Susmita – My Companion for Life : The Marriage and Married life (from 1977 to 2002)

Continuing from Getting closer and The courtship

The Marriage

The Pragati Nagar Community Hall was selected as the venue for the marriage ceremony. A nearby house was arranged for the stay of stay of the immediate relatives from Susmita’s side. The guests from our side who were to attend the marriage from out of Ahemdabad were partly accommodated in our home and partly at another nearby house.  All the guests belonging to both sides had started arriving a day before. Since the marriage function was in the first half the day, the guests from outside went back by the night of the marriage day.

Maheshbhai had gone to collect the Registrar of Marriages from his office. They reached the venue of the marriage function by around 11 AM. Shortly, thereafter, the marriage ceremony – the oath-taking by I and Susmita, followed by authenticating the marriage by signing the marriage register and validation by two witnesses from each side – was completed.

Image

From our side, Maheshbhai and Gorakaka (my uncle, Janardanbhai Pranlal Vaishnav) were the witnesses.

Image

Divyabhash and Bhujangibhai Vaidya (Susmita’s maternal uncle) were the witnesses from Susmita’ side.

Image

The menu for the lunch served after the marriage was rather simple – Dudhi Halwa, Motichur Laddu, two vegetables, two farsans, dal and rice.

I had prevailed upon to keep marriage ceremony limited to this level by not inviting anyone form my office staff.

Image

Image

From left:

Front row: Harshika, Divyanginibhai(with Arman), Gayatri, Mota Amma, Deviben (with Sandip in the front)

Second row: Bharati, Susmita, I Pratibhabhai (With Bhargavi), Ben, Gorikaki

Third row: Nimesh, Darshan, Sanjay (partly seen) Nareshbhai

Back row: Kunjalataben, Gorakaka, Maheshbhai, Divyakumarbhai

Image

From left: Karnika, Kunjalataben, Susmita, Ben, I, Maheshbhai, Divyabhash

Sanjay (in the back)

The Married Life

The first week

We spent our post-marriage first week at Mumbai.

On the third day of the marriage, we left for Mumbai, along with Kunjalataben, Divyabhash and Karnika. Around midnight, some passengers from our sleeper coach loudly announced that Mrs. Indira Gandhi had lost the 1977 elections to the Lok Sabha from the Rae Bareilly seat.

The day after we reached Mumbai, a small dinner reception was arranged on the terrace of Pearl Palace (the home that Divyabhash had purchased before shifting to Zaire and disposed off after a couple of years). A close group of Kunjalataben’s relatives and acquaintances at Mumbai were invited for the function.

Susmita utilized our stay at Mumbai to purchase some carpets and curtain cloth for the divider between drawing room and the dining room, for decorating our home at Pragati Nagar.

1977 to 1979

Our first task after settling down at Ahmedabad, was to find a meaningful occupation for Susmita, commensurate with her education, knowledge and strong inclination for mathematics. Our efforts did not materialize in success. As I look back, it seems so obvious that our efforts were not adequate or systematic or concerted enough. Later on, she did dabble with offering tuitions to some children form the neighbourhood. But my rather unbalanced work life balance, put more than extra burden on Susmita’s domestic life, ultimately resulting in these efforts into not working out to any meaningful professional occupation for her.

Our beginning of enjoying our life together started with my experiments with photography, listening to collection of the records, and visiting book exhibitions in Ahmedabad whenever held

Image
Susmita, as she readies to serve the food for the lunch

My office routine at GST was supposed to have only half working Saturday. We started utilizing that window for going to watch English movies for a 4.30 PM show at Advance theatre, which also happened to be very near to GST office, located at Bank of India Building, Bhadra. Here too, I soon started getting late to reach for the show. For a few months, I could barely manage to reach the cinema hall just before the screening of the movie would commence. Then a couple of times, I could not even manage that. As a result, that activity too got short shrift, signalling beginning of skewing of my work life balance.

Our first trip away from Ahmedabad commenced with a gaffe. We had planned a three-night trip to Saputara (a hill station in South Gujarat) sometime in end -77 or early-78. We boarded an early morning bus from Gita Mandir – the Gujarat State Transport central bus station in Ahmedabad. As I handed over our seat reservation tickets to the conductor, he summarily asked us to get down form the bus. We indeed argued with him for some time! He then relented and showed me the ticket. It was an old ticket of my travel to Rajkot! We were now taken aback and apologised and requested him to issue fresh tickets. Just then, Susmita remembered something and fished out the ticket from her purse! Our rest of the journey to Saputara went unhindered, but I was not able to look in the direction of the conductor for the whole journey!

It was sometime in mid-1978 or so that Maheshbhai’s services were transferred to Dantiwada, the HQ being developed for the then Gujarat Agriculture University. We paid several two- or three-day visits to Dantiwada during Maheshbhai’s stay there. In one such trip, we had to face extremely heavy downpour as we landed at Palnapur, on way to Dantiwada, being stranded for almost an hour or two on the highway in the lashing rains. When we ultimately reached home, we heard the news on the radio that Morbi, the hometown of Susmita’s maternal uncle, Pranlalbhai H Vaidya, was devastated by a devastating flash flood because of the collapse of the earthen dam on the river Machchu.

Susmita planned her maiden, and the only, trip abroad in beginning of third quarter of 1979. She was to visit Kinshasha, Zaire to stay with Divyabhash family there. After the hassles of getting several vaccinations done, when finally, Susmita and I reached Bombay airport, while taking a stopover say with Harshavadabbhai and Surabhi for Susmita’s travel to Nairobi. It was raining so heavily that her check-in bag was completely drenched. When she opened it on arrival at Nairobi, several of her sarees were stained because of seepage of rainwater in the bag!

I, along with Sanjay, gamely tried our hand with cooking our own food. Once Sanjay put the pot of milk on the gas for heating and then forgot about it all. The pot remained unattended on the burner flame so long that all the milk in the pot was charred to coal. The stink in the house was so overwhelming that even after consuming a couple of packets of incense sticks, for next two three days our entire neighbourhood had hard time dealing with stink. In another instance, when Maheshbhai was also with us during his trips from Dantiwada, we had added soda instead of salt during the cooking of okra subji! Taking pity on our such (mis)adventures, Madhuben (wife of our floor neighbour Bachubhai Gohil at # 9/52, Pragatinagar) would cook lentils and rotis for us and trained us for cooking simple subjis. When Susmita returned form the Kinshasha trip, we proudly served her okra vegetable cooked by us, along with other dishes prepared by Madhuben.

When Susmita’s plan to visit Kinshasha was being finalised, I was getting inclined to resign my services from GST. Finally, I had put in my papers in June 1979 and was to leave GST by end of September 1979, just after Susmita returned from Kinshasha. Before I took up active implementation of our entrepreneurial project, Arish Equipment, I worked for another projects. It was here that we tried to shape Susmita’s professional career in the field of cost accountancy. However, before it could come out of the initial moves and settle down to a meaningful effort, I quit that stop-gap (mis)adventure and started working full time on green-field implementation of Arish Equipment. So, Susmita’s foray into the cost accountancy also was abandoned.

1979 – 2002

The two-three years of setting up of Arish Equipment were real hardship years for Susmita. Facing the uncertainty of unknown future, managing the household front with highly erratic and inadequate monthly cash flows, without letting the signs of doubts come on the surface was much tough ordeal than the risk I had undertaken to chart the course of our own (manufacturing) venture

The small trips being arranged by Ashwinbhai Palkiwala[1] or our visits to Dantwada or Rajkot (to visit Gorakaka family or Nimesh family), during 1979 to 1981, seemed to provide us the force to keep on hold our life on an even keel against these odds.

Image
Gorakaka (my uncle, Janardanbