Fading Memories…. Unforgettable Songs: March, 2017

S N Tripathi: Unremembered music director of remembered songs

There would hardly be anyone who may need reminding these songs:

But, perhaps it may need some recalling that these songs were by composed by S N (Shree Nath) Tripathi . That is because, ironically even as the songs are remembered, the films have faded out of memories. So, s-n-tripathiperhaps the name of S N Tripathi -14 March 1913 | 28 March 1988 – who has composed music for almost 250 films, he also acted in some 200 films, directed 39 films and even written screenplays for around 37 films. The destiny in its own weird wisdom chose to keep S N Tripathi in the fringe orbits of the Hindi Film Music world.

He joined the film world as a violinist in 1936. He then was appointed assistant to Sarswati Devi. The first song that he sang was Ae Re Daiya Lachak Lachak Chalo (Jeevan Naiya, 1936) for Ashok Kumar on the screen. This, incidentally, was the maiden film of Ashok Kumar too. S N Tripathi’s maiden film as a music director was Chandan(1936). The film, unfortunately, was released in 1941 only.

Nanha Sa Dil Deti Hoon – Chandan(1941) -Rajkumari, SN Tripathi  – Lyrics: Pt. Indra Chandra

For our present episode we will explore some of the S N Tripathi’s songs up to 1950.

The first film that is said to have given recognition to S N Tripathi was Panghat (1943).

Panghat Ke Ghaayalon Ka Panght Hi Thikana – Panghat (1943) – S N Tripathi – Lyrics: Pt. Indra Chandra

Here is the song that itself should have settled any and all debates about S N Tripathi’s versatility. He has acted, sung and composed this very light ‘bath-room’ song, and done so with great flare and even greater finesse.

Aayi Baloonwaali Aayi Re – Aadhaar (1945) – Geeta Dutt and S N Tripathi – Lyrics: M A Razi

Geeta Dutt was just 14 when she sang this song.

Aise Na Hamein Chhedo, Aise Na Satao, Kuchch Sun Lo Hamari – Ramayani (1945)  –  Rajkumari, Pahari Sanyal –

HFGK has not specified the singers. From the star cast of the film we can deduce that Rajkumari ought to have playedback for Nargis. The film was a social drama. Listening Rajkumari in a very light romantic song is great pleasure.

Laaj Bhare… In Nainan MeinAdhik Sudha Bharo Na.. – Uttara Abhimanyu (1946) – Ashok Kumar – Lyrics:  Roopdas, Saraswati Kumar Deepak (?)

Ashok Kumar association with S N Tripathi seems to bond very strongly. It is said that it was SN Tripathi who trained the novice voices of Ashok Kumar and Devika Rani for the song “Mein Ban Ki Chidiya Ban Ke Ban Ban Doloon Re for ‘Achhoot Kanyaa’ in 1936 under the baton of Saraswati Devi. The present song can also be considered as unique. HFGK records that this song is a pure playback by Ashok Kumar, possibly for Shahu Modak on the screen,.

Sola Singaar Main Sajaaungi.. Piya Ko Rijhaaungi – Panihari (1946) – Shanta Apte – Lyrics: Pt. Indra, Rammurty, Brajendra Gaud (?)

The poster of the film loudly proclaims: “Here she is ! New Shanta in a gay romance!” This song perhaps aptly translates the intention…..

Beet Chali Barkha Rut Site, Sudh Na Mili Tumhaari – Shree Ram Bhakta Hanuman (1948) – Mukesh – Lyrics: B D Mishra

We now seem to see an inadvertent, but unfortunate type-casting of S N Tripathi into mythological films. So was the hero who sings the song on the screen – Trilok Kapoor, who incidentally is the younger brother of Prithviraj Kapoor. Additionally, S N Tripathi also got cast into roles of Hanumaan as well!

Aao Sakhi Mangal Gao Ki Subh Din Aaye Re – Veer Ghatotkach (1949) – Saroj, Shanti Sharma – Lyrics: Ramesh Joshi

Here is playful song, filmed on a very young Meena Kumari.

Ashok Kumar or Meena Kumari did not get typed into mythological B class films, but S N Tripathi did !

Ek Naya Sanasaar Sajao, Aaj Khushi Ka Din Aaya – Veer Ghatotkach (1949)- Rohini Roy, Yahwant Bhatt and Chorus – Lyrics: Moti B. A.

Arun Kumar Deshmukh has narrated some of the history of one the singers – Yashwant Bhatt – of the song in this post.

1950 film Saudamini was a social film. The songs of the film were quite melodious and ought to have caught the attention of the fans at that time.But, perhaps not enough to turn the tide away from the mythology as afar as S N Tripathi was concerned.

Kaali Koyal Bole Matwali Koyal Bole Re – Saudamini (1950) – Mohan Tara Talpade – Lyrics: Anjum Pilibhiti

S N Tripathi has tried every possible trick to infuse variety into his songs in a social-theme film by selecting different playback singers.

Kaali Kaali Badli Chaayi Saawan Ki Ritu Aayi – Saudamini (1950) – Geeta Roy (Dutt)

Geeta Roy is at her usual vintage mellifluous self..

Kaali Ghata Hat Gayi Neel Gagan Mein Nikala Chand Hai – Saudamini (1950) – Chitragupt –

As the adequate information is not available, one may not be able to definitively state whether Chitragupt was assisting S N Tripathi for this film or not. In any case, however, the fact that S N Tripathi has experimented with Chitragupt’s voice speaks for his spirit of experimentation.

Dukh Dard Bhare Dil Ka Kahe Kisko Fasana – Saudamini (1950) – Uma Devi

For a sad song S N Tripathi has so effectively used voice of Uma Devi.

Jawani Chaand Salona Chamake Aur Choop Jaye – Saudamini (1950) – Mohammad Rafi, Zoharabai Ambalewali and chorus

Rafi commences first antara with a different beat than that of Mukhada before Zohra switches to the original tempo at the end of the anatara.

Surya Dev Dinesh Hey Mam Baar Baar Pranaam Ho -Shree Ganesh Mahima (1950)

Records do not amply state whether the song is also sang by S N Tripathi himself, which he certainly acts on the screen. The song is a rare prayer addressed to Surya, The Sun god.

