on birth centenary (14th July, 1917) of the music director.

Best songs of Kishore Kumar 1.0  can easily stand up to great popularity of Rafi or Talat or Mukesh songs in the same period. However, it is KK2.0 that is known more because that is when he became undisputed no. 1.

The alternative Kishore Kumar playlist that is just as good as his most popular songsRudradeep Bhattacharjee – On the brilliant singer’s 30th death anniversary, a reminder of his offbeat tunes.  We have recaptured these pre-1969 songs here:

Woh Meri Taraf Yun Chale Aa Rahe Hain – Kafila (1952) – Husnlal Bhagatram – Vrajendra Gaur

Chup Ho Jaa Amiron Ke Sone Ki Ghadi Hai – Bandi (1957) – Hemant Kumar – Rajinder Krishna

Chand Chup Chaap Hai Sitare Gum Sum – Daal Mein Kala (1964) – C Ramchandra – Bharat Vyas

Akela Hoon Main – Neela Asman (Unreleased)

It’s Mehmood’s birthday! – At his peak, he was paid more than even the film’s hero. Apart from his own disnctive style of acting, his contribution as producer of films, songs fimed on Mehmood has created a very definite space.

MEHMOOD-The Man Who Taught the Nation How to Laugh! – For a brief period in the 1960s, thanks to him, comedy was king. And Mehmood was the uncrowned King of Comedy. A time came, when he was so much “in demand” that producers approached him, offering him full-length comedy films.

How Hema Malini came to be known as Hindi cinema’s ‘Dream Girl’ – Producer and mentor B Ananthaswami came up with the title for her debut film, ‘Sapno Ka Saudagar’. – Ram Kamal Mukherjee – In the authorised biography Hema Malini : Beyond the Dream Girl, the 1970s and ’80s star looks back on her career highs and lows, her relationship with co-star Dharmendra, and her love for classical dance.

Hema Malini Beyond the Dream Girl

The Divas: Hema Malini presents what can be considered as her definitive work on her 69th birthday.

Rekha before Bollywood: A gawky teenager, a Bond girlArchana Nathan – The 63-year-old actor began her career in small yet noticeable roles in Telugu and Kannada films.

Many of Lata Mangeshkar’s best songs by Hemant Kumar have ranked in the all-time greats of Lata’s songs.

50 years of FARZ – This film FARZ released on 6th Oct 1967 gave bolllywood the new star Jeetendra, This movie also gave him that Jumping Jack image, and something that he put to good use in loads of movies at least till Gulzar gave him an image makeover with Parichay (1972).

The October 2017 episode of Fading Memories, Unforgettable Songs was dedicated to Shakila in Mohammad Rafi songs.

Here are posts on other subjects as well:

The blockbuster combination of Guru Dutt and OP Nayyar in ‘Aar Paar’ – The 1954 classic is packed with chartbusting songs, from ‘Babuji Dheere Chalna’ to ‘Sun Sun Sun Sun Zalima’. – Rudradeep Bhattacharjee – To Mohammed Rafi’s “Sun Sun Sun Sun Zalima”, Geeta Dutt’s retort is “Ja Ja Ja Ja Bewafa. Later in the film, when the lovers have their customary tiff, Sultanpuri inventively reworked the lines Ja Ja Ja Ja Bewafa and fashioned a soulful song out of it. Nayyar and Sebastian have kept things simple, slowing down the tempo of Sun Sun… and using minimal instrumentation whilst letting Geeta Dutt do her thing.

Ek Nazar 1951: A Precursor to SD Burman’s Music Trends –S D Burman had had 6 releases – Baazi, Bahar, Buzdil, Ek Nazar, Naujawan and Sazaa. All musically hits, these six films ensured a total of 46 songs in that year. He was composing with a variety of lyricists – Rajendra Krishna in Bahar, Ek Nazar and Sazaa, Sahir in Baazi, Naujawan and Sazaa, Kaifi Azmi and Shailendra in Buzdil, in the immediate footsteps of Shabnam and Mashaal in the previous years. However, in these half dozen musical offerings this year Ek Nazar, is less remembered. Peeyush Sharma presents a very interesting analysis why for a phenomenon that were a precursor to SDB’s hits that would follow later, styles that would evolve and set precedents and experiments that would become the hallmark of the singers.

Ten of my favourite come-hither songs are the songs sung to a single person, not an audience… inviting love (or lust, or whatever interpretation one might want to put on it)….. I have picked up Haaye Mere Ppaas Toh Aa (Shikar, 1968) from the list, simply because it has so young and charming Sanjeev Kapoor being seduced by none other than Helen.

‘Chale Aao’ Songs are the songs that has Chale Aao(come at once or just ‘come back‘) as per the situation in the song) in at least initial lines of the mukhada. For one song, those are the last words of the mukhada. Not surprisingly, the list has only one male solo!

