Welcome to January 2026 edition of the XIVth volume ofCarnival of Quality Management Articles and Blogs.
We will continue with the theme for the XIIth volume of our Carnival of Quality Management Articles and Blogs: The Defining Trends of Quality Management – Raising The Bar.
We will now take up some topics and terms broadly related with Supply Chain in Quality 4.0 to get more insights into different facets of the subject.
For the present episode, we will take up Supply Chain Risk Management.
Supply chain risk management (SCRM) refers to the structured process of identifying, assessing, mitigating, and monitoring the risks that can disrupt the flow of goods, services, information, and finances across a supply network.[1]
An effective procurement function must closely collaborate with the company’s risk management and business units, often taking the lead in risk mitigation efforts. To do these well, it must use up-to-date digital technology.[2]
Each of the 4 C’s of Supply Chain Management—Coordination, Collaboration, Cost Efficiency, and Customer Focus—plays a crucial role in optimizing supply chains for businesses looking to enhance efficiency, reduce costs, and improve customer satisfaction.[3]
We will take up more topics on supply chain and supply chain management in the future episodes.
We now turn to our regular sections.
We will begin a new section from this episode – All Things Quality: An ASQ Podcast – insightful discussions on quality topics and practical walkthroughs. These podcasts feature a blend of innovative AI-driven content and live expert interviews, providing you with the knowledge and tools to excel as a quality professional.
In the Quality function of our organizations, we deal with a variety of activities: problem solving, decision making, project management, systems development, and much more. But few of them have the impact of communication.
I look forward to your views / comments / inputs to further enrich the theme of The Defining Trends of Quality Management – Raising The Bar.
Note: The images or video clips depicted here above are through courtesy of respective websites who have the copyrights for the respective images /videos.
Jaidev – B: 3 August 1919 – D: 6 January 1987 – is respectfully regarded as poet’s music director. He would build his composition such that poetry would remain the foreground, while basing his compositions in classical or folk styles, If his music can be said to have lost the mass popularity touch, by mid-‘70s he had made a strong come back where his music unfailingly got class approval as well as liking from the discerning common listeners. The annals of Hindi film music history would record the years 1977 to 1980 as having Jaidev’s best score in the second innings. Emboldened by such an encouraging response, Jaidev could boldly experiment with new singers as well.
Till now,
In 2018, we listened to his songs from the most successful films phase of 1955 to 1963.
In 2019, we listened to his more remembered songs from his less remembered films for 1964 to 1970,
in 2020, we listened to highly appreciated songs from the films that did not succeed in 1971,
In 2021, we recalled the songs that have faded out because the films flopped in 1972-1973,
In 2022, we listened to his melodies form relatively not so known films for the years 1974 and 1975,
In 2023 listened to rejuvenating Jaidev in Laila Majnu, Aalap and Gharaonda for the years 1976 & 1977
In 2024 listened to the songs of Gaman, Solvaan Saal and Tumhare Liye for the year 1978, and
In 2025 listened to the songs from Dooriyan and Aayi Meri Yaad and two NFses, respectively for the years 1979 and 1980.
Jaidev composed music for Ramnagari and Sameera for the year 1982.
Ramnagari (1982)
Apparently, the film may appear to be a low budget mythological film. And hence, music score handed over to Jaidev, who was known to render film subject oriented music very well, within the shoe-string budget. The film is a low-budget film, but because it is a parallel cinema film.
The story is adopted from Ram Nagarkar’s Marathi ‘Ramnagari’, based on a real-life performing artiste’s autobiography. Ram (Amol Palekar) is a barber by birth and profession. Good at singing and acting he is attracted to performing art of ‘Tamasha and Lavani’. He is encouraged by his mother and becomes successful in the field. However, his father condemns him for falling to the ‘lowly profession of performing arts’. The portrayal of characters in the film have dared to get to real life in recent times.
Jaidev has so creatively crafted the songs in the Marathi theatre style.
Main To Kab Se Teri Saran Mein Hoon – Hariharan, Neelam Sahni – Naqsh Lyallpuri
In one sense this is a bhajan set ro Raag Ahir Bhairav, but it also is the dedication to the profession that the characters have dedicated themselves.
kabhi chhanv dekhi na punya ki
jale paun paap ki dhoop mein
jo bhi roop teri daya ka hai
mujhe de daras us roop mein
mera man ashaant hai ai prabhu
mera man ashaant hai ai prabhu
mujhe shanti ka vardaan de
mera man ashaant hai ai prabhu
Man Ke Darpan Mein Chehra Khila Aapka – Hariharan, Anuradha Paudwal – Lyrics: Naqsh Lyallpuri
The song is a dialogue of expression of gratitude for the love that each other has been to get from their love. Jaidev has composed the song with such a musical charm.
RaatoN Ko Maange Hai Sajan Se – Hariharan – Lyrics: Naqsh Lyallpuri
In a folk theater form, the song is expression of love, put into simple words to narrate how the endearingly the love is manifested.
Sameera (1982)
The film was titled earlier as Wohi Baat, when the production commenced in 1977. For various reasons release was delayed, and ultimately could not reach the commercial screens after initial screenings at International Film Festival of India in 1983.
HMV had released the songs under LP No. LPE.8030 in the original title.
Jaane Na Doongi …. Ha Jaoge Kaise – Asha Bhosle – Lyrics: Naqsh Lyallpuri
Witten in in free lyrical form, the composition also does not follow the set pattern of a film song. The three stanzas of the song represent protagonist’s three different emotional expressions.
Zahar Deta Hai Koi Mujhe Dava Deta Hai Koi – Asha Bhosle – Lyrics: Naqsh Lyaalpuri
The failure of love is expressed in the form a monologue.
The song has a male twin version, in the voice of Bhupinder
waqt hi dard ke kaato pe sulaye dil ko
waqt hi dard ka ahsas mita deta hai
The EP record has this additional stanza
pyaas itni hai meri rooh ki gehrayi mein, ashq girta hai toh daaman ko jala deta hai.
Zindgi Hum Tere Haal Par Musquraye Ki Roya Karein – Asha Bhosle – Lyrics: Naqsh Lyallpuri
An expression of deep pathos that Jaidev has rendered in a difficult but melodious composition
We still have some more Jaidev’s compositions from some more parallel cinema genre films.
We will continue remembering Unforgettable Songs that seem to Fading away from our Memories every second Sunday of the month ……..
Disclaimer: All images are sourced from net and videos from You Tube. All copyrights of the respective image/ video clip remain with the original owner of the image.
I had been to Rajkot to spend a couple of days with Nimesh (Naresh P Mankad – my maternal cousin) and his wife, Pratibhabhabhi, during the last days of August 1976. On the return, when I landed at Amadvad, it was raining. It seemed that it had rained so heavily over last few hours that no autorickshaw was seen near the bus stop. A few other people waiting there informed me that they too have been futilely waiting for the autos for quite some time. After some vacillation, I decided to walk my way to the home by wading through the waters on the road. I reached home after about an hour or a half of struggling through the waters. Next day, the newspapers had (also) carried the news of death of the noted singer Mukesh,
The week thereafter was a regular working week. The life was, thus, going on in its natural rhythm.
When I returned home from office during the week after that on one of those days (7th September 1976), My mother (Ben) handed me over a standard postal envelope.[1]
That content of that envelope was to set in motion a chain of events that was to change the life – dramatically.
The envelope showed my name as recipient, name of the sender as Susmita Anjaria and the addressed as being posted from Bombay. Not knowing why Susmita Anjaria, niece of my maternal aunt Bhanumasi (elder sister of my mother and wife of Dolarray Mohanlal Anjaria – paternal uncle of Susmita Anjaria) would write a letter, that too addressed to me, probably marked ‘peronal’ as well. So, we first had our dinner. I opened the envelope thereafter and read the letter contained in that envelope.
The Proposal
The letter was her proposal for our marriage.
She had very simply stated that rather than receiving proposals of marriage from someone totally unknown, based on whatever little she knew of me, she had thought fit to directly approach me for this proposal of marriage. She had very candidly stated that I may have some other plans or for that matter my parents, too, may have other plans. She had sought my candid views on the subject, even if we did not concur with her proposal.
To Be or Not To Be
I had not yet been thinking about my marriage, till then.. So, I just could not think of any immediate response, but to inform Maheshbhai and Ben and stated that I will take a couple of days to come up with my response.
That night I could not work out any coherent process of pondering over the pros and cons of the subject.
Next day morning while travelling in bus to my office, I first tried out to puzzle out how much we would have known of each other. The result of my first iteration was that we did have very casual acquaintance during Susmita’s stay at Ahmedabad for the graduation study, But that was not enough to base a YES or NO decision in such a sensitive matter.
After dinner, I started churning over more details in the matter
During my early childhood, in Bhuj till 1958, for most of my day I would be with, my mother’s elder sister, Bhanumasi’s sons, Akshay and Jasmin. Along with them I used to pay visit to their grandmother’s home as well. As such, I did know that they had a cousin named Divyabhash. However, it was only when Susmita came to pursue her graduation level study (1966), the common link that paved for our acquaintance was her being the niece of Bhanumasi – and sister of Divyabhash – and I being the nephew of Bhanumasi. That seemingly apparent link connecting us seemed enough to cause no surprise to many of our relatives when they received the news of our betrothal.
It was also true that along with Maheshbhai, I and Susmita had paid a visit to the book bank run by Nagar Mandal. In fact, she being the niece of Maheshbhai’s brother-in-law, Dolarkaka, Maheshbhai took her to Dr. Lalbhai Mankad too for examination of eyes, in the same visit. Next year it was only I and Susmita had paid the visit to book bank. However, being raised in rather traditional family set-up, I do not remember that we had not exchanged anything more than a few words related to some work during those years.
Th year in which Susmita completed graduation study (1970), I had moved to hostels and Maheshbhai was transferred to Navasari, As such, whatever little so-called contact we had, had ceased. However, information about Susmita’s shifting to Bombay along with her mother, Kunjalatben, to stay with her brother Divyabhash and her post-graduation in Mathematics from Bombay University (1972), did trickled up to me.
Susmita – formal post-convocation photograph
It was during 1974 – 1975, that I did have couple of occasions to visit Divyabhash’s home at Bombay, after I had joined Gujarat Steel Tubes Ltd. Sometimes I was required to stay for a couple of nights at Bombay for my official work. During one of such visits, I had met Nalinbhai (son of Amrutlal Dholakia, Maheshbhai’s maternal uncle), who was staying not far from GST’s guest house at Pedder Road. A couple of times, Nalinbhai had tagged me along to Divyabhash’s home too, for, casual, courtesy social calls.
As I kept on pondering on the proposal, I recollected a very relevant discussion I had had related to the pros and cons of marriage proposals. I had been regularly paying visit to ICICI Ltd. for a proposal of a term loan for GST. After the loan was sanctioned, at one of the dinner meetings with Head of the Legal Department of ICICI, a topic of whether I am toying with entering a marriage bond had come up. That worldly-wise gentleman had explained that if I have not entertained the proposal of marriage because I am toying with notions of knowing my bride-to-be before taking a decision, then I was the biggest fool living in this world. He had gone on to explain the knowing her or her family’s history is meaningless as it may not have any relevance to the present or the future. Your present or future together will have a good deal of bearing with how you and your family will have major bearing on how ‘our’ present and future will shape. You cannot judge other person’s psychology (more so that of a woman) even if you have good contact with that person, because psychological build-up of any individual is referential. As such the past may not be a very useful guide. You should not make mistake of finalising the choice just on the strength of one beautiful dimple on the cheeks, or long hairs, or colour of the skin or such bodily attractions, because person’s physiology invariably undergoes changes along with the age. His last word in the discourse was that deciding marriage is like rolling a dice in gamble. Wise people never pretend to apply any logic or expertise in the process. However, successful players always succeeded by what they did (or not) once the dice have rolled.
At this stage, I paused my thought-churn for the first day.
Next day my thoughts seemed to settle down on these conclusions:
If I did not have any reasons to say YES, I did not have any grounds to say NO too.
In so far as my career path is concerned it was only I who had to have confidence in me that I shall not fail to provide a respectable quality of life for our family.
In our traditional society, a girl had to settle at her husband’s home and had to adjust with her in-laws. It was Susmita who had had taken the first call of selecting ME as her (life) partner on the stage of a play that the life is. She too must have weighed many factors before having decided to take such a risk..