We will end our present episode with the song that has the credit of being the first ever duet of Mohammad Rafi and Geeta Dutt, a wonderfully crafted song using chorus:

Jai Hind Yeh Hind Ki Kahniyan – Manasarovar (1946) – Lyrics: Saraswatikumar Deepak

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 |1.2 | Purpose of a Corporation

business-sutra-1Business Sutra |1| Corporations

In the opening part of the first episode of his TV serial, Business Sutra, Devdutt Pattanaik dwelt upon the subject of the Indian way of doing the business.

In our present post, we will have a detailed look at the second of the three parts of this episode.

Business Sutra |1.2 | Purpose of a Corporation

500 corporations control about seventy percent of world trade and each year approximately 3 million new limited liability companies are registered. The way these corporations are managed can therefore affect the potential for either positive or negative change, depending on the chosen stewardship. The biggest question we face goes to the very core of business: What is the purpose of these corporations?

However, the subject has ever remained any simple either in tone or in its content. Depending on the context, the related discussions have remained as much exhaustive as hotly debated.

The most discussed and debated view – The Social Responsibility of Business is to Increase its Profits -is attributed to Milton Friedman. The core of of Milton Friedman was: There is one and only one social responsibility of business – to use its resources and engage in activities designed to increase its profits so long as it stays within the rules of the game, which is to say, engages in open and free competition without deception or fraud.

One of the strongest rejoinder, and by now a fairly widely accepted view, is that of Peter Drucker. In his book The Practice of Management, Peter Drucker declares -“The purpose of a company is to create a customer” and “a business….is defined by the want the customer satisfies when he or she buys a product or a service. To satisfy the customer is the mission and purpose of every business.”

purpose-of-business-peter-drucker

The views expressed by our own Gandhiji also echo a similar sentiment.

purpose-of-business-mahatma-gandhi

Let us look at several other points of views so as to gather a wider perspective of the discussion:

In The meaning of Bill Gates has been discussed Bill Gates interpretation of the direction that Microsoft should take up on the basis of what was his understanding the then purpose of the organization.  As with many great innovations, Bill Gates’s vision has come to seem so obvious that it is hard to imagine the world any other way. Yet, early on, he grasped two things that were far from obvious at the time, and he grasped them more clearly and pursued them more fiercely than his rivals did at Commodore, MITS or even Apple.

The first was that computing could be a high-volume, low-margin business. Until Microsoft came along, the big money was in maintaining a select family of very grand mainframes. Gates realised that falling hardware costs, combined with the negligible expense of making extra copies of standard software, would turn the computer business on its head. Personal computers could be “on every desk and in every home”. Profit would come from selling a lot of them cheaply, not servicing a few at a great price. And the company that won a large market share at the start would prevail later on.

Gates also realized that making hardware and writing software could be stronger as separate businesses. Even as firms like Apple clung on to both the computer operating system and the hardware—just as mainframe companies had—Microsoft and Intel, which designed the PC’s microprocessors, blew computing’s business model apart. Hardware and software companies innovated in an ecosystem that the Wintel duopoly tightly controlled and—in spite of the bugs and crashes—used to reap vast economies of scale and profits. When mighty IBM unwittingly granted Microsoft the right to sell its PC operating system to other hardware firms, it did not see that it was creating legions of rivals for itself. Bill Gates did.

Noel Tichy and Ram Charan have unraveled Jack Welsh’s the then interpretation of GE’s purpose and the consequent direction GE ought to chart in Speed, Simplicity, Self-confidence: an interview with Jack Welsh: In 1981, Welch declared that the company would focus its operations on three “strategic circles”—core manufacturing units such as lighting and locomotives, technology-intensive businesses, and services—and that each of its businesses would rank first or second in its global market.

GE’s strategic redirection had essentially taken shape by the end of 1986. By then, Welch has embarked on a more imposing challenge: building a revitalized “human engine” to animate GE’s formidable “business engine.”

His program had two central objectives. First, he championed a company-wide drive to identify and eliminate unproductive work in order to energize GE’s employees. Second, and perhaps of even greater significance, Welch lead a transformation of attitudes at GE—struggling, in his words, to release “emotional energy” at all levels of the organization and encourage creativity and feelings of ownership and self-worth. His ultimate goal was to create an enterprise that can tap the benefits of global scale and diversity without the stifling costs of bureaucratic controls and hierarchical authority and without a managerial focus on personal power and self-perpetuation. This requires a transformation not only of systems and procedures, but also of people themselves.

In an HBR article, Ben W Heineman, Jr. presents Steve Jobs and the Purpose of the Corporation : His deep commitment was to make innovative, robust and beautiful products that delighted customers. There can also be no question that Jobs was not focused on shareholders or taking short-cuts or short-term actions to maximize shareholder value.

In a TED Talk, Profit is not always the point, Harish Manwani while presenting the Unilever Sustainable Living Plan, which said, “Our purpose is to make sustainable living commonplace, and we are going to change the lives of one billion people over 2020”, traces his own career of how this was and is being done.

In a paper published in 2011 – The Purpose of the Corporation in Business and Law School Curricula – Darrell West examines law and business school curricula to determine which perspectives are taught in professional education, and student perceptions about business schools based on surveys at leading business programs over the past decade. The paper concludes that having broader conceptions of corporate purpose is necessary to effectively address the ways in which corporations impact life in contemporary society.

Firms of Endearment: How World-Class Companies Profit from Passion and Purpose: Rajendra S. Sisodia, David B. Wolfe, Jagdish N. Sheth, Pearson Education, February 2014, Second Edition : Today’s greatest companies are fueled by passion and purpose, not cash. They earn large profits by helping all their stakeholders thrive: customers, investors, employees, partners, communities, and society. These rare, authentic firms of endearment act in powerfully positive ways that stakeholders recognize, value, admire, and even love. They make the world better by the way they do business-and the world responds. They had created radically new rules:

  • Build a high-performance business on love (It can be done. We’ll prove it.)
  • Help people find the self-actualization they’re so desperately seeking
  • Join capitalism’s radical social transformation—or fall by the wayside
  • Don’t just talk about creating a happy, productive workplace: DO IT!
  • Honor the unspoken emotional contract you share with your stakeholders
  • Create partner relationships that really are mutually beneficial
  • Build a company that communities welcome enthusiastically
  • Help all your stakeholders win, including your investors

Chris MacDonald proposes that it really is foolish to think that the purpose of a corporation is to make money. But that’s only because it’s foolish to think that corporations have purposes at all. That is, it’s foolish to think of a large, multifaceted organization as having a single, unitary “purpose” in the universe, rather than thinking of it as serving many purposes for many interested parties. Arguing over what a corporation is “really for” — building shareholder value? making products to make people happy? Providing jobs? etc. — is a fool’s errand. He poses a question: How you should behave yourself in the course of your job, in pursuit of your goals? This is a question of ethics. And that question is much more enlightening than some grand question about purposes.

The Purpose of the Corporation project has released a video animation to review the purpose of the corporation and the myths of the shareholder value maximisation model. A backgrounder is also available online offering further information and data studies.

The Project launched a global roundtable series on corporate governance that brought together experts from business, academia, regulators and civil society to discuss the future of big business. Events were held in London (September 2015), New York (June 2015), Zurich (October 2015) and Breukelen (The Netherlands – February 2016). Paris (April 2016), Oslo (August 2016). The results of the global roundtable series were presented at a high-level conference in September 2016.

The report is available here: http://www.purposeofcorporation.org/corporate-governance-for-a-changing-world_report.pdf

In his talk, Start With Why, Simon Sinek, consultant and author, explain the emergency for companies and organizations to wonder “why”: why, fundamentally, did they build up themselves, why do they exist and which are the values in which they believe? Each company owns a combination of three strategic components: why they exist (“Why”), how they to business (“How”) and what are its products and services (“What”). The specificity of this mix, if the company succeeds in expressing it, becomes its strength. Companies that understood this approach of leadership are more innovative and more long-lasting than the others.

How to Identify Your Team or Organization’s Purpose – Jesse Lyn Stoner seeks replies to these three questions

  1. What business are you really in? Who are your customers and what do they really need from you? Knowing “what business you’re really in” informs strategic decisions.
  2. What is the real value you offer? How do people benefit from what you offer? How does your service or product benefit society at large?  A significant and valuable purpose inspires commitment and provides meaning to daily activities.
  3. What is the end-result that you offer? Focusing on the end-result you create is engaging and energizing.

The Power of Purpose for Innovation and Transformation – Cheryl J Grise and Vallerie Keller – Successful companies embed purpose at the heart of their strategy. But how do you identify and articulate a company’s purpose? And, having done so, how do you translate it into successful innovation and strategic transformation? This article provides important insight into purpose-led transformation and how it can help build a better working world.

Thus far, we have had representative samples of what the West has to say on the subject of the purpose of the corporation.

Let us now look at what Devdutt Pattanaik has to say in Segment 2: Purpose of a Corporation.

The purpose of the organization can be represented in the form of concept of happiness or LSD.

Here are the key points from his present discourse:

In India the belief is also wealth and not the only wealth. The core question that most of us are faced with in our daily existence is that what is the purpose of a corporation? What is the motivation that should ideally drive a corporation?

Typically it should not be profitability because profitability is also equal to a certain efficient way of running a certain distribution of wealth. The profits can only come if you produce goods and products that consumers wanted, in the best most efficient manner.  Is the profitability the generosity, is it ambition, is it agreed.

lsdThe motivation of corporation is to create happiness. In India currency is of three types and it was represented using the three goddesses – one goddess who is sort of famous for sitting on a lotus everywhere in India, holding an pot overflowing with wealth. Another goddess is famous because she holds a veena in one hand and scriptures in the other hand.  She is he goddess of knowledge. There is a third goddess. She has a trident in her hand.  The first one is called Lakshmi[L], second one is Saraswati [S] and the third one is Durga[D].

One represents material wealth, the second represents the intellectual wealth and the third one is emotional wealth. These are the three things that human beings transact each other.  This also represents material needs, intellectual needs and the emotional needs of a human being. The organizations have to work at all three levels,

The question is of striking a balance somewhere along the line.

If you closely look at the balanced scored, it is about LSD.

“The number of people who are really motivated by money is very small,” Drucker once remarked. “Most people need to feel that they are here for a purpose, and unless an organization can connect to this need to leave something behind that makes this a better world, or at least a different one, it won’t be successful over time.”

Follow Drucker’s lead and change work from being transactional to transformative. Productivity will go up, and so will joy at work. We may call that positive business.

We will take up discussion of Short-term or long-term thinking (professionalism or family business), as presented in the Segment 3 of the first episode of Devdutt Pattanaik’s TV serial Business Sutra in our next episode.

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

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

This is the month when the world celebrated Valentine Day. We have picked up these  topical posts to commence our present episode:

Bachapan Ki Yaad Dheere Dheere Pyaar Ban Gayi – Shaheed (1948) – Lalita Deulkar – Ghulam Haider – Qamar Jalalabadi

We will now take up the posts on the anniversaries or eulogies:

The three distinct phases of OP Nayyar’s career –  Ravindra Kelkar pans three distinct musical styles, each corresponding to three time periods of O P Nayyar’s career.  Here are three illustrations, each for a respective phase:

Taare Chandani – Baaz (1953) – Geeta Roy (Dutt) – Majrooh Sultanpuri

Man More Ga Jhoom Ke – Mangu (1954) – Asha Bhosle – Majrooh Sultanpuri

Humdum Mere Khel Na Jano – Phir Wohi Dil Laya Hoon (1963) – Mohammad Rafi, Asha Bhosle – Majrooh Sultanpuri

Remembering Madhubala, Bollywood’s Very Own Marilyn Monroe – Khalid Mohamed- republished to mark Madhubala’s birth anniversary Madhubala’s end-years were spent in deflecting an illness which had a deadline. At one point, doctors had declared that Madhubala wouldn’t last beyond a period of two years. ..Despite that, she attempted to complete the last shooting spell required for Chalak co-featuring Raj Kapoor. Lore has it that since filmmakers had stopped approaching her to act, she threw caution to the wind, and steered towards film direction. Neither this project titled Farz Aur Ishq, nor Chalak, could get to the finishing line.

Cuckoo Did Get A Mention Here On Her Birthday This Year… – Even as there is no specific post on Cuckoo,  a new comment to the old post Discussion, Info and Great Pics Related to the Earliest Appearances of Cuckoo makes up for the loss.

We have two posts on Waheeda Raheman’s birthday –

  • Waheeda Rehman – The Woman of Substance On-Screen – In Pyaasa, Mujhe Jeene Do, The Guide, Teesri Kasam and Kaagaz Ke Phool – Waheeda’s best four movies to the author’s mind – Waheeda played the women who traded their charms for sustenance.” Vijay Kumar revisits these films from the perspective of the towering women characters in them played by Waheeda Rehman.
  • In Praise of Waheeda Rehman who had quite a few songs that are songs that are paeans to her beauty, praising her charm and her loveliness, while some of the others are sheer romance, in verse.

Hua jab se dil mein tera guzar, Mujhe chain hai na qaraar hai (Zara sun haseena-e-nazneenKaun Apna Kaun Paraya (1963) – Mohammed Rafi – Ravi – Shakeel Badayuni

Remembering Faiz Ahmed Faiz Through His Aching Words – Almas Khateeb – here’s looking at some of this subtle and sophisticated poet’s works, that’ll stay with us for years to come: Faiz Ahmed Faiz and His Beguiling Poetry.

The February 2017 episode of Fading Memories, Unforgettable Songs was dedicated to ‘Some of the Talat Mahmood Duets receding from the memory’.

Here are posts on other subjects as well:

the-corsican-brothersram-aur-shyam

Films that are 50: A Dilip Kumar double treat in ‘Ram Aur Shyam’  – Nirupama Kotru – The thespian proves that comedy is as easy as tragedy in the 1967 hit comedy, which was a remake of  the popular Telugu film Ramudu Bheemudu, which in turn was loosely based on Alexander Dumas’s The Corsican Brothers.

Los Angeles, 1975. Lata Mangeshkar takes the stage. Deafening applauseMohan DeoraRachana ShahOn Stage With Lata is a different kind of memoir: it is a short history of Mangeshkhar’s concerts in the United States of America, Canada, the Caribbean and the Fiji Islands between 1975 and 1998.

Audio master: ‘Kismet’ laid the foundation of the Hindi film song as we know itRudradeep Bhattacharjee – In the 1943 blockbuster, the essential elements and conventions of the movie tune were codified, including the mukhda-antara form. Musicologist Jayson Beaster-Jones notes, “Both the film and the music of ‘Kismet’ exemplify a point just before a critical moment of transition for Indian filmmaking.”

Hope for Mumbai’s single screen cinemas after New Excelsior gets a shiny makeover – Subhash Ghai’s cinema chain has renovated and relaunched the iconic Mumbai theatre with new amenities and fewer seats.

Flowers bloom in Bollywood – D P Rangan has presented a colorful spread of Hindi film songs on flowers.

My favourites: Ten answers to the ‘Kaun Aaya’ question is in response to songs on Kaun Aaya, such as:

Chaakuwaala chhuriwaala… aaya main mastaana (Al-Hilal, 1957)

Mehfil mein jo aaye tum (Vallah Kya Baat Hai, 1962)

Ghoomke aaya hoon main… Baajewaala Patialewaala (Basant, 1960)

The Adivasi Chain Dances (Santali and Dhimsa)Circle dance, or chain dance, is a style of dance done in a circle or semicircle to musical accompaniment, such as rhythm instruments and singing. Circle dancing is probably the oldest known dance formation and was part of community life from when people first started to dance.

We end today’s episode with a prayer composed also by Mohammad Rafi

Hazrat Adam Ka Wakeya

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

Carnival of Quality Management Articles and Blogs – February, 2017

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

We will commence our episode with a few articles on Quality in our daily life.

We will now turn to our regular sections:

I have picked up the question Using the 10:1 ratio rule and the 4:1 ratio rule from the section Ask The Experts, ASQ, for our current episode. The question deals with the field of confidence in the results of calibration employed in the metrological and statistical practices recommended for Measurement and Monitoring Equipment.

ASQ CEO, Bill Troy has presented Chris Moustakas ‘s guest article – Quality Management, Continuous Improvement, and Their Relation to the Golden Circle. Chris Quotes: “ In his famous Ted talk, Simon Sinek argues that if you look at the world through the simple concentric layers of why-how-what (the Golden Circle), and push yourself as close as possible to the center circle, “why,” you position yourself to be more of a visionary than a doer. “What” we do to accomplish a goal is tactical, bland, and uninspiring. “How” we set ourselves up to accomplish that goal is strategic and implies direction. “Why” we do what we do is the million-dollar question, and where true inspiration originates.”

The subject of Golden Circle is so engrossing that I plan to devote the rest of our present episode to a few more articles on the topic.

First things first. Let us look at Executive Summary: The Golden Circle with Simon Sinek  by: Andy Partridge. When most organisations or people think, act or communicate they do so from the outside in, from WHAT to WHY. And for good reason – they go from the tangible to the intangible. We say WHAT we do, we sometimes say HOW we do it, but rarely say WHY we do WHAT we do….But not the inspired leaders and companies. Every single one of them, regardless of their size or industry thinks, acts and communicates from the inside out.

simon-sinek-quote-hire-people-for-money

How Would Simon Sinek Use The Golden Circle Rules to Explain Account-Based Marketing? – Sangram Vajre proposes a similar model for B2B Marketing:

b2b-golden-circle-model

Intrapreneurship starts with a WHY – This is part of the series of posts talking about Ecosystem Design – We fancy a good revolution where there is not difference between a customer and a worker. The employees believe in our Why and because of this choose to work in the company, and the customer believes in our Why and choose to buy in our stores. One of our goals is to find customer who believe what we believe and work together so that we can all succeed.

