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

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

We begin our journey with anniversary tributes.

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

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

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

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

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

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

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

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

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

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

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

Now we move onto other articles.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Man Mohana Bade Joothe – Seema (1955) Shanker Jaikishan

• And a few Non-Lata Mangeshkar gems-

Meri Veena Ro Rahi Hai – Juthika Roy – Kamal Dasgupta

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

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

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

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

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

And now over to exclusive articles on Mohammad Rafi…

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

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

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

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

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

We have a discovery to report this month. It is a discovery on two counts – first one being that fact that I landed upon this blog only this month, though ought to have done so a little earlier, and the second one is because the blog itself is Back after a long hiatus!.

So, we will devote our beginning to posts on Songs, Stories, Books and More… Random Musings. However, we would pick up posts for the normal period of this edition and would find opportunities to delve into (relatively) older posts in the future editions of our carnival.

We have two posts on one subject, wherein both the posts have approached the subject from totally different angle. The subject is Lata Mangeshkar’s birthday (on 28th September). The First one is Happy Birthday, Lata ji,… despite loving Asha Bhosle to the core, there are many Lata songs that I am very fond of…The volume and quality of work she has behind her is unmatched and unparalleled. And this is an Asha fan saying this.. And the Second Post is: The Swar-Saamraagyi and the the Sangeet-Maartand: Best of Lata Mangeshkar by Anil Biswas, as can be expected on any SoY post, doing full justice the selection of the songs from 123 songs that Anil Biswas – LataMangeshkar combination has provided from 30 films.

October sets in… oh yes, Happy Birthday Asha Parekh… has chosen to present songs from Phir Wohi Dil Laya Hoon. Lakhon Hai Nigah Main, Zindagi Ki Raah Mein obviously draws a parallel with Jawaniyan Yeh Mast Mast Bin Piye  [Tumsa Nahin Dekha]. “Both songs are favourites though (I) prefer to watch the Tumsa Nahin Dekha song and listen to Lakhon Hai Nigah Mein!”

Gungunaoonga Yehi Geet Main Tere Liye – Remembering Sachin Dev Burman and Majrooh Sultanpuri is in memory of 108th and 95th birth anniversaries respectively. “Mohd Rafi .. happens to be.. favourite singer and I remember reading somewhere that Dada Burman wanted him to sing this song. He wasn’t in favour of Talat saab because of that tremble in his voice. But luckily for us, Jaidev (his assistant then) convinced Dada Burman to give Talat saab this song. Thank god for that. However much, I adore Rafi, no one could have sung this song better than Talat saab.”

We have a pair of very interesting posts on Asha Bhosle and Geeta Dutt on “Songs…and More”.

The recent one Chali Re Chali Re Main toh Des Parayee (Saranga, 1961) presents a haunting, plaintive number from film Saranga, one of the films that did make a very special space for Sardar Malik as quite an accomplished music director. The second one is w.r.t. Asha Bhosle’s birthday – Thank you for the music and memories, Asha ji! – which has picked up quite a melodious piece of Humming in Kashmir Ki Kali (1964), among other songs.

Geeta Dutt’s song Rut Phire Par Din Hamare was not there Pyasa.(1957), but has found its place here on account of “Thou shalt write a long post on at least one Sahir Ludhianvi song per week” policy. Rut Phire Par din Hamare Phire Na (Pyaasa, 1957) recollects the topic of this song in Nasreen Munni Kabir’s book (Conversations with Waheeda Rehman). According tConversations with Waheeda Rehmano Waheeda, this song had been filmed with her rowing in a boat and everyone had appreciated the picturisation. However Waheeda Rehman differed with the view and she apparently pointed out that having that song slows the pace of the story and is just boring. Guru Dutt had heard her criticism and after the first screening, had agreed with her observation (seeing people walk out for a bathroom or coffee break), had taken it off. Excerpts from this bok can be glanced at Excerpt | Conversations With Waheeda Rehman. The other one is Na Main Dhan Chahun Na Ratan Chahun (Kala Bazaar, 1960), This duet, by Geeta Dutt and Sudha Malhotra is said to have ben (actually) composed by Jaidev, the then assistant to S D Burman. This seems quite logical since “Jaidev’s bhajans from Hum Dono (1961) are remembered to the day – Allah Tero Naam, and Prabhu Tero Naam.”

Guru Dutt’s 50th death anniversary brings in San San San Woh Chali Hawa – Kaagaz Ke Phool, 1959 ‘to remember Guru Dutt not as the melancholic, unhappy genius film maker but in happier times with a happy number! He was after all only 39 when he died.’

We have several other anniversary posts in the present episode of the carnival.

Happy 88th Birthday, Madam Noor Jehan! has clips of the entire ‘90s interview on BBC plus all of Noor Jehan birthday posts going back to 2009. A veritable treasure in on Noor Jehan, in one place !

On Begum Akhtar’s birth centenary, a musical tribute at her grave…..One hundred years after she was born, Begum Akhtar is being remembered and celebrated at the place where she was laid to rest.

clip_image002How Begum Akhtar changed my life: a tribute on the singer’s 100th birth anniversaryTisha Srivastav

“Now as a woman in my 40s, having lived life a little, the Begum is back in my life, as a modern-day primer to soothe me into understanding the subtext of experiences. Of love, shocks, surprises, loneliness, romancing life itself and laughing at one’s obsessions.”