Since Susmita, being a girl had, apparently single-handedly, taken such a bold first step, I, as a boy had, relatively much less to lose
Acceptance
Therefore, on the same day, during the course of our dinner together, I informed Maheshbhai and Ben my decision of readiness to accept Susmita’s proposal, if they too so agreed. It seemed Maheshbhai and Ben too had given thought to the matte., They readily conveyed their consent.
I sat down the write my acceptance. Maheshbhai and Ben wrote a separate formal letter of their consent to Susmita’s mother – Kunjalatben. I posted these letters next day.[2]
We too received back their concurrence soon enough.
Kunjalataben’s letter to Sudhkarbhai (her maternal cousin in relation but in effect more like her elder son, and incidentally my paternal cousin as well) vividly captures the atmosphere of those days.
[1] Susmita’s recollection is that she had addressed that letter to my office address. She also recollects that she had read a note published in the mouthpiece of our community association regarding my appointment at GST. She had remembered the address from that note. However, that being a matter at least three-year-old then, I feel that the source of my address may have been my visiting card which I may have left with Divyabhash during couple of my brief visits to their home along with Nalinbhai during the period of 1974 to 1976. However, I do not recollect that I had had other than very perfunctory discussions about my professional life during those visits.
[2] A very interesting drama occurred on the matter of knowing Susmita occurred on the side kick. Mahesh (Dilipray Mankad), one of my closet three friends – other two being Samir (Padmakant Dholakia, and Kusumakr (Bhupatray Dholakia) came to borrow a LP record on the day I had posted our letter of acceptance. He saw the envelope in which Susmita had sent her proposal, and immediately put two and two together, without even looking at us. The right protocol demanded that the engagement can be solemnized only after both the parties have formally conveyed their acceptance. Mahesh was so excited that he lost no time in informing his parents and Kusumakar. Mahesh, apparently, belong to the club of ‘knowing’ that in our case two plus two can result in four only.
Allotment of the quarter (40/1) at L colony (Near Polytechnic, Ahmedabad) happened almost simultaneously with my joining LDCE.
Maheshbhai had sought the route of obtaining loan scholarship to finance my study at LDCE. Loan scholarship was the Gujarat Government scheme for its employees, more or less similar to the present-day educational loans being granted to the student to pursue higher studies. The loan amount was Rs. 850 per every year of the college study. In the first year, I had received an engineering compass, slide rule and engineering drawing tools like drawing board etc. from Gulabbhai (Gulabray N Mehta, the then executive engineer, Western Railway, Baroda, and husband of Minmasi (Laxmiben), the eldest sister of my mother.). We could get some books from Book Bank of Nagar Mandal (a community association) and others from the second-hand book shops in Ahmedabad. During the second year too barring a couple of textbooks, I was able to source most of the books from either the Book Bank or from the second-hand book market. As such, after having paid the tuition fees for 1st and 2nd year, some amount was still available from the Ist and IInd instalments of the loan scholarship. Maheshbhai and Ben decided to use part of the surplus to purchase a bicycle for me to ease my daily commuting to LDCE.
Maheshbhai, too, had bought a bicycle to facilitate his commuting to office from our home at Tanti Niwas, at Rajkot. The distance between the seat and the paddle of that cycle’s was quite a bit more Maheshbhai’s height. It was against the inputs of those of those experience that basic, functional model of the bicycle was purchased. It was perhaps because of that too large gap that Maheshbhai had had met with an accident with heavier vehicle some six or nine months after the purchase of that cycle. He never drove a cycle ever since then. However, Gorakaka (Janardanbhai Vaishnav, Maheshbhai’s younger brother) used it for many years afterwards. When I readied to drive ‘my’ bicycle for its maiden journey home, Maheshbhai did not hesitate even for a moment to agree to that proposal. That was his readiness to take risk to facilitate my training for instilling self-confidence in me!
By the end of academic year of my 4th year of Engineering, Maheshbhai’s services were transferred to Agriculture College, Navsari. I shifted to the hostels for my 5th year of Engineering. Along with the usual luggage of shifting a home, we had two large boxes containing books and old issues of periodicals like Kumar, The Illustrated Weekly, Sports and Pastime, Indrajal comics etc. When Maheshbhai was again transferred back to Ahmedabad, initially the rented home was just one room and a kitchen. That would have hardly accommodated our essential household belongings. So we decided to jettison these two boxes, with very heavy heart.
At Navsari, our rented home was at Kaliawadi, a suburb-like village. Four of Maheshbhai’s colleagues also were our neighbours in the same building. Everyone of them was a Ph.D. in different fields of agriculture science. Thay had leveraged the government scheme to augment the skill base of the faculty at government agriculture colleges to take up the doctoral studies in American universities. I got good opportunity to spend time with them and used to visit their research farms during my vacations.
Midway into my 5th year of Engineering Maheshbhai was bereaved by the loss of Kamalbhai, his elder brother.
During the second year of Maheshbhai’s stay at Navsari, I had completed ny graduation in Engineering and took up postgraduation study in business management.at BITS, Pilani. Maheshbhai had borne the brunt of all the decisions and efforts related to my school-level and Pre-Science level studies. Though decision for taking up admission for Engineering for graduation level study was my own, Maheshbhai whole-heartedly supported that decision of mine, even though he probably did not fully approve it. My decision to take up PG in business Management at BITS, Pilani, not by design but through the natural flow of events, was in alignment with Maheshbhai’s passion for PG-level study.[1]
I completed my post-graduation in Management at BITS, Pilani, during Maheshbhai’s tenure at Navsari.
For facilitating my stay in Mumbai for summer-school internship at the end 1st year of my MBA study, Maheshbhai’s request through one postcard to his nephew Harshadan (son of Maheshbhai’s maternal cousin sister Saribenfai, nee Kishorbala, Padmakant Vaishnav) was more than enough. I was provided all help and guidance by Harshvadanbhai for my stay at Mumbai with warmth and care of an elder brother. By the end of that one and three-quarter month stay, that elder brotherly relationship had taken deep roots of a very close friendly brother – a relationship that went on to become one of my cherished assets of my life.
When Maheshbhai received the transfer order to move from Navsari to Ahmedabad (1973), I was in the process of joining Gujarat Steel Tubes Ltd. (GST). I joined GST soon after Maheshbhai joined Gujarat Agricultural University at Ahmedabad.
The Dagdar Baboo of ‘Maila Anchal’ – Nabendu Ghosh’s adaptation of Phaniswar Nath Renu’s ‘Maila Anchal’ promised to be a remarkable film. It starred Dharmendra and Jaya Bhaduri in the lead roles. And 75 percent of the shooting had been completed. Yet Dagdar Baboo remained unfinished…Ratnottama Sengupta translates pages from Nabendu’s autobiography Eka Naukar Jatri (Journey of a Lonesome Boat) revealing the little-known saga of the film that never reached the screen, illustrated with exclusive, unseen photographs from her collection. A special Silhouette tribute on Dharmendra’s birth anniversary.
‘From Just One Movie’ – New series – songs from one film, selected to fall on the birth / death anniversary of a prominent film personality connected to the film. The seirs opens with Anubhav (1971), for which music was composed by Kanu Roy, to commemorate his death anniversary, which falls on 20th December.
Ten of my favourite Salil Chowdhury songs – I would cast my vote for Mere mann ke diye (Parakh, 1960): Lyric: Shailendra, from this list by Madhulika Liddle and would add: Ya Qurban O Saba Kehna Mere Dildar Ko (Kabuiliwala, 1961 – Mohamamd Rafi – Lyrics: Prem Dhawan)
ZAHIDA HUSSAIN – Talented, Beautiful But Unfortunate – Beeta Hue Din – Rare Bollywood Nostalgia
OP Nayyar’s favourite instruments and his orchestration – Generally speaking, the tune was the main focus of the song and orchestration was in supporting role, in the Golden Era. OP also had the same mindset when composing a tune.
Here are Bollywood Rewind articles of Samapda Sharma in Indian Express:
The 1st Five-Year Period of 1944 to 1948 in the year 2021.
The 2nd Five-Year Period of 1949-1953 in the years 2022 to 2024.
We now move on to posts on other subjects –
Annapurna Devi – The Untold Story of a Reclusive Genius: Book Review – There are 78 write-ups in all, which are of varying lengths – some just a page long and others about seven to eight pages long. …Every piece reveals a new dimension of her personality – be it her clairvoyance, mystical divinity, obstinacy, child-like innocence, determination, dedication or strength of character.
The Book’s Jacket : Image Courtesy – Atul Merchant Jataayu
Big-screen Sholay – Anupama Chopra in her book mentioned how the Sippys first realised it was going to be a blockbuster, after a slow start – because viewers were too shellshocked during the interval to go out and buy popcorn etc. …Even today, the build-up to the intermission is so intense, and Amjad Khan’s performance so scarily believable (even as he plays a mythic-allegorical-no-shades-of-grey character) – it must have been incredibly dark and unpleasant for viewers in 1975.
Hindi Film Songs with Pauses – There are some songs where magic is created by introducing silence for a second or two – the pin-drop silence where there is neither melody nor rhythm. If you are observant, the fleeting pause may go unnoticed in some of the songs e. g. Yeh Jo Chilman Hai (Mehboob Ki Mehndi ,1971 – Mohamamd Rafi – Lyrics: Anand Bakshi – Music: Laxmikant Pyarelal) has pauses lasting for just about a second in all the three antaras; as per the embedded link, it would be 01:26-01:27, 02:40 – 02:41 & 03:46 – 03:47.
In continuation to our tradition of ending the post with a few songs of Mohammad Rafi, we will take up Mohammad Rafi’s duets by O P Nayyar with Asha Bhosle –
Saiyan Kyun Aaye Mujhe Angdaai – Duniya Rang Rangili (1957) – Lyrics: Jam Nissar Akhtar
Tujhko Na Koi Gham Mujhko Na Koi Gham – Duniya Rang Rangili (1957) – Lyrics: Jam Nissar Akhtar
Woh Jo Chahne Wale Hain Tere Sanam – Duniya Rang Rangili (1957) – Lyrics: Jam Nissar Akhtar
Asha Bhosle Solo twin version
Be Ikhtiyar Ho Ke Pyar Ka Shikaar Ho Ke – Johnny Walker (1957) – Lyrics: Hasrat Jaipuri
I look forward to your inputs to enrich the contents of Carnival of Blogs on Golden Era of Hindi Film Music.
Disclaimer: This monthly series of posts is my best-effort-based compilation of posts on Hindi film songs that I normally visit regularly. As I record my sincere thanks to all the original creators of these posts, any other posts that I have nor covered herein shows my lack of awareness of existence of such posts and is by no means any disrespect to their work. The copyrights to the posts, images and video clips remain the properties of the original creators.
Carnival of Blogs on Golden Era of Hindi Film Music wishes its readers a lyrically composed 2025 with happiness, health and progress in great harmony.
Welcome to December 2025 edition of the XIIIth volume ofCarnival of Quality Management Articles and Blogs.
We will continue with the theme for the XIIth volume of our Carnival of Quality Management Articles and Blogs: The Defining Trends of Quality Management – Raising The Bar.
We will now take up some topics and terms broadly related with Supply Chain in Quality 4.0 to get more insights into different facets of the subject.
For the present episode, we will take up Supply Chain Risk(s).
Supply chain risk is the possibility of disruptions that affect the movement of goods, services, and information across a company’s supply chain, with potential impacts on operations, finances, and reputation.
Before 2020, the supply chain may have been something of an afterthought for the owners and leaders of many small and midsize businesses (SMBs). Organizational leaders knew the company’s key suppliers, kept an eye on monthly purchasing costs, and may have helped resolve delays or other minor disruptions that popped up from time to time.
Covid-19 pandemic changed the game altogether, when widespread shortages and delays began affecting businesses around the world and across industries. In 2025, the supply chain continues to be a front-and-centre issue at the highest levels of a business. Events like the 2024 collapse of the Francis Scott Key Bridge in Baltimore[1], wildfires in Canada, and ongoing labor shortages have emphasized the point.[2]
The supply chains risks are often classified as internal and external risks.
Over the years, research has indicated that the majority of risks to overall supply chain management success can be categorized within the following four pillars:
Supply risks
Demand risks
Process risks
Environmental / Ecosystem risks
Within the four (4) pillars of supply chain management risks, the following are the threats supply chain managers deal with most often. Additionally, many of these threats are interconnected, with one risk inevitably leading to another:
Source: adapted from Manuj, I. and J.T. Mentzer, (2008) “Global supply chain risk management strategies”, International Journal of Physical Distribution & Logistics Management, Vol. 38, No. 3, pp. 192-223. World Economic Forum (2012) New Models for Addressing Supply Chain and Transport Risk.
The phrase, “50 guys in a bar standard”, started out as the “100 drunks in a bar” standard.
It goes like this: let’s say, for instance, there is a question as to whether the result of a play is a catch or an incompletion, this “standard” suggests it is a catch if 100 people in a bar agree that it is.
That gets us thinking about quality and our use of technology and standards to guide and monitor our manufacturing operations.
Some might argue that quality and manufacturing standards can seem as futile as running the film back and forth in slow motion to determine whether it was a catch or an incompletion. But the quality industry has an advantage—plenty of full-throated advocacy of the standards and principles that get the job done and result in the highest quality manufacturing.
I look forward to your views / comments / inputs to further enrich the theme of The Defining Trends of Quality Management – Raising The Bar.
Note: The images or video clips depicted here above are through courtesy of respective websites who have the copyrights for the respective images /videos.
[1] Aerial Imagery of Francis Scott Key Bridge and Cargo Ship Dali
Carnival of Quality Management Articles and Blogswishes everyone the year 2026 to smoothly remain abreast withthe Defining Trends in the way Quality Management shapes up to brace the future challenges.
Maheshbhai’s transfer to Amadavad happened sometime in March 1961. My level of understanding, or my maturity had not yet reached the stage where I could perceive the difference in living between Rajkot or Amadvad. For me the real excitement was that we were to travel by 1st class from Rajkot to Ahmedabad – first time ever, in my life. However, the charm of that travel had faded just a day before the actual travel. It so happened that the purse that contained these tickets was also packed up in the luggage that was to be moved by truck. So, Maheshbhai had to rush to purchase a fresh set of tickets, at an additional personal, cost!
At the time of Maheshbhai’s transfer, I was in 7th standard. Virani High School exempted appearance at the final examination if a student had scored more than a given percentage marks in each subject during all the examinations of the academic year. But I had failed to secure that level in Mathematics in the last test. Therefore, I had to appear for the final examination for mathematics. However, it was not feasible for Maheshbhai to delay joining his new office at Ahmedabad nor it was possible four the rest of us to stay back at Rajkot.
I do not actually know what the reasons may have been. But, when it was time to go to Rajkot, Maheshbhai decided that I should go alone, as well as appear for the examination, on my own. Maheshbhai arranged that he would come to see me off the bus station at Amdavad and Bachubhai (Bakulbhai Dolarray Vaidya, son of Muktafai – referred to earlier) would receive me at Rajkot bus station. I was to put up at JanardanbhaI Vaidya’s home. So, on paper, I undertook my first independent journey and appeared for the examination. However, looking back, this turned out to be the first case where Maheshbhai had invested his confidence in my ability to stand up on my feet, and where I did not fail him.
That decision was to play a pivotal role of enabling me to be independent in my life. Later on, when I had to commute to the school at Gomtipur to and fro H Colony or had to travel to and stay at hostel at Vidyanagar for my Pre. Sc. Year (1965-66), I as well Maheshbhai and Ben were fully confident about my ability to undertake those travels.
Our first residence in Amdavad was Rajpur – Hirpur (Lal Mills) government colony, near Gomtipur, in what is known as Eastern Ahmedabad. It was here that I really got into the companionship of my contemporaries, and participating in the rugged door games in a big way. Maheshbhai had secured my admission to Democratic High School, Gomtipur. It was couple of kilometres from Lal Mill colony. So, our mode of commuting the school was walking.
Once we had settled enough, Maheshbhai himself too enrolled for pursuance of post-graduation. At that time, I was too raw to comprehend the significance of that decision.. By the time I had grown up enough, I had learnt that this was his dream, which he could not pursue because he had to take a job immediately after graduation since his father had just retired from his service. If destiny had forced him at that time, it had given him the opportunity now in the form of his transfer to Ahmedabad. A few years later, I was also a passive spectator to Maheshbhai’s almost insistence-like urging to Gorakaka (his younger brother, Janardanbhai) too to take up post-graduation as soon as he had completed his graduation. Even then, I had not been able to comprehend significance of how dear scaling post-graduation level was to Maheshbhai. However, the real impact of the value the post-graduation had for Maheshbhai became crystal clear to me when I had reached that stage,[1]
Apart from the additional efforts Maheshbhai would have to put in to take up higher level studies after a break of thirteen years or so, it was also a great physical ordeal too. In order to reach the office, then located at the Mental Hospital premises, near Civil Hospital, Asarwa, he used to leave home by around 9.30 AM. As was the prevalent practice then, he would have his lunch, too, at home, He would attend the lectures after his office time, Also, he would use those visits to also utilise the reference materials from M J Library (Ellis Bridge, Ahmedabad 380 006). He would be able to get his dinner only when he returned home thereafter, by around 9 or 9.30 PM. The extent to which he went through the physical toil and tribulation he undertook for achieving his dream can be simply judged by the fact that our home, Maheshbhai’s office, and M J Library were three corners of a triangle, each side of which was anything from 6 to eight kilometres. And he would commute everywhere simply by the public transport buses!
Maheshbhai used to source the textbooks and reference books from the flea market being held every Sunday under the Ellis Bridge. Maheshbhai would also bring several magazines like Economic & Political Weekly, Commerce etc. to read at home. When I joined BITS (1971 – 1973), I refreshed my awareness of these names as I got to read these magazines there[2].
During the very end of academic year of my 9th standard, we shifted our residence to H colony, a government employee quarters complex near Polytechnic (Panjarapole, Ahmedabad), which housed the Secretariat of Government of Gujarat, before being located to its present site at Gandhinagar. For about a month or and a half, I used to commute to Democratic High School from H Colony by the public transport service. On way to school, I was required to pick up public bus service from Polytechnic and change over to another route from Lal Darwaja to Gomtipur. The return journey was by reversing that sequence. That experience too helped in inculcating a sense of independence in me.
It was around that time Maheshbhai’s office was relocated in its own premises at Paldi (near Sardar Bridge). That should have brought great relief to him in terms of the strain of commuting to and fro the office!
Maheshbhai with his office colleagues
I recall two major memories of our stay at H Colony, in so far as Maheshbhai’s influence on my growth is concerned.
The first one relates Maheshbhai’s passion for reading.