The Golden Circle of Innovation” – Though not focusing on the why, how and what, Crossan and Apaydin have generated an overview of all relevant theories on innovation, resulting in a framework for innovation, as depicted below….They mention two ‘dimensions of innovation’, both focusing on innovation itself and they mention several ‘determinants of innovation’, focusing on the way that innovation is accelerated and managed within organizations.

framework-for-innovation

We now watch two of the latest ASQ TV  episode:

  • Using Quality Tools at Work and Home – Yvonne Howze describes how she successfully uses quality tools in her professional and personal life, often with amusing consequences.
  • SR Offers Opportunities for Quality Professionals – “Sustainability is the goal,” says Andrea Hoffmeier in this ASQTV interview. Hoffmeier, explains how quality professionals can play a role in helping their organizations and clients reach the goal of sustainability through social responsibility. She also discusses how DMAIC can be adapted for the SR audiences.
  • Sherlock Holmes and the Case of Quality Methods – Matthew Barsalou, Statistical Problem Resolution Master Black Belt at BorgWarner Turbo Systems Engineering GmbH, discusses Sherlock Holmes, hypotheses, and root cause.
  • Becoming—and Remaining—An Engaged Company – Alyce Nelson, Executive Coach & Quality Principal, FAS. Inc., discusses how to keep staff engaged and how to keep from derailing organizational engagement.

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

Quality at the Source : QATS can produce dramatic quality improvements: Jim's GemsIn its purest form QATS defines that quality output is not only measured at the end of the production line but at every step of the manufacturing process and being the responsibility of each individual who contributes to the production of on-time delivery of a product or service…There are simple techniques for QATS to work effectively:

  • No-fault forward
  • Standardized work
  • Prepare the most important resource
  • Self-checks
  • Successive checks
  • Mistake-proof

Get In Sync : How do you reach the highest level of willingness, the level at which you boldly step forward? Bottom line, make sure you’re in sync by doing what really matters…to you.

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.

Fading Memories…. Unforgettable Songs: February, 2017

Some of the Talat Mahmood Duets receding from the memory

talat_other_singersAll the singing greats at the start of their careers – Talat Mahmood, Mohd Rafi, Kishore Kumar,  Mukesh, Geeta Dutt, GM Durrani, Meena Kapoor, Kamal Barot, Mubarak Begum and others

In the month of his birth anniversary (24-2-1924) as I sat down to list out Talat Mahmood’s duets that seemed to have receded from the memory, I had not expected to find enough numbers to make a full-fledged article. Nonetheless I had pre-set the conditions that not more than one song will be taken up per pairing partner and the music director. However whatever filters you set up, you can always find enough pearls from the very rich sea of duets of Talat Mahmood.  So here is my pick –

Mujhko  Apna Banaya Kisne Tune Sajania  Tune – Sampatti (1949) – Talat Mahmood,  Suprova Sarkar – Timir Burman  – Pandit Bhushan

For quite romantic banter between the two loved ones, the rhythm of the song may appear faster. But that does not impede understanding the feeling and enjoying the song.

Poochh Rahe Ve Yaar Ki Bibi Kaisi Ho – Shaadi Ki Raat(1950) -Talat Mahmood, G M Durrani, Surinder Kaur – Pt. Govindram – Sarshaar Sailani

We have a typical pre-marriage ceremony folk song from Punjab. Talat Mahmood seems to be enjoying the (musical) company of his partners.

Taqdeer Hansi Ansoo  Nikale, Ik Thes Lagi Dil Toot Gaya – Pagle (1950)  – Talat Mahmood , Rajkumari  – Snehal Bhatkar – Kabil  Amritsari

Here is a duet in which one singer is a just-settled newcomer and the other is a vintage era veteran.

Jawani Ke Zamane Mein Jo Dil Na Lagayega Pichche Pachchatayega – Madhubala (1950) -Talat Mahmood, Shamshad Begum – Lachhiram Tomar – Rajinder Krishna

Talat Mahmood easily matches the light mood of Shamshad Begum.

Tum Kaun Ho Rajkumari Ye Chanda Sa Mukhda Idhar To Karo – Rajput (1951) – Talat Mahmood, Madhubala Zaveri – Hansraj Behl –  Bharat Vyas

Technically, this is the debut film of Madhubala Zaveri. This seems to be the song of ‘swayamvar’.

Manna Dey joins Talat Mahmood and Madhubala Zaveri in this song.

Jao Jao Jao Aagayaa Bulawa Jung Ka

Damdi Damdi Paisa Paisa Jod Jod Mar Jaate Hain – Hamari Shaan (1951)  – Talat Mahmood, Kishore Kumar – Chitragupta – (?)

Talat Mahmood joins Kishore Kumar in a very unique combination. We also hear a very distinct third voice too, which may be that of Chitragupta, however this is just a guess.

Kahin Preet Se Bhara Koi Geet Gaa Raha – Paatal Bhairavi (1952) – Geeta Dutt, Talat Mahmood –  Ghantshala – Pt. Indra Chandra

This film is a remake of the Telugu film, so we see a very young NTR lip singing Talat Mamood’s playback. Geeta Dutt sings for Malathi. (Venkataeshwara Rao)Ghantshala was a highly respected music director of Telugu films.

Pyar Bhi Aata Hai Kabhi Gussa Bhi Aata Hai – Goonj (1952) – Asha Bhonsle, Talat Mahmood – Sardul Kwatra..

The song so vividly captures the small talk between the loved on matters of minor disagreements.

Chalo Chale Chalen Jamuna Ke Paar – Usha Kiran (1952) – Talat Mahmood,  Zohrabai Ambalewali, Uma Devi, Swaroop Lata – Hanuman PrasadAnjum Pilibhiti

Since we have only the audio clip, it is difficult to imagine who would be the three female actors for this song. The song certainly appears to be a group of friends singing together on some occasion, where the sole male actor sings “Aao Kar Le Karar  {Let us make an agreement)’ in response to the proposal of the female singers.

Chanda Tale Mushkurayen Jawaniya….Hothon Pe Aa Gayi Dil Ki Kahaniyan – Chandi Rani (1953) – Talat Mahmood , P Bhanumathi – C R Subrmanian, M Vishwanathan – Vishwamitra Adil

This film was made in Telugu, Tamil and Hindi. NTR is the hero and P Banumathi is the heroin. The additional noteworthy point for this film is that P Bahnumathi was also the director and (one of the) producer.