The Lonely Ghazal Queen: Begum Akhtar , a legend in her lifetime, who achieved enormous fame at a very young age, and gave joy to millions of listeners of many generations, including doyens like Mehdi Hasan, Talat Mahmood, Madan Mohan, Pt. Jasraj and Pt. Ravi Shankar, Begum Akhtar’s own life seems to be full of sorrow, pain, abusive relationships, betrayal by people she loved and a deep melancholy.

Unfathomable greatnessSaleem Kidwai

The way [Begum Akhtar] would split words or combine them into musical phrases shows how comfortable she was with Urdu’s poetic idiom. This musical comfort level with the language also marked out some of her younger contemporaries like Mehdi Hasan, Iqbal Bano and Farida Khanum, and is sadly missing from most other singers.

Kishore Kumar’s duets by SD Burman : “With 115 songs, he gave Kishore Kumar more songs than any other (male) singer. Surjit Singh’s site indicates that out of this only 53 were solos, and 51 were Male –Female duets, 8 Male duets and 3 other songs. “.. and even die-hard opinionated person like me would very happily concede that quite a few of these pre-Aradhana duets did creditable justice to S D Burman’s marked preference to Kishore Kumar.

Geet Gaya Paththaron Ne – Rajakamal Studio is very passionate retrospective of films that have created a very respectable distinctive position for V. Shantaram. The post also carries link to a song each from Rajakamal Studio’s films from Shakuntala (1943) to Pinjra (1973).

My Favourites: Songs of Yearning – This ‘someone’ is a very hazy concept. We don’t usually know who, or how or when or where we will meet this particular person; we don’t even know that we will meet that special someone. And we do, perhaps – through choice, through circumstance, through fate. Or the someone we find becomes special. But in the meanwhile, we have our own hopes, dreams and expectations of finding that glorious love

Ten of my favourite string instrument songs, where it’s not an orchestra (Ted Lyons and His Cubs, anyone? Or The Monkees?), but a hero or heroine, not a professional musician, being the one ‘playing’ an instrument?

Radio Playback India has presented Raag Hansdhwani by Hariprasad Chaurasia.. I have especial fascination for Raag Hansdhwani, primarily because of Jaa To Se Nahin Bolun Kanhaiya , A Lata Mangeshakar – Manna Dey Duet from film Parivar(1956) , and then because of this song I landed upon this very famous Taranaa by Pandit Amir Khan Saheb Incidentally one of initial blog post is a compilation [Part I, Part II and Part III] of all that I could gather at that time on internet on Hansdhwani.

In our now a regular visit to Suresh Chandvankar’s articles, we have a topical article – When Bollywood maestros collaborated to put a Gandhi prayer to melody. The film musician Vasant Desai cut a disc of Gandhiji’s poem, sung by Manna Dey and Chorus. Gandhiji is credited as the lyricist .

How a goatherd and Mozart inspired the score for Bimal Roy’s ‘Madhumati’, is an excerpt, from Bimal Roy’s Madhumati: Untold Stories from Behind the Scenes by Rinki Roy Bhattacharya published by Rupa Publications India Pvt. Ltd..

Tamilnadus’ (ex)CM J. Jayalalitha was in the news recently. But we recall hereFour dance sequences from classic Jayalalithaa movies, of which one is from Hindi film Izzat (1967) – Jaagi Badan Men Jwala, Saiyan Tune Kya Kar Dala.

MANMOHAN KRISHNA SINGS FOR OP NAYYAR is one more post where we have very unique songs. Of the two non-film songs, both penned by Saroj Mohini Nayyar, the first one is Buje Diye Hua Andhera and the second one is Diya To Jala Sab Raat Re Balam. The latter song was also recorded in film Dhake Ki Malamal by C H Atma .

We round off this carnival edition with a post from Songs..Books and More – Sabhi Kuch Lutakar (Singer – Mohd Rafi, Movie Indrani, 1958) is a “wonderful romantic Hindi number was from an old Bengali film It is picturised on an unknown face. This man (a vagabond?) is strumming a guitar and singing this song. He is watched by Kumar and Sen – a just married couple – standing outside in the veranda of their house. Interspersed with Bengali dialogues, the mood of the song is indeed very romantic.”

Carnival of Quality Management Articles and Blogs – October 2014

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

Having traversed the topics of Non-Compliance and subsequent CAPA in our earlier editions, we now take a look at the next logical step in the chain – Continual Improvement.

Be it a student or a practitioner of Quality Management, the subject is certainly not new. Hence, we will endeavour to present here the articles that shed some new perspective on the subject.

What is CONTINUAL IMPROVEMENT?Improvement that occurs in spurts that reoccur

CONTINUAL IMPROVEMENT WITHIN THE QUALITY MANAGEMENT SYSTEMS sets the tone for the subject.

Continual improvement

Continual improvement should focus on enablers such as leadership, communication, resources, organisation architecture, people and processes – in other words, everything in the organisation, in all functions at all levels… Departmental improvements may merely move the constraints or problem somewhere else in the process chain.