At Lal Mills, Maheshbhai had started subscribing two daily newspapers – Indian Express and Jansatta (Gujarati). Since there was not much reading material available to my the then taste and understanding, I started reading these papers. My reading, of course, did remain limited to news and articles related to cricket only. My reading of Indian Express was not beyond simple physical reading. The English of Indian Express was simply Greek and Latin to me. When we shifted H colony, the Sunday flea market was a very convenient place for Maheshbhai and Ben to purchase household requirements. Maheshbhai used to utilise those visits to purchase second-hand Perry Mason pocketbooks – available for around four annas each those days. During one such visit, he purchased Oxford Press English-Gujarati dictionary. That led me to now pursue Indian Express more religiously.
Window (or in fact, floor) shopping and purchase of books also attracted me to visit Sunday flea market with Maheshbhai and Ben. Maheshbhai introduced me to Gujarati monthly, Kumar. Kumar remains one of the most respected reading for the adolescent age group. The old monthly issues were generally available for one or two annas, and the special issues for four to eight annas. Soon, we had had made a very decent collection of issues of Kumar. Reading of Kumar was major step in my rise to reading maturity level.
Maheshbhai’s penchant for reading had manifested in a novel experiment. It, perhaps, started from the practice of exchanging the daily Gujarati newspapers – invariably by 8 AM, give or take half an hour – with my maternal uncle, Dolarkaka (Dolarray M Anjaria, husband of Bhanumasi, my mother’s elder sister). Maheshbhai piloted and successfully implemented the concept of revolving library. Seven or eight families had been roped in to the membership of the scheme. Each member would contribute, equivalent, to purchase one Gujarati Magazine every month, and then share that magazine, on a rotational basis, with other families. Thereby, each family had eight magazines to read every month. All major Gujarati monthlies of that time, like Navchetan, Akhand Anand, Savita, Chandani, Bij, Jee, Kumar and even some prominent non-Gujarati weeklies like Dharmayug, Illustrated Weekly, Sports and Pastime were made available for reading.
The second matter relates to my admissions to the Pre-Science standard and the 1st year of Engineering.
The case of admission to Pre-Science: I was fifteen years old when I passed 11th standard – then a state-level board examination. However, as I had not completed 15 years, I was not eligible for admission to Pre Sc. Standard in colleges affiliated to Gujarat University. Badubhai Vora joined Maheshbhai to take up a relentless fight to get the waiver of that age bar. Badubhai would draft elaborate memoranda, get them typed and Maheshbhai would arrange to post via registered mail, to every possible authority at Gujarat University, state education department, state secretariat and even at centre education department and ministries. Badubhai drafted these memoranda in classic British Administration-style English, each one of four to five typed legal page size. As I recall now, English and the writing style that Badubhai so fluently used in those memoranda, was perhaps, beyond the level of understanding of most the addressees! Most of the memoranda resulted in bureaucratically worded replies. Badubhai would then send off an equally aggressive rejoinder. The ‘letter war’ ended in an unexpected manner. All these efforts had sprung up a piece of information that led a loophole to this impasse. Gujarat had two other universities in the state – M S university at Vadodara and SP University at Vallabh Vidyanagar (near Anand). The age bar of admission to these universities was applicable at the stage of admission to the first year of the degree course. In simple words, it meant that age bar would be activated at the stage admission to First Year B.Sc. etc. Maheshbhai paid personal visits to both places. As a result of which he was able to secure my admission to VP Science College, affiliated to SP University, Vallabh Vidyanagar.
The case of admission to Engineering: My Pre-Sc. Results had had made me eligible for admission to medical faculty of M S University, Vadodara. I was dead against joining medical faculty.[3] This was the first ever decision which I had taken on my own. During the discussions with Maheshbhai, I could sense that he would have preferred my taking up career in medicine. But he did not express it openly. Instead, he very gracefully understood my point of view and whole-heartedly supported me.
As it so happens, this was the first of the several points of views where my and Maheshbhai’s thinking differed. However, in each case, due to his nature of always understanding the opposing point of view, that in each of these cases while not necessarily agreeing we appreciated each other’s view, in spirit and in action, to agree to disagree. Ever since then, I started better appreciation and understanding of Maheshbhai’s, expressed or otherwise, thinking process. In turn, I also stared my points of view across to him.
It was during our stay at H colony that Maheshbhai lost his father (Pranlal Vaghji Vaishnav – Bapu, to all of us), in 1964.
Since our main purpose is to revisit maximum possible duets of Mohammad Rafi within the ambit of the present series, we have treated Male-Male, Male-Female triad (+) as separate entry and have noted such songs from the same music director separately in year in which the film is released. Where there is more than one song in a year, I have selected less heard one as the principal one and have noted down others too.
Our journey has so far covered:
The 1st Five-Year Period of 1944 to 1948 in the year 2021.
The 2nd Five-Year Period of 1949-1953 in the years 2022 to 2024.
Presently we will take up the 3rd Five-Year Period of 1954 to 1958, beginning with the year 1954.
1954
The year 1954 has 51 duets, spanning 16 music directors. We have covered four of them – O P Nayyar, S N Tripathi, Shanker Jaikishan and Avinash Vyas – in the present episode.
O P Nayyar debuted in 1952. Two of his first three films, Aasmaan (1952) and Baaz (1953), did not have any duets and the third one, Chham Chhamma Chham, had duets of Kishore Kumar and Asha Bhosle.
Sun Sun Jalimaa – Aar Paar (1954) – with Geeta Dutt – Lyrics: Majrooh Sultanpuri
Aar Paar was musically a roaring hit, giving O P Nayyar a much needed opening to chart his career into a new orbit, with his own style of orchestration and rhythm.
Shamshad Begum was another female singer to provide the solid foundation to O P Nayyar’s music.
S N Tripathi continues to give sweet duets even in so-called B-grade movies.
Ae Saba Unse Keh Zara Kyun Humein Beqarar Kar Diya – Alibaba Aur Chalis Chor (1954) – with Asha Bhosle – Lyrics: Raja Mehndi Ali Khan
A perfect mix of waltz tune and mid-east style orchestration.
S N Tripathi smoothly switches over the style to tune with Hindu mythological theme film in another Rafi- Asha duet – Mera Man Hai Magan Lagi Tum Se Lagan – Durga Puja (1954) – Lyrics: Bharat Vyas.