Here is the Telugu version of the song

Tu Ud Ja Panchhi Bawaare  Ja Dess Begane Jaa –  Aag Ka Dariya (1953) –  Talat Mahmood, Sulochana Kadam – Vinod  – Aziz Kashmiri

The song is set to a rather difficult rhythm, but still retained the melody.

Ek Dil… Do Hain Talabgaar Badi Mushkil Hai, Kashmakasha Mein Hai Mera Pyar Badi Mushkil Hai  – Darwaza (1954) – Talat Mahmood, Suman Kalyanpur – Shaukat Dehlvi ‘Nashad’ – Khumar Barabankvi

This is debut duet that Suman Kalyanpur recorded for Hindi films, when she was Suman Hemmady, a budding artist from AIR stable. In an interview, this is what she said about this song: “I was thrilled to sing with a singer, who was blessed with the best of aesthetics and melody. Talat Mehmood gave a divine effect to the song with his silk voice and I tried my best to match him. He was very pleased with my rendering..”

Aankhen Bhari Hui Hai Aur Dil Bhara Hua Hai – Majboori (1954) – Talat Mahmood, Meena Kapoor Robin Chatterjee – D  N Madhok

The song is set in soft tone in consonance with the words of the song. That has given full expression to Talat Mahmood’s velvety voice. Meena Kapoor matches every note.

Tera Bachpan Ek Kahani – Sangam (1954) – Talat Mahmood, Mubarak Begum – Ram Ganguli –S H Bihari

This is second of the three films that were named Sangam. This song definitely shows that Ram Ganguli was very much beyond Aag (1948).

Door Hote Nahin Jo Dil Mein Raha Karte Hai – Waris (1954) – Talat Mahood, Suraiya – Anil Biswas – Majrooh Sultanpuri

 Talat Mahmood – Suriya’s duet – Dil-e-Naadan Tujhe – from Mirza Ghalib or Raahi Matwale from this film itself have attained so high popularity that some of the other duets, like the present one, have been overshadowed.

Thandi Hawaon Mein Taaron Ki Chhaon  Mein Aaj Balam Mora Dole Jiya  – Bahu (1955) – Geeta Dutt, Talat Mahmood – Hemant Kumar – S H Bihari

In so far as I am concerned, the song has not at all receded from the memory. But A very unique combination of Hemant Kumar, Geeta Dutt and Talat Mahmood ought to yield such a sweet result!

Nazar Aa Nigahon Se Chhup Jane Wale – Piya (Unreleased film of 1950s) – Talat Mahmood, Nirmala – S Banerjee – Majnoon Lucknowi

The lady singer is none other than famous singer Nirmala Devi. The younger generation would like to know her as mother of 90’s dashing actor Govinda.

Main Padh Rahi Hoon Tumko, Mery Kitab Tum ho – Captain India (1960) -Talat Mahmood, Sudha Malhotra – Hemant Kedar – Rajaram Saki

Quite an out-of-box way of explain the fact that both the loved ones are trying to understand each other by really trying to read each other.

Jay Jay Bharat Desh – Matlabi Duniya (1961) – Talat Mahmood, Ameerbai Karnatki, Chorus – Shushant Banerjee – Jayanti Joshi

We have made one exception to our original filter because this is the only duet of  Talat Mahmood and Amirbai Karnataki together.

Tum Pe Quarban Dil…Shukria Aap Ke Pyar Ka – Sakhi Lutera (1969)  – Talat Mahmood, Usha Balsaver – B N Bali – Aziz Ghazi

The female singer and the music director are quite unknown names. The song is set to a brisk dance tune.

Mohabbat Ki Kahaniyan Sunane Lagi Hai Jawaniyan – Talat Mahmood, Lata Mangeshkar – Woh Din Yaad Karo (1971) – Laxmikant Pyarela – Anand Bakshi

Except Talat Mahmood and Lata Mangeshkar singing in a duet, we have quite a rare set of combinations in this song. If Laxmikant Pyarelal using voice of Talat Mahmood and that too at almost the fag end of his career, for Sanjay Kumar on the screen is not enough of such rare combinations, Sanjay Khan and Nada pairing as lead actors gets added to.  The song is quite different from LP signature compositions, except the orchestration of the second interlude. Of course, all other male songs of the film are in Mohammad Rafi’s voice.

Here is the full song, in audio format-

We will end our present Talat Mahmood episode with two instances of his Mohammad Rafi associations –

Ek Nazar Mein Dil Le Jaaye..Surat Ho To Aisi Ho – Baarish (1957) – Talat Mahmood, Mohammad Rafi, Franciz Vaz, Chitalkar – C Ramchandra – Rajendra Krishna

Today, this song would have been the cause of nation-wide agitations by the feminists – not one but four, clearly rogue-looking youths of the locality, serially, teasing the girl who has come to fill up her pots at the public tap.

love-and-god

The famous recording of K.Asif’s magnum opus “LOVE AND GOD”, in which Naushad got the top 7 playback singers of the film Industry to agree to sing as a chorus for one song  – TALAT MAHMOOD, MOHD. RAFI, MANNA DEY, HEMANT KUMAR, SUMAN KALYANPUR, KHAN MASTANA, and BALBIR photographed during the rehearsals of the recording! (www.talatmahmood.net)

Rahega Jahan Mein Tera Naam  – Love & God (1986) – Mohammad Rafi, Talat Mahmood, Manna Dey & Balbir –  Naushad Ali – Khumar Barabankvi

The film had got mired in several glitches and took a very long time in making. By the time film got released, two of its heroes, Guru Dutt and then his replacement, Sanjeev Kumar and K Asif, the director, had passed away.

These songs represent only a one of the many shades of Talat Mahmood’s duets. So, when we get the next opportunity, we will look at other shades of Talat duets.

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.

Devdutt Pattanaik’s Business Sutra |1.1 | Is there an Indian way of doing Business

business-sutra-1Business Sutra |1| Corporations

Devdutt Pattanaik opens the discussion in his TV serial Business Sutra by taking up the subject of:

What is the purpose of a corporation? Why does it exist? And is there a difference between corporations in India and those in the West? Wherefrom come these differences?

He goes on to explore the ideas of Happiness as well Strategic versus Tactical thinking. All this discussion leads one to wonder if professionalism is a good thing.