Improvement is not about using a set of tools and techniques. Improvement is not going through the motions of organising improvement teams and training people. Improvement is a result, so it can only be claimed after there has been a beneficial change in an organisation’s performance.

Why Continuous Improvement May Need To Be DiscontinuedRon Askenas

As innovation thinker Vijay Govindarajan says, “The more you hardwire a company on total quality management, [the more] it is going to hurt breakthrough innovation. The mindset that is needed, the capabilities that are needed, the metrics that are needed, the whole culture that is needed for discontinuous innovation, are fundamentally different.”

It’s time to nuance our approach in the following ways:

Customize how and where continuous improvement is applied. One size of continuous improvement doesn’t fit all parts of the organization.

Question whether processes should be improved, eliminated, or disrupted. Too many continuous improvement projects focus so much on gaining efficiencies that they don’t challenge the basic assumptions of what’s being done.

Assess the impact on company culture.

When Your Past Success Becomes An ObstacleKarol Kinsey Goman

One of the greatest challenges for a leader who wants his or her team to thrive in changing times is to identify those practices and attitudes that need to be eliminated in order to more quickly adopt new behaviors. Here are five key questions that you should ask your team members to consider:

1. What do we do best? (What skills, abilities, and attitudes are we most proud of?)

2. Which of these current skills, abilities, and attitudes will continue to make us successful in the future?

3. What do we need to unlearn? (Which skills are becoming obsolete? What practices — attitudes, behaviors, work routines, etc. — that worked for us in the past may be a detriment in the future?)

4. How does our competence stop us from doing things differently? (Where are the “comfort zones” we’re most reluctant to leave?)

5. What new skills do we need to learn to stay valuable to the organization?

You Are Either Getting Better Or You Are Getting Worse — Here’s How To Get Better – Paul B Brown

You have to keep getting better…Everyone acknowledges that–in theory.  In practice it tends to fall apart, ironically, when things are good…. Waiting until have to change is never good…. Far better is trying to improve slightly every single day.

The subject of Continual Improvement cannot be done enough justice if we address it in only one post in our Blog Carnival. So, we will continue in next two Carnival editions…..

We turn to our regular sections now:

Bill Troy, ASQ CEO opens up the debate on Charting A Strategy For Quality–And Beyond

“The purpose of strategy, after all, is to answer this question: How do you get from where you are to where you want to be?  What is your path?  How are you going to get there, what steps do you need to take, and in what order?

“I’d like to offer five key questions about strategy that you may find useful as you work on your own strategic planning.

  1. What are your key facts and assumptions?
  2. What is your theory of victory?
  3. Can you actually accomplish each aspect of your strategy?
  4. Is your organization doing things that sit outside your strategy?
  5. Have you left enough planning time to test your strategy?

“One caveat: Determine how much time you have to spend on strategy and act accordingly. We all must get things done, so we must not fall to “paralysis by analysis.” We can only admire the problem for so long. A good rule of thumb many of us learned in the military is the one-third, two-thirds rule”, i.e. leave two-thirds of the time to others for absorbing, implementing and improving upon the strategy.

Julia McIntosh, ASQ communications , in her ‘September Roundup: What’s the Best Approach to Strategy?’ presents views expressed by ASQ Bloggers on the subject.

And then move over to ASQ TV Episode s:

Quality Improves Government

Around the world, government agencies are using quality tools and implementing quality methods to make noticeable and sustainable improvements. This episode of ASQ TV looks at two positive stories, addressing the importance of quality in government. Manu Vora interview Milwaukee Public Health Lab

Related additional video:

               Manu Vora and V.K. Agnihotri advocate quality in government by discussing quality’s role in the government of India now and for the future.

Soft Skills-Leadership and Management

It’s one thing to know the ins and outs of your industry and profession. But you can’t be an effective leader and drive change in your field without soft skills. This episode of ASQ TV describes what soft skills are and how mastering them will help you get ahead in your day-to-day relationships and, ultimately, your career.

Rosemarie Christopher’s Career Corner columns

Related additional video:

According to author and speaker Simon T. Bailey, it’s important for leaders to also think big-picture to truly drive change. In this segment, hear how leaders should consider the story they’re telling, how they can sustain their leadership and what quality leaders can do to take initiative in their organizations. View Bailey’s 2014 World Conference on Quality and Improvement keynote speech, available on demand

To motivate employees and develop high-performing work relationships, leaders must understand that all people have certain needs that must be met in the workplace. In this segment, learn about the desires of each person to help you connect with people for meaningful work relationships and long-term productivity.

Our ASQ’s Influential Voice for the month is – John Priebe

clip_image001John Priebe is vice president of business quality for NBCUniversal and a Lean Six Sigma Black Belt with experience in process improvement, innovation, and quality control. He blogs at JohnPriebe.com with a headline tag as Innovation | Quality | Leadership.

A majority of the posts relate to discussions on the topics at ASQ Influential Voices, with quite few of the topics interspersed I between. Here is one such post: The Emergent Culture: Be the Change You Wish to See.. The article draws up a parallel with a natural biological phenomenon known as ‘emergent behaviour, in a flock of birds. Of course, in case of human beings, it is a long road, but the journey can well be begun by “be the change you wish to see in the world”.