Chalo Chalo Chalein Hum Babool Ke Tale – Alibaba Aur Chalis Chor (1954) – with Shamshad Begum – Lyrics: Raja Mehndi Ali Khan
S N Tripathi’s melody touch remains intact, irrespective of the singers.
Tumhare Hain Tumse Daya Mangte Hain – Boot Polish (1954) – with Asha Bhosle, chorus – Lyrics: Shailendra
This is the song for which I would bypass the self-imposed criterion of one song only for a set of given music director and Rafi ‘s first duet with a singer.
Rumjhum Ke Bajao Bansari – Pooja (1954) – with Krishnrao Chonkar – Lyrics: Shailendra
Shanker Jaikishan establish their versatility for all genres, by basing the song on Rag Madhuvanti
Asides:
Mohammed Rafi teamed up with Krishnarao Chonkar in Baat Chalat Nayi Chunari Rang Daari (Rani Rupmati, 1957 – Lyrics: Bharat Vyas – Music: S N Tripathi).
Here too Rafi plays back to Bharat Bhushan.
Bharat Bhushan also features in another song with Baat Chalat Nayi Chunari Rang Daali Re (Ladki, 1953 – Geeta Dutt – Lyrics: – Music: R Sudarshan, Dhaniram)
We continue our journey of the year 1954 for the 3rd Five-Year Period of 1954 to 1958 of the series Mohammad Rafi’s First Duet Song With The Music Director.
We will continue remembering Unforgettable Songs that seem to Fading away from our Memories every second Sunday of the month ……..
Disclaimer: All images are sourced from net and videos from You Tube. All copyrights of the respective image/ video clip remain with the original owner of the image.
My father, Maheshbhai (Pranlal Vaishnav) – B: 1925 | D. 18-12-1983 – was the second of three sons of Pranlal and Revakunwar Vaishnav.
He had graduated in the Commerce faculty sometime in 1947 or so. It was in 1948 that he and Kirana (my mother, we used to address her as Ben) married.
File Photo: Maheshbhai proceeding to the marriage ceremony in a bedecked car
After completing his graduation, he joined government service at Bhuj. To the best of my recollections, he served in the revenue department for some years. He joined the agriculture department in 1952. I have no idea his joining revenue department had any connection with his father having served in that department. Nor do I have any knowledge whether his leaving revenue department had any connection with very strong disapproval of the so-known ‘unfair’ (underhand dealings) practices, rampantly prevalent in the department.
I look back to my memories of Maheshbhai w. r. t. the impact of my relationship with Maheshbhai on my personality linearly first, on the timeline starting from somewhere when I was four tears old (1954) to his final retirement from the life (1983). As I unfreeze my memories, I do realise that his personality, nature and values, and his way of living those values had a good deal of parallel at the core and yet did vastly differ in terms of my way of life. In retrospect, I would attribute this divergence to the different set of circumstances lives of any father and son unfold.
As my memories start flowing out, it becomes clear to me that my memories and their linkage to my relationship with Maheshbhai would naturally and easily follow the timeline of different phases of Maheshbhai’s service and the resulting our stay at different cities and locations therein.
Phase I: Bhuj and Rajkot – 1954 to 1961
From year I started going to school (1954) till we shifted to Rajkot (1958), Maheshbhai would gift me a book on each of my birthdays. When I reached the stage of being able to read, he subscribed the then well-known children’s magazines like Gandiv, Ramakadu, Chandamama etc. This was the seeding of reading habit that went on to become of one my passionate hobbies, and a very important resource for my personal development. It also is Maheshbhai’s one legacy which has passed on Tadatmya (Maheshbhai’s grandson), and then from Tadatmya to Tanay (Maheshbhai’s great-grandson).
Maheshbhai with Tadatmya circa 1983, a few months before Mahehbhai passed away
One milestone event that I recall well before Maheshbhai’s transfer to Rajkot is the occasion of my Yagnopavit (circa May 1958). After about two or three months, Maheshbhai’s services were transferred to Rajkot.
At Rajkot, we initially had put up in a house somewhere in Manhar Plot. I do not remember its exact location now. However, we soon shifted to a rented accommodation at Tanati Nivas, in Street No. 8 of Manhar Plat. One one side of Tanti Nivas was huge barren open space, which even had huge cavern-like pits. At he end of that space was railway line near Bhaktinagar railway station. Virani Vividhalaxi Vidyalay was situated at the other end. Almost in the centre of the plot was one oil mill. There was also an open ground. Then came the main road (now known as Yagnik Road), which had Rajkumar College on end and Race Couse on the other hand. As one would cross the open plot, one would reach Dharmendrasihji College and Ramkrishna Ashram and Jagannath Plot across the road.
has on his way to office was located the Ramkrishna Ashram. Maheshbhai, probably because of Mission’s library, came into contact with the then head of the Ashram – Swami Bhuteshnanadaji. Most of the time when Maheshbhai would be walking back across the vast open space between the Ashram and our rented home at Tanti’s at Manhar Plot, Swamiji also would on his evening walk. Those walks seemed to get both of them quite close to each other. These discussions with Swamiji and the rich Ramrishna Order literature available at Ashram’s library left a very deep impression on Maheshbhai’s outlook towards life. During our stay at Rajkot, Maheshbhai kept saving small sums every month from his salary and purchased the complete volumes of Ramakrishna Paramhans, Maa Shardamanidevi and Swami Vivekanand. I had preserved those volumes all these years. However, before four years, it was becoming very difficult to preserve the books, I had to give them way to a library in Bhuj.
After we had left Rajkot, whenever Maheshbhai has occasion to visit Rajkot, he would invariably find time to visit Ashram. After Maheshbhai’s passing away, I too, have strived to maintain that practice. I had written a letter to Swamiji informing him of Maheshbhai’s passing away (after a good 23 years of having left Rajkot), when Swamiji was the head of the Ramkrishna Math, Bellur (Kolkata). Swamji had replied in his own handwriting, recalling intimately his association with Maheshbhai. Unfortunately, I have not been able to preserve that letter.
Maheshbhai had introduced me to the library of the Ashram. I was a regular visitor to the library and would spend good time reading the Ashram’s publications, published exclusively for the children. Many a times on my return, I happened to join the walk of Maheshbhai and Swamiji – and sometimes that of Swamiji alone. Swamiji would invariably talk to me and enquire about what I read. Obviously, I was too young and too raw, to comprehend the importance of getting to talk to such an enlightened person. However, as I look back, I can now understand how those conversations would have implicitly seeded the opening up of my mind to the meaning of Dhrama, not as a faith, but as understanding of what is right and what is not.