Typically, Devdutt Pattanaik gives no prescription.  He has provided the frameworks; the leader has to take the call.

In our present post, we will have a detailed look at the first of the three parts of this episode.

Business Sutra |1.1 | Is there an Indian way of doing Business

Apparently, since the core of any business activities remains more or less same, the way of doing business must also be the same anywhere. However, as is said in a 2010 HBR article – The India Way of Leading Business – these similarities are “different’ as well. In the same article, K V Kamath is quoted – “Time and again it has been proved that the Western model of doing business would not be a success here.” We “think in English and act in Indian,” is how R. Gopalakrishnan, the executive director of Tata Sons, puts it. “For the Indian manager,” he explained, “his intellectual tradition, his y-axis, is Anglo-American, and his action vector, his x-axis, is in the Indian ethos.”

The authors of this HBR article – Peter Cappelli, Harbir Singh, Jitendra Singh, and Michael Useem – in their book – The India Way: How India’s Top Business Leaders Are Revolutionizing Management – what Indian managers do differently, including: looking beyond stockholders’ interests to public mission and national purpose, drawing on improvisation, adaptation, and resilience to overcome endless hurdles, identifying products and services of compelling value to customers, investing in talent and building a stirring culture. Here are the interviews with Michael Useem and Peter Cappeli on this subject.

In an article – The Indian way of management –  published in Business Today in 2010, Sumant Sinha  notes that it’s a mix of organizational capabilities, management practices, and company culture that sets Indian enterprises apart from firms in other countries.

In an event at the American Enterprise Institute in 2014, Bill Gates speaks on what India does right

Here is one more video clip of Vodafone’s CEO Marten Pieters in a refreshingly honest conversation with ET NOW’s Sonali Krishna about the telecom industry, the plan ahead for Vodafone and why Vodafone doesn’t want to be the number one player in the country just yet, in the context of Indian business model.

This would be true for a business operating in any other country, may be some factor more dominant at one time and the other factor playing up in somewhat differently at other time.

Devdutt Pattanaik traces the roots of these differences in the (known or unknown) influence of the Indian mythology on the Indian psyche in Segment 1: On the Indian versus Western Context.

Here are the key points from his present discourse:

It was East India Company that brought to India the concept of a modern corporation a charter company issuing stock paying dividends and multinational in presence

Indians and Chinese have learned a lot from the West but they don’t have to copy. They cannot create a Chinese or Indian version for Western model.

To understand this, we need to visit the story of Alexander, The Great, when he met a naked ascetic at the bank of Indus. Though the ascetic was apparently doing nothing he did seem to be wise in every respect. Alexander asked the gymnosophist what he was doing nothing sitting over there staring at the Stars. The gymnosophist replied that I am experiencing things. He then asked Alexander as to what he was doing. Alexander said that he was conquering the world. Both laughed at each other. Alexander laughed because he thought the gymnosophist was a fool for doing nothing. The gymnosophist laughed because he thought it’s waste of life to do anything.

If we understand these differences in each other’s point of view, then we can understand the difference between the Indian mindset and the Western mindset

The Indian Way of doing business was not about doing business but using the act of doing business to figure out why you are doing what you’re doing. In the answer to that question there is growth, intellectual growth and emotional growth.

One really needs to understand the purpose of business.

It was this very point that in a 1994 Harvard Business Review article, Peter Drucker argued, “the root cause of nearly every [business] crises is not that things are being done poorly. It is not even that the wrong things are being done. Indeed, in most cases, the right things are being done—but fruitlessly.”

We will take up discussion of Purpose of Business, as presented in the Segment 2 of the first episode of Devdutt Paatanaik’s TV serial Business Sutra  in our next episode.

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

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

We will commence our current episode with the posts on the anniversaries or eulogies.

Which Was the True Voice of Pancham? – It will be 23 years since Pancham (R D Burman) on this day in 1994 left us music lovers with an awful feeling of loss just when we were about to celebrate his huge comeback. Peeyush Sharma recalls the many voices that he sang to us in, trying to really understand which his true voice was. All songs picked in this list had music by R D Burman himself. The voice had become known as a distinct and melodious one which had that ‘ras’ that was so typical of him. Mone poRe Ruby Roy (later reused as Meri bheegi bheegi si in Anamika) and Jete jete pathe holo deri (which had a Hindi reincarnation as the iconic Tere bina zindagi se koi shikwa to nahin in Aandhi) became chart-toppers in the Bengali non-film songs category.

Om Puri certainly deserved profuse eulogies in the print and net media. I have picked up the three representative ones here –

  • Om Puri – The Luminance of a Natural Actor  – Amitava Nag – Om Puri passed away on 6 January 2017 after four decades of acting. One of the pioneer faces of the Indian ‘parallel’ cinema movement of the 70s and 80s, Om Puri later on shifted to international cinema and remained a forceful actor till his last.
  • The original choice for Ahuja’s role in ‘Jaane Bhi Do Yaaro’ was… not Om Puri – Pankaj Kapoor was to play the builder Ahuja, but when he was cast in the larger role of Tarneja, Om Puri made his celebrated comic debut.
  • Everyman, comedian, sutradhaar: a tribute to Om Puri – It is a bit sad to realise that much of Puri’s best work was done between 25 and 35 years ago, that few roles in the final years did him justice…Much like the man whose hesitant voice and flashing eyes helped make them so memorable, they belong to us all. Or as JBDY’s Ahuja might slur, “Yeh films aap akayle ke nahin hain. Hum sab shareholder hain.”

Urdu Poet, Lyricist Naqsh Lyallpuri Dies at 88  – He first got break in the 1952 film Jaggu with the song Agar Teri Aakhon Se Aakhein Mila Doon (Asha Bhosale, Hansraj Behl).

From Hindi film music to raga-based symphonies, the remarkable journey of Anthony GonsalvesNaresh Fernandes pays rich tribute to the renowned musician, whose fifth death anniversary is on January 18, merged the Western classical music of his Goan heritage with Hindustani melodies.

Geeta Bali’s Personality Had the Energy of Shammi Kapoor’s Dance – Megha Mathur – This story is from The Quint’s archives and was first published on 21 January 2016. It is being republished to mark Geeta Bali’s death anniversary.