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

However , in such an event, we do pick up an interesting article posted recently. We pick up Take Advantage of the Strengths Each Person Brings to Work for our present edition.

clip_image002Managers should be setting up the organization to take maximum advantage of the strengths of the people in the organization while minimizing the impact of weaknesses.

This needs a ‘refusing to fail’ attitude so as to ‘create a system that works and builds on the skills, ability and desire to do great work that your employees bring to work.’

W. Edwards Deming: “the aim of leadership is not merely to find and record failures of men, but to remove the causes of failure: to help people to do a better job with less effort.”

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

Wishing Very Happy Diwali festivities to all………

Carnival of Blogs on Golden Era of Hindi Film Music–August 2014–Part II

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Welcome to Part II of August, 2014 edition of Carnival of Blogs on Golden Era of Hindi Film Music.

We had broken down the present edition in the two parts to make the posts reasonably presentable.

In the first part of the article, we have has a d detailed look at arrange of sols under a range of music directors across the entire spectrum of Mohammad Rafi’s active career as well his duets with S D Burman.

We now move on…….

We take up one more post which looks at Mohammad Rafi’s solo songs, from the archives of Dusted off, for a detailed listing of the song..

Rafi in Ten Moods showcases the breathtaking versatility of this man and his voice in these ten songs.

Cynical: Yeh duniya agar mil bhi jaaye Pyaasa
Devotional: Man tarpat Hari darshan ko aaj Baiju Bawra
Exuberant: Duniya paagal hai ya phir main deewaana Shagird
Patriotic: Yeh desh hai veer jawaanon ka Naya Daur
Romantic: Deewaana hua baadal Kashmir ki Kali
Comic: Jangal mein mor naacha Madhumati
Melancholic: Dekhi zamaane ki yaari Kaagaz ke Phool
Seductive: Aaja re aa zara aa Love in Tokyo
Philosophical:  Man re tu kaahe na dheer dhare Chitralekha
Empathetic: Tukde hain mere dil ke Mere Sanam

Part I spurred Rafi in Ten Moods – Part II, which also needs to be tied up here:

Philosophical: Aaj puraani raahon se, Aadmi
Gloomy/Sad: Aye mere dost aye mere humdum, Meherbaan
Devotional: Insaaf ka mandir hai, Amar
Lovesick: Aanchal mein sajaa lena kaliyaan, Phir Wohi Dil Laya Hoon
Classical: Madhuban mein radhika naache re, Kohinoor
Heroic/Royal: Hoshiyaar! jaanewaale zara hoshiyaar, Raj Kumar
Praise/Taareef: Salaam aap ki meethi Boyfriend
Adoring: Yeh teri saadgi yeh tera baankpan, Shabnam
Patriotic: Jahaan daal daal par, Sikander-E-Azam
Romantic: Door reh kar na karo baat, Amaanat

We now again turn back to Mohammad Rafi in duets with female as well male singers in The Legends: Mohammed Rafi – Part 2. Each of the song is supplemented by a second choice as well, to which we have added choices by the readers.

With Lata Mangesgkar
Aansoo Husnlal Bhagatram Sun meri saajna re 1953
Maya Salil Chuadhary Tasveer teri dil mein 1961
Piya Milan Ki Aas S N Tripathi Tune Chhal Kiya
Dil Tera Diwana Shanker Jaikishn Mujhe kitna pyar hai tumse 1962
With Asha Bhosle
Banarasi Thug Iqbal Quereshi Aaj mausam ki masti 1962
Phir Wohi Dil Laya Hoon O P Nayyar Nazneen bada rangeen hai 1963
Chah Cha Cha Iqbal Quereshi Ek chameli ke mandve tale 1964
Kashmir Ki Kali O P Nayyar Deewana Hua Badal
Tu Hi Meri Zindagi Rono Mukherji Jidhar bhi main dekhun 1965
With Geeta Dutt
Aar Paar O P Nayyar Arre na na na na na na tauba tauba 1954
Mr. & Mrs. 55 O P Nayyar Udhar tum haseen ho 1955
Bade Sarkar O P Nayyar Jahan Jahan Khayal 1957
12 O’clock O P Nayyar Dekh idhar ae haseena 1958
With Noorjehan
Jugnu Feroz Nizami Yahan badla wafa ka 1947
With Shamshad Begum
Chandani Raat Naushad Chheen ke dil kyun pher li aankhen 1949
Kaise baje dil ka sitar
Sindbad The Sailor Chitragupt Adaa se jhoomte huye 1952
Sawan Hansraj Behl Bheega bheega pyar ka sama 1959
Rail Ka Dibba Ghulam Mohammad La de mohe balma aasmani 1953
Aag Ram Ganguly Solah baras ki bhayee umariya 1948
Wih Suraiya
Dastan Naushad Ta ra ri a ra ri 1950
Shama Parwana Ghulam Mohammad Beqarar sa koi 1954
With Suman Kalyanpur
Black Cat N Dutta Nashe Mein Hum 1959
Shagoon Khayyam Parbaton ke pedon par 1964
Jee Chahta Hai Kalyanji Anandji Ae jaan-e-tamanna
Bheegi Raat Roshan Aise ta no dekho 1965
Mohabbat Isko Kahete Hain Khayyam Thaheriye hosh mein
Brahmchari Shanker Jaikishan Aaj kal tere mere pyar ke charche 1968
With Sudha Malhotra
Detective Mukul Roy Aankhon pe bharosa mat kar 1958
With Lalita Deolkar
Saajan C Ramchandra Humko tumhara hi Aashara 1947
With Aarti Mukherjee
Boy Friend Shanker Jaikishan Aigo Aigo yeh kya ho gaya 1961
With Usha Khanna
Daku Mangal Sinh Usha Khanna Sone ke tere 1966
With Talat Mahmood
Sushila C Arjun Gham ki andheri raat mein  1966
With Kishore Kumar
Akalmand O P Nayyar Do Akalmand do fikarmand 1966
Chupke Chupke S D Burman Sa re ga ma 1975
With Manna Dey
Parvarish Dattaram Mama o mama 1958
Sachai Shanker Jaikishan Ae Dost Maine Duniya Part I 1969
Part II
Part III
With Mukesh
Do Jasoos Ravindra Jain Do jasoos kare mehsoos 1975
With Chitalkar
Sagai C Ramchandra Haseenon ki gaadi mein 1951
With S D Batish
Chand Ki Duniya S D Batish Hoke rocket pe sawaar 1959