After our stay of around a year or so at Manhar plot, Maheshbhai was allotted a government quarter. These quarters were meant for the staff of Rajkot Civil Hospital (near Sadar circle, now known as Dr. Ambedkar Circle). These quarters did not have an attached lavatory. One had to walk around 100 meters or so to access the separate lavatory block. Everyone had to await their turn in a queue.
This stay gave me my first opportunity to come into contact with ‘friends’ who were senior by at least a decade in age. In fact, there was nothing that would qualify me to identify as friends, except perhaps my participation as ‘equal’ in one group activity – the dandiya raas during the Navratri festival. I should record here that my being treated as equal was not any merits of mine, The dandiya raas used to two – three hours, almost no-stop, high-pitched, performance. On the hindsight, I can say that my admission to the group was an implicit condition that no concession would be asked or offered for my age.
I narrate these two experiences here to highlight the silent role Maheshbhai had played in my build up.
When we reached Rajkot, I had completed the first term of my fifth standard at Middle School, Bhuj, Virani High school was the nearest school to our rented premises at Manhar Plot. My mid-academic year admission to Virani High School was subject to passing a written test. Maheshbhai has sought the help of Janardanbhai Vaidya[1], the brother-in-law of Maheshbhai’s cousin sister, Muktafai (daughter of Mota Amma’s – my grandmother – sister). Janrdanbhai was teacher of English at Virani. He had hardly any time to coach me for the admission test. For the records, I did get the admission. I must not have done too poorly at the test. But there can be no denying the tact that my admission was more because of Janrdanbhai’s good offices!
My school, Virani High School, now was at almost the other end of the then Rajkot from the Government quarters. My daily commuting was either by the city bus service or by walking all the way (either via Moti Tanki or via Chowdhury High School). This was my first ever lesson of my life of how to, independently, find way on a totally unknown path!
I do not how or why, but I had passed through these tests. Here too, I was too raw and too novice, to have been able to develop any confidence to stand up to such future situations, except that these certainly remain a few of the important factors that laid the foundation for what I was to become in the future.
Maheshbhai was then transferred to Junagadh Agricultural college – which probably was to lead to his transfer to Navsari Agriculture college and then to Gujarat Agricultural University, Dantiwada, dist. Banaskantha, Gujarat – for about six or eight months. We too have had the opportunity to visit what was once upon the royal gardens. However, I could appreciate its grandeur and biological richness only after visiting the farms of Navsari agriculture college during 1970 to 1973.
In the hindsight, I can very easily state that Maheshbhai’s transfer to Rajkot was the game changer in shaping my personality.
To follow: Phase Two: Ahmadabad: Lal Mill Colojy and H Colony – 1961 to 1966
[1] Janardanbhai Vaidya had immensely contributed to translation of Ramkrishna Missions’ English works into Gujarati. When he passed away, Ashram management had requested his last journey to be routed through the Ashram as a respect to his contribution to the cause of the Ashram.
Badnam Na Ho Jae Mohabbat Ka Fasana – Shaheed (1948) – Surinder Kaur – Lyrics: Qamar Jalalabadi – Music: Ghulam Haider
Incidentally, Shaheed which happens to be the first film Dharmendra ever saw.
Bollywood’s ‘He-Man’ Dharmendra dies at 89 – Dharmendra Kewal Krishan Deol (B: 8 December 1935) made his debut in 1960 with Dil Bhi Tera Hum Bhi Tere. In a career spanning 65 years, he worked in over 300 films,
Presently we move on to our section on tributes and celebrations for the month –
Happy Children’s Day! is celebrated on 14 November every year as a tribute to India’s first Prime Minister, Jawaharlal Nehru, fondly known as ‘Chacha Nehru’ among children.
Salil Chowdhury: The Unpredictable Genius – Salil Chowdhury (born- 19th November 1923) went on to improvise and create new forms, and refused to be predictable. The master music-maker was a restless perfectionist. And a rebel. Manek Premchand explores the life and works of the musical genius.
Geeta Dutt sings for O P Nayyar – in continuation of celebration of birth centenary of O P Nayyar and the 95th birth date of Geeta Roy (Dutt)..
OP Nayyar’s Non-Film Songs – in continuation of celebration of birth centenary of O P Nayyar, Ravindra Kelkar shows that OP Nayyar composed several non-film songs of incredible beauty.
Here are Bollywood Rewind articles of Samapda Sharma in Indian Express:
Songs of the Troublesome Vehicle, where the women (too) helped the man or played an equal part in pushing the out of order vehicle.
‘Fevicol ka Mazboot Jod’ – Songs of the Inseverable Bond of Love – The bond of love is so strong that it will ensure the return of the person who has gone away in a huff. These arenotsongs of janam janam ka saath, which are dedicated to eternal and transcendental love. Many of them are lighthearted romantic songs. Here are my songs of Fevicol ka Mazboot Jod. This feeling of inseverability is enunciated in the mukhda or the antara in the songs.
In continuation to our tradition of ending the post with a few songs of Mohammad Rafi, we will take up Mohammad Rafi’s duets by O P Nayyar with Asha Bhosle –
Main Hoon Banke Nainawali Meri Baat Hai Nirali – Chhoo Mantar (1956) – Lyrics: Jan Nissar Akhtar
O Mr Banjo Ishara To Samjho – Hum Sab Chor Hai (1956) – Lyrics: Majrooh Sultanpuri
Ye Raat Aashiqana Chhaya Sama Suhana – Naya Andaz (1956) – Lyrics: Jan Nissar Akhtar
Main Dhoondti Hoon Kahan O Sanam – Shrimati 420 – Lyrics: Majrooh Sultanpuri
I look forward to your inputs to enrich the contents of Carnival of Blogs on Golden Era of Hindi Film Music.
Disclaimer: This monthly series of posts is my best-effort-based compilation of posts on Hindi film songs that I normally visit regularly. As I record my sincere thanks to all the original creators of these posts, any other posts that I have nor covered herein shows my lack of awareness of existence of such posts and is by no means any disrespect to their work. The copyrights to the posts, images and video clips remain the properties of the original creators.