My Favourites: Songs of Regret – Hindsight being perfect, we often dissect our past in the hope that we can find answers to that most frustrating of questions – ‘What if?’. Hindi films have a song to fit the occasion.

Karva Chauth In Hindi Cinema – Normally Ham Dil De Chuke Sanam is credited with giving a decorated prominence to Karav Chauth. But there was a fullfledged song, way back, in Bahu Beti 1965 – Aaj Hai Karwa Chauth Sakhi – Asha Bhosle – Ravi – Sahir Ludhyanvi

In 1994 film Chand Ka Tukda a song was picturised in Gujarati style.

In our series Micro View of Best Songs 1948 @SoY of Best songs of 1948: And the winners are?, we continued with the posts on Female Solo Songs by concluding the   first part and the second part  of the solo songs of Geeta Dutt with the third part.  We took up solo songs of Shamshad Begum with part one, two, three and the concluding fourth one. We ended the month with solo songs of Raajkumari. SoY has already published Best songs of 1948: Wrap Up 2 covering the female solos and adjudged Lata Mangeshkar and Shamshad Begum as the joint winners.

We will begin the end of the present post with a post on Mohammed Rafi with legacy of composer Roshan.

We will also listen to two of the great but receded-from-the-memory-songs:

Aise To Na Dekho Ke Bahak Jaye Kahin Hum, Aakhir Koik Insaan Hai Farishta Nahi Hum – Bheegi Raat (1965) – with Suman Kalyanpur – Lyrics: Majrooh Sultanpuri

The song to end the today’s blog-post is one of the most-unlikely Roshan compositions:

Sun Ae Mahjabeen Mujhe Tujhse Ishq Nahin | Dooj Ka Chand (1964) – Lyrics: Sahir Ludhyanavi

I trust you will always feel free to proffer your suggestions for making this series of posts more lively and informative….

The Micro View of the Songs of 1948 @ SoY – Female Solo Songs – Raajkumari

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

Raajkumari is one of those singers who has left quite profound impact during the transition period from vintage to golden era.  In terms of numbers, her presence in 1948 appears not to be very comparable to the female singers we have covered so far, however that does not take away the charm of her voice.

Woh Puchchate Rahe Ham Haal-e-Dil Suna Na Sake – Aap Beeti – Haribhai – G S Nepali

Mope Daro Na Tirchchi Nazariya, More Anagana Aao Pardesiya – Hua Savera – Gyan Dutt – Bhagwati Prasad Bajpeyi

Char Dino Ka Mela Sajan Jara Balam Jara Mela Dekh Lo – Hua Savera – Gyan Dutt – Bhagwati Prasad Bajpeyi

Deewana Bana Dala Ho Deewana Bana Dala – Rangeen Zamana – Pt. Govind Ram – Pt. Fani

Main to Ho Gayi Deewani Teri Yaad Mein – Satyanarayan – Hansraj Behl – Sevak

Man Mein Laagi Aag Sajanwa Man Mein Laagi Aag – Toote Taare – Shaukat Dehlvi (Nashad) – Anjum Peelibhiti

Dukh Ke Dard Ke Maaron Ka Kaun Sune Fasana – Toote Taare – Shaukat Dehlvi (Nashad) – Anjum Peelibhiti

Chhota Sa Ye Mandir Hai Kahin Bhool Na Jana – Toote Tare – Shaukat Dehlvi (Nashad) – Anjum Peelibhiti

Na Kisi Ka Aankh Ka Noor Hun – Toote Tare – Shaukat Dehlvi (Nashad) – Muztar Khairabadi

The songs for which I could not locate soft link –

Jug-Jug Jiye Ho Lalla Hamara – Aap Beeti – with chorus – Haribhai – Hasrat Lakhanavi

Chhaayee Vrindavan Mein Bhor Utha Ke Ghoonghat Shyam Nisha Ka – Amar Prem – Dattaa Thakar – Mohan Mishra M. A.

Premi Ki Yahi Nishani Raton Ko Neend Na Aaye – Rangeen Zamana – Pt. Govind Ram – Pt. Fani

Main Zoolungi Jhoola Sakhiyo Bolo Kau Jhoolaye Ho – Satyanarayan – Hans Raj Behl – Sevak

In the next episode , we will take up Micro View of Solo Songs of Surinder Kaur.

Carnival of Quality Management Articles and Blogs – October, 2017

Welcome to October, 2017 edition of Carnival of Quality Management Articles and Blogs.

Our topic for October 2017 is World Standards Day : Each year on 14th October, the members of the International Electrotechnical Commission (IEC), International Organization for Standardization (ISO) and International Telecommunication Union (ITU) celebrate World Standards Day, which is a means of paying tribute to the collaborative efforts of the thousands of experts worldwide who develop the voluntary technical agreements that are published as international standards.

The theme for World Standards Day, 2017 was ‘Standards make cities smarter.’ Sufficient fresh water; universal access to cleaner energy; the ability to travel efficiently from one point to another; a sense of safety and security: these are the kinds of promises modern cities must fulfil if they are to stay competitive and provide a decent quality of life to their citizens.

The winner poster of the 2017 World Standards Day by Reza Rahimian

More about the WSC and Information on previous celebrations (1998-2015) to see all previous World Standards day posters.

Setting standards is the key to building smarter cities: Eswaran Subrahmanian

What are Smart Cities? | Larissa Suzuki | TEDxUCLWomen

How we design and build a smart city and nation | Cheong Koon Hean | TEDxSingapore

Smart Cities – The Untold Story: Mischa Dohler at TEDxLondon City 2.0

Benefits of Smart Cities – #WorldStandardsDay2017 Gabriel Hernández from Mexico is winner of the video contest

We will now turn to our regular sections:

For the present episode we have picked up one article(s) Be Data Literate: Understanding Why Aggregated Data Misleads, Misinforms, Misdirects: Part 1 & Part 2 @ the column Measuring Performance (People & Enterprise) @ Management Matters Network.

Not a day goes by that we are not being subjected to cheating charts, meaningless statistics, improper comparisons, and erroneous conclusions.

Worse, by failing to apply what might be called elementary statistical analysis to a variety of societal and management problems, it’s near impossible to separate a problem’s symptoms from its causes.

To arrive at the definition of the real problem and the development of alternative and effective solutions requires an approach thoroughly grounded in scientific and statistical thinking.

From this point forward, we ask you to internalize this basic truth: Overly-aggregated data misleads, misinforms, and misguides.

For any manager looking to flex their leadership acumen, he or she must not only be able to read data, but have the ability to detect the forces that skew the accuracy of its results as well.

It is called homogeneity.

Simply put, homogeneity of data refers to whether or not the total data set from which measurements were computed conceals important differences between or among what statisticians call “rational subgroups or just plain subgroups.”

To Sum It All Up:

  1. An aggregated performance measurement is of limited diagnostic value.
  2. Through the process of isolating and analyzing variation among relevant subgroups, you can locate the “root cause” of the problem.
  3. Management action is required to deal with the “root cause” of the problem. (A reminder: A decision is not an action. A decision is a good intention. Decisions must be converted into action).
  4. Faulty conclusions and/or policies inevitably flow from a dataset that is not homogeneous with respect to the performance measurement under investigation. In other words, the wrong problem is being solved.
  5. Statistical procedures detect significant variation among subgroups. If significant differences in a performance characteristic (because of thoughtful subdivision of a data set) are found to exist, the reasons for the variation must be investigated and eliminated from the process.
  6. After the “causes” of the variation are discovered and eliminated, the performance measurement under investigation improves.

ASQ CEO, Bill Troy section has one interesting article on how to Apply Design Thinking to Quality Practices.  The subject of Design Thinking calls for a full-fledged post in blog carnival series. So, we will take that up in our November, 2017 issue.

For the present, we continue with the practice of picking up one article form ASQ.org site. For our present edition we will fall back upon a 1991 interview – Statistical Quality Control in World War II Years – by Eugene L Grant [Born: 1897|Died: 1996] that translates important memories into historical documentation…….. Although Eugene L Grant is best known for Statistical Quality Control, his contributions extend beyond the boundaries of the quality profession. Industrial quality control was only one of the areas in which he specialized. He authored books in several other areas, including engineering economy, depreciation, and accounting, and one of those books outsold Statistical Quality Control.

We now watch one of the latest ASQ TV  episodes:

If we search for Likert Scales and Data Analysis on YT, we will find quite a few more informative videos on the subject.

Jim L. Smith’s Jim’s Gems for the month of September, 2017:

Fundamentally, disposition limits are focused on product, not process, control. The decisions they drive are focused on what to do with product that has already been processed through a specific process step or set of steps. The basic decision involved is whether a specific group of product should be allowed to move on for further processing and eventually become finished product worthy to be shipped….

Specifically disposition limits differ from process control limits in three areas.

  1. Disposition limits are applied to a finite group of product that has already been manufactured. Control limits, on the other hand, are applied to the manufacture of current and future operations of a process for variable amounts of time and processed product.
  2. Disposition limits are focused on product control to minimize overall producer and customer costs. Control limits are focused on process control and are ideally determined by appropriately balancing false signal rates with required levels of sensitivity.
  3. Disposition limits and process control limits differ in the amount of risk they impose on a manufacturing operation. It sounds strange but the risk associated with determining the fate of a finite lot of product outside the appropriate limits is often perceived as much less than the risk of determining the fate of the associated process. Something has to be done with the product that has already been produced outside the appropriate limits but that decision is only applied to that finite lot. However, adjusting a process will potentially impact all future product through the affected process step.

I look forward to your active participation in enriching the blog carnival as we pursue our journey in exploring the happenings across quality management blogs…………

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