We will also take a brief look at some more articles for the archives of several other blogs. Each of the article does merit a very detailed look in :

We do agree that what we have covered is hardly a drop from the ocean of facts, fictions and reviews written about Mohammed Rafi, during and after his lifetime.

That is the beauty of Rafi saga- after you have said everything you wanted to say, there is still so much left to say…….

Carnival of Blogs on Golden Era of Hindi Film Music–August 2014–Part I

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Welcome to Part I of August, 2014 edition of Carnival of Blogs on Golden Era of Hindi Film Music.

31st July is the anniversary of Mohammed Rafi. So, we will devote this entire edition exclusively to what is published on the occasion.

For the present edition have three articles form that two of our regular blogs and one for the archives of another of our regular blog which have full length articles to commemorate the day. Each of these articles, and the discussions thereon, have been so rich in the selection of the songs that we will move away from our regular pattern of briefly visiting the content of the post, collate the songs form the post and the discussions and list of each of the song individually. However, for the other articles, we would follow our usual practice.

Our first call is The Legends: Mohammed Rafi.

The post has narrated each of the song in the descending order of the year in which the film was released. Therefore, we have added up and arranged the listing of the songs referred to in the discussion in similar fashion.

Year: 1947
C Ramchandra Saajan Humko tumhara hi Aashara
Year: 1949
Naushad Dulari Suhani raat dhal chuki
Year: 1954
Ghulam Mohammed Mirza Ghalib Hai bas ke har ek
Husnlal Bhagatram Shama Parwana Tu ne mera yaar
Year: 1956
Shankar-Jaikishen Basant Bahar Duniya na bhaye mohe
O P Nayyar Chhoomantar Garib Janke Humko Na Tum
Year: 1957
Hansraj Behl Changez Khan Mohabbat zinda rehti hai
O P Nayyar Tum Sa Nahin Dekha Jawaniyan yeh mast mast bin piye
O P Nayyar Naya Daur Aana Hai To Aa
Dattaram Ab Dilli Door Nahin Chun Chun Karti Aayi Chidiyan
Year: 1958
Salil Choudhary Madhumati Toote hue khwabon ne
S D Burman Kala Pani Ham bekhudi mein tum ko
Year 1959
Usha Khanna Dil Deke Dekho Hum aur tum aur ye sama
Year: 1960
S N Tripathi Lal Quila Lagta nahin hai dil mera ujde dayaar mein
Ravi Chaudhavi Ka Chand Ye Lucknow Ki Sar Zameen
S D Burman Bombai Ka Babu Saathi na koi manzil
Iqbal Quereshi Bindiya Main Apne Aap Se Gabhar Gaya Hun
Year: 1961
Khayyam Shola Aur Shabnam Jaane kya doondhte rehti hain
Naushad Ganga Jamuna Nain lad jai hein
N Datta Kala Samundar Meri Tasveer lekar kya karoge…
Salil Chaudhary Maya Koi Sone ke Dil wala
Year: 1962
Roshan Vallah Kya Baat Hai Gham-e-Hasti se beghana hota
S D Burman Baat Ek Raat Ki Akela hoon main
Year: 1963
S D Burman Tere Ghar Ke Samne Tu kahan ye bata
Pt. Ravi Shankar Godaan Pipra ke patwa
Laxmikant Pyarelal Parasmani Roshan tumhi se duniya
N Dutta Gyrah Hazar Ladkiyan Dil ki tamanna thi (solo)
Dil Ki Tamanna thi…. (with Asha Bhosle)
Year: 1964
Roshan Chitralekha Man re tu kahe na dheer dhare
Kalyanji Anandji Ishaara Dil beqaraar sa hai
Iqbal Qureshi Cha Cha Cha Woh Hum Na Thi Woh Tum Na Thi
Madan Mohan Haqueequat Mein ye Soch kar uske dar se utha tha
C Arjun Punar Milan Paas baitho tabiyat behal jayegi,
Madan Mohan Sharabi Kabhi na Kabhi Kahin na kahin
Jaidev Hum Dono Main zindagi ka saath nibhata chala
S D Burman Ziddi Jaanu Kya Mera Dil
Year: 1965
Ravi Kaajal Choo lene do nazuk hothon ko
Chitragupt Akashdeep Mujhe dard-e-dil ka pata na tha
O P Nayyar Mere Sanam Pukarta chala hoon main
Shanker Jaikishan Raj Hath Aaye Bahar Ban Ke
G S Kohli Adventures of Robinhood Maana Mere Haseen Sanam
Year: 1966
Madan Mohan Dulhan Ek Raat Ki Ek haseen shaam ko
O P Nayyar Baharen Phit Bhji Aayegi Aap ke haseen rukh pe
R D Burman Teesri Manzil Deewana mujhsa nahin
Usha Khanna Shabanam Maine Rakha Hei Mohabbat
Chitragupt Oonche Log Jaag dil-e-diwana
Year: 1967
Laxmikant Pyarelal Chhaila Babu Tere pyar ne mujhe gham diya
R D Burman Bahaon Ke Sapne Jamaane ne maare jawaan kaise
Year: 1968
Laxmikant Pyarelal Mere Hamdam Mere Dost Hui sham unka khaya aa gaya
Roshan Anokhi Raat Mile na phool to katon se dosti karli
Year: 1977
Khayyam Shanker Hussain Kahin ek masum nazuk si ladki