Kamal Amrohi made only four films. Fortunately for us, one of them was ‘Pakeezah’ – On the director’s birth anniversary, here is an excerpt from Vinod Mehta’s biography on Meena Kumari revisits the film’s troubled production.

The January 2017 episode of Fading Memories, Unforgettable Songs was dedicated to Dilip Dholakia as singer. This was preceded by the guest article Forgotten Composers Unforgettable Melodies (11): Dilip Dholakia, which I then had reblogged on 10-1-2017. Here we have looked at back at Dilip Dholakia from the lens of a music director of Hindi films.

Here are posts on other subjects as well:

Noor Jehan with R.D. Burman & Asha Bhosle – Asha Bhosle said that “Badnaam mohabbat kaun kare [Dost, 1944, Sajjad Hussain] is her favorite song by Noor Jehan.

noor-jehan-with-r-d-burman-asha-bhosleBharat Bhushan, Meena Kumari at premiere of Baiju Bawra (1952)

bharat-bhushan-meena-kumari-at-premiere-of-baiju-bawra-1952

From left to right: Bharat Bhushan, Meena Kumari, Meena Kumari’s sister Madhuri and Surendra, who played the role of the musician Tansen in the film.

When Cinema Matched Music Beat by Beat: Nadiya Kinare in Abhimaan  – The challenge of Nadiya kinare in Abhimaan was to create a supremely classical yet rustic song. SD Burman’s music, Majrooh Sultanpuri’s lyrics, Lata Mangeshkar’s voice along with Jaya Bhaduri and Amitabh Bachchan’s performance and Hrishikesh Mukherjee’s direction were ably supported by the competent technical crew and musicians. Anand Desai and Antara Nanda Mondal explore how master craftsmen of cinema and music matched every frame to a note in this song which can well be called a textbook in song composition and picturisation!

A snowy winter is the perfect excuse to get cuddly in Hindi film songsManish Gaekwad pens this sub-genre of Hindi Film Songs.

Film Songs Based on Classical Ragas (10) – Bihag and its family – Subodh Agrawal continues from where he had left off his series, Songs based on classical ragas.

My Favourites: ‘Kaun Aaya?’ Songs – Hindi films are full of rhetorical questions to which everyone, including the people asking those questions, know the answer… One such question is ‘Kaun aaya?’ The answer is obvious, of course (and the characters on screen know who has stolen their heart, resided in their soul, made them laugh…), but they ask (sing) the questions anyway.  The post has some excellent, but not more often heard songs –

Dhoondhta Hoon Jinko Raaton Ko Khayalon Main Mein’ – Shiv Kumar (Pathak) made his debut with Poonam KI Raat (1965). Here is the link to the song in the title of the post – Dhoondhta Hoon Jinko

Flashback 50 Years By Peeyush Sharma  – There is a marked shift in the style of compositions, change in the audience taste and acceptance of new music directors. Among the films that had their music release this year, Shankar Jaikishen, O P Nayyar and Usha Khanna each had 7 films while Madan Mohan and Ravi had five each and Hemant Kumar had three. Laxmikant Pyarelal had 10 releases to their credit – a defining year for their career. RD Burman gave his life’s first massive chart buster hit Teesri Manzil.  There were several others who scored memorable music scores in a single film or two.

  • (Part I): Shankar Jaikishan Hits of 1966 – Teesari Kasam, Gaban and Amrapali were the notable films from the point of view of the quality of songs.
  • (Part II): OP Nayyar Hits of 1966 – Bahaarein Phir Bhi Aayengi, Sawan Ki Ghata, Yeh Raat Phir Na Aayegi were the notable films from the point of view of the quality of songs.
  • (Part III): Madan Mohan Hits of 1966 – Mera Saaya, Neend Hamari Khwab Tumhare, Dulhan Ek Raat Ki were the notable films from the point of view of the quality of songs.

Steam behemoth rides in Bollywood – D P Rangan takes on the nostalgic trip to the younger days of most of the readers who are in 40+ age group.

Ten of my favourite non-romantic male-female duets which do not mention romantic love in any form, not even as part of a bhajan (the Radha-Krishna trope is one that comes to mind). And that the actors should both be adults (because there are far too many songs which have a female playback singer singing for a child onscreen) as in Saanwle-salone aaye din bahaar ke (Ek Hi Raasta, 1956).

Do actors have what it takes to stop lip-synching and start singing their own film songs? – No actor took playback singing as seriously as Premnath when he sang an Indian classical bandish Dagar Chalat Dekho in the little-known film Raja Kaka (1973). It was an enviable accomplishment that went unnoticed.

Odd(itie)s and Ends, Joys of Fusion, and Blogging Restlessness is a post that is a little more scattered and eclectic than usual, which may signal a direction for other posts to come.

Cinema classical: When Parveen Sultana trumped Kishore Kumar in ‘Hamein Tumse Pyar Kitna’Manish Gaekwad has kick started to showcase the voices of the stalwarts of Indian classical music in popular films with this song from Kudrat. Naushad introduced Parveen Sultana to Hindi moviegoers in Kaun Gali Gayo Shyam in Pakeezah (1972). The thumri was used in the background….Sultana returned to Hindi playback only in 1981 for Hamein Tumse Pyar Kitna, composed by RD Burman for the movie Kudrat. The track, in raag bhairavi, was written by Majrooh Sultanpuri. Parveen Sultana won the 1982 Filmfare trophy for her version of the song.

My Favourites: Songs of Promises – are all love songs, songs of promises between lovers. Not ‘aap ki kasam’ songs, or the breaking of promises but actual promises being asked for, or made. Promises of a future together, of hope that one will have someone with whom to share life’s struggles and happiness, of trust that one’s faith will not be betrayed. For example:

Picture the song: Guns and snogs in ‘Mile Mile Do Badan’ from ‘Black Mail’Nandini Ramnath narrates why we should trust Vijay Anand to insert a romantic song in the middle of a chase sequence and make it work…..

We end today’s episode with a INTERVIEW of Ahsan Qasim by Sanjeeb Updhyay about GREAT MOHD RAFI SAHAB – Part 1  ǁ Part 2 ǁ Part 3 ǁ Part 4

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