And then we take up Rafi’s duets by SD Burman.

The total MF duets of Md.Rafi for S D Burman would be 39. Here is the break-up.

Pre 1957 – Lata Mangeshkar 1, Geeta Dutt 4, Total: 5
1957-67 – Lata Mangeshkar 6, Geeta Dutt 5, Asha Bhosle 17, Kamala Sista 1, Total 29
After 1967 – Lata Mangeshkar 4, Asha Bhosle 1, Total 5

In all, with Lata Mangeshkar 11, Geeta Dutt 9, Asha Bhosle 18, Kamala Sista 1, Total 39
One duet with Shamsad Begum for the unreleased film Sazaa not included.

We have rearranged the songs in the post as well as the songs in the discussions and grouped them with the accompanying female playback singer.

 

With Geeta Dutt
Naujawan 1951 Panghat pe dekho aayi milan ki bela
Zara Jhoom Le
Jeevan Jyoti 1953 Lag gayi akhiyan tumse mori
Pyasa 1957 Hum aapki ankhon mein is dil ko basa lein to
Kaala Baazar 1960 Rimjhim ke taraane le ke aayi barsaat
Ek Ke Baad Ek Batao kya karungi
Manzil Chupke se mile pyaase do dil
Miyan Bibi Razi Tune Le Liya Hai
With Asha Bhosle
Nau Do Gyarah 1957 Aaja panchchi akela hai
Kala Pani 1958 Achchaji Main haari chalo maan jao
Insaan Jaag Utha 1959 Chand sa mukhada kyon sharamaya
Bombai Ka Babu 1960 Deewana Mastana Hua Dil
Manzil Dil to hai deewana na
Baat Ek Raat Ki Jo hai deewane pyar ke
Sheeshe ka ho ya paththar ka dil
Kaise Kahoon 1964 Kisi ki muhabbat mein
Dr. Vidya Yoon hans hans ken a dekho
With Lata Mangeshkar
Ek Nazar 1951 Mujhe preet nagariya hai
Tere Ghar Ke Samne 1963 Dekho rootha na karo
Dr. Vidya 1964 Main kal phir miloongi
Jwel Thief 1967 Dil Pukare Aare Aare
Talash 1969 Palkon ke peechche se tumne kya
Ishq Par Zor Nahin 1970 Ye dil deewana hai
With Kamla Sista
Miya Bibi Raazi 1964 Paani hota doob jaati
With Suman Kalyanpur and S D Batish
Kaise Kahoon 1964 Manmohan man mein ho tumhi

We have two more articles which also deserve a similar full scale drill-down. However, in order to maintain the normal length of a post, we have taken up those two articles in the immediately following part -2 of this post.

Before we close, we would record some of the archived posts for this part of the article:

Carnival of Quality Management Articles and Blogs – August 2014 Edition

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

We have had a fairly good look at the world of nonconformance in the previous editions of the blog carnival. [Blog Carnival Edition of March 2014) /: Blog Carnival Edition of April 2014), Blog Carnival Edition of May 2014, Blog Carnival Edition of June 2014) and Blog Carnival Edition of July 2014].

The next logical step is to address the nonconformance. Correction, Corrective Action and Preventive Action are the most usually traversed paths for this purpose.

We dedicate the present edition of our Blog Carnival to Correction, Corrective Action and Preventive Action.

Correction versus Corrective Action

Correction is taken to rectify a known non-conformance; Corrective Action is taken to prevent recurrence of said non-conformance.

Related Articles and Dictionary Terms:

Corrective vs. Preventive Action by Russ Westcott

[ISO 9001] section 8.5.2 says corrective action eliminates the cause of nonconformities to prevent recurrence, and section 8.5.3 says preventive action determines and eliminates the causes of potential nonconformities … to prevent occurrence.

One way to dispel these is by separating situations into … a patch (a single occurrence of a nonconformity that involves little risk and needs not be recorded), a corrective action (a more serious nonconformity involving some risk that requires action to prevent recurrence and must be recorded), a preventive action (a process that can be improved to prevent occurrence of a nonconformity and is to be documented) or a developmental action (a planned change to introduce a new process or product in response to strategic objectives, documented as a preventive action).

Corrective and preventive action (CAPA, also called corrective action / preventive action, or simply corrective action) are improvements to an organization’s processes taken to eliminate causes of non-conformities or other undesirable situations. CAPA is a concept within good manufacturing practice (GMP), and numerous ISO business standards. It focuses on the systematic investigation of the root causes of identified problems or identified risks in an attempt to prevent their recurrence (for corrective action) or to prevent occurrence (for preventive action).

Corrective actions are implemented in response to customer complaints, unacceptable levels of product non-conformance, issues identified during an internal audit, or adverse or unstable trends in product and process monitoring such as would be identified by SPC. Preventive actions are implemented in response to the identification of potential sources of non-conformity.

To ensure that corrective and preventive actions are effective, the systematic investigation of the root causes of failure is pivotal.

What is a Corrective Action Plan? – Definition, Procedures & Examples – A corrective action plan is a document describing exactly how a specific situation will be changed to better meet the goals of the company.

Monitoring corrective action – The table [in the article] illustrates the various steps that are taken by Electrolux when cases of non-compliance are found in our supply chain. Findings are graded in order of severity and range from Acceptable Findings to Zero Tolerance issues.

Corrective Action Challenge - How to construct a robust problem-solving process – R. Dan Reid

Recent data for ISO Technical Specification (TS) 16949 global certification audits show that clause 8.5.2, corrective action, is the one most frequently cited for major nonconformities, and it’s eighth on the list for minor ones.

In addition to the ISO 9001 requirements, ISO/TS 16949 requirements for this clause include sub-elements for:

  • Problem solving.
  • Error proofing.
  • Corrective action impact.
  • Rejected product test and analysis.

Clause 8.5.2.1 of ISO/TS 16949 requires that organizations "have a defined process for problem solving, leading to root cause identification and elimination."

Writing an Effective Corrective Action Plan

Step 1: Clearly state the problem or weakness, including the root cause.

Step 2: List the individuals who will be accountable for the results of the corrective action

Step 3: Create simple, measurable solutions that address the root cause

Step 4: Each solution should have a person that is accountable for it.

Step 5: Set achievable deadlines

Step 6: Monitor the progress of your plan.

One post of an edition of blog carnival cannot ever do full justice to a wide gamut of methods and issues related to Correction, Corrective Action and Preventive Action. So, we will take note of a few, additional, representative articles here:

We turn to our regular sections now:

ASQ Influential Voices bloggers are sharing their thoughts on the benefits of blogging and social media use–and where to start if you’re interested in doing the same, in Learning About Social Media With ASQ Bloggers. And for a deeper dive into the hows and whys of blogging, please read the article “Blog Boom” in July Quality Progress. It’s an in-depth conversation with ASQ Influential Voices bloggers Dan Zrymiak, Jennifer Stepniowski, Mark Graban, Jimena Calfa, and John Hunter.

In Establishing a Culture of Excellence: A Conversation With Arun Hariharan, is about key lessons in establishing a culture of continuous permanent improvement.

Blogger Round Up for July 2014, What’s the Purpose of Vision? is the ASQ’s Influential Voices bloggers’ response to a prompt about the clarity of focus at Volvo and Ikea and their thoughts on how to achieve and articulate an organizational purpose.

And then move over to ASQ TV Episode : Quality in Athletics examines the connection between quality, athletics and fitness

Related Video:

ISO 9001 Helps Soccer Team Improve All-Around – Monarcas Morelia, a team in the Mexican Football Federation, was finishing in the bottom of its league and losing money. In this video, learn how it turned things around by implementing a quality management system and becoming ISO 9001 certified. Read the full story

Our ASQ’s Influential Voice for the month is – Dr. Michael Noble

Dr. Michael Noble writes the Making Medical Lab Quality Relevant blog. He is a medical microbiologist within the Department of Pathology and Laboratory Medicine in the University of British Columbia, Vancouver, Canada. Dr. Noble is a self-declared "medical qualitologist" actively involved in national and international standards development, and is a provider of quality-oriented education and laboratory quality assessment.

Making Medical Lab Quality Relevant is a “discussion site for folks interested in improving the quality of medical laboratories. Most will be the thoughts and vents of a long time player in the medical laboratory quality from many perspectives, complex and basic laboratories, developed and developing countries, research and new knowledge.” The site has

§ About Michael Noble

§ Clinical Microbiology Proficiency Testing program

§ Program Office for Laboratory Quality Management

§ Sites for Visiting

                                                                     pages.

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

However , in such an event, we do pick up an interesting article posted recently. We pick up Children are Amazingly Creative At Solving Problems for our present edition.

“Preschoolers are curious about almost everything. Postschoolers are curious about almost nothing.” – Russell Ackoff

Related: Taking Risks Based on EvidenceNaturally Curious ChildrenLearn by Seeking Knowledge, Don’t Only Learn from MistakesEncouraging Curiosity in KidsExtrinsic Incentives Kill Creativity

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

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

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

For the period of the current edition of the Carnival of Blogs on Golden Era of Hindi Film Music, we have birth anniversaries of two music directors whose work apparently spans two ends of the spectrum of Golden Period.

We take up the first chronological end – Anil Biswas.

Remembering Anil Biswas, The SingerA tribute on Anil Biswas’s Birth Centenary (b. 7 July 1914; d. 31 May 2003)

“Songs of Yore heralded 2014 as the Year of Anil Biswas with Inaugural post by his daughter, Shikha Biswas Vohra – Anil Biswas: The Maestro and My Father. We have since had three more posts dedicated to him with his songs for Suraiya, Talat Mahmood, and his sister, Parul Ghosh…… Therefore, in our tribute to the Bhishm Pitamah in his Centenary Year, it is important to remember him as a singer too.”

The Maker of Mukesh: Anil Biswas’s opening paints a very vivid picture of the role of Anil Biswas – a Guru (of those days), in general, and the extent to which he would take pains for his passion – the music. While continuing the Centenary Tributes to Anil Biswas, SoY pays a very special tribute to Mukesh as well on his 91st birth anniversary (on 22nd July).

The Masters: Sajjad Hussain quite vividly portrays the nuances of Sajjad’s music. “According to his son, the principled musician had no regrets or bitterness. He had lived life on his own terms, and had been admired as a musician par excellence by his contemporaries. History deals with him kindly as well, recognising the talent that preferred to remain unused but would never compromise. The body of work that he left behind has delighted music connoisseurs for generations, and it will continue to do so for as long as there are people who listen to Hindi film music from the golden age.”

Bulo C Rani – Phoolon Se Hum Shikhenge , Fariyad Na Karana, Ro Lena presents a bouquet of songs by one of the highly meritorious music directors of the Golden Period who could never hit the commercial success. The article is in Gujarati, but that should not come in the way of enjoying the melodies presented therein.

Atul’s Bollywood Song A Day– With Full Lyrics has crossed a great milestones of publishing 10,000 songs. To commemorate the event, several regular guest writers have contributed a post on this occasion. Visiting these posts is a subject by itself, which we would take up separately.

Forgotten Melodies (Part 2) – Sweet Melodies From My Father’s Films.

“When I did my previous post I was more or less sure about the songs that I would select for this post. I decided then that my next post would be a selection of songs that have struck a chord in my heart and songs that I have just liked because of the sweet melody and of course the lyrics.” The first part of the article – Forgotten Melodies (Part 1) – My Favourite Dance Sequences From My Father’s Films – has appeared in June 2014 episode of our Blog Carnival.

Kamal Hai?! Bindiya Songs has five songs but all of them relate to period beyond the extended end of our time scale. But Anu Warrier (Conversations over Chai) has added Khanke Kangnaa Bindiya Hanse , Lata Mangeshkar – S D Burman – Dr Vidya [1962] among others in her comment.

Makeover of the filmi doormats lists of five filmi doormats – Jameela in Chaudavi Ka Chand (1961)[ Badle, badle mere sarkar nazar aate hai]; Simran in Dilwale Dulahaniya Le Jaayendge (1995); Anjali in Kuchch Kuchch Hota Hai (1998); Lalita in Parineeta (1953 ) and (2005) and Chandramukhi in Devdaas (1935 ), (1955 ) and (2002).

Music, fantasy and colour in V Shantaram’s Navrang narrates ‘over-the-top explosions of colour and classical music in Hindi-film history’.

A Song For The Day is “a personal favorite” in as much as “the song stands for a sense of energy that accompanies longing and loneliness and infuses ephemeral pathos which depending on one’s mood may well turn out to be lasting.” The song neing discussed here is: Jab Chali Thandi Hawa, Jab Uthi Kaali Ghata, Mujhko Aye Jaan-e-Wafa Tum Yaad Aaye – Do Badan (1966) – Asha Bhosle – Ravi.

Kyunki Ye Ishq Ishq Hai Ishq ‘discovers’ the quawaali by Mubarak Ali Khan – Na Tu But Kade Ke Talab. Nusrat Ali Hateh Khan has also rendered this quawalli in his very unique style. And now let us listen what we have always loved to listen – Na To Carvaan Ki Talaash Hai

SoY has also commenced Best songs of 1951: Wrap Up 1 – The article goes on to sum up contributions by the readers and then presents – Songs of Yore Award for the best Male Playback Singer of 1951 goes to Talat Mahmood, and the best song is Meri yaad mein tum na aansoo bahana. Mukesh is given Jury’s Special Honour.

To end the current edition we will take up 75th Birthday (26th June) tribute articles –

However, I would like to recall his first two films only:

The Second one ….Bhoot Bangala (1965 )

And the First.. Chhote Nawab (1961)

And you guessed it right… these songs are also our tribute to Mohammed Rafi as well…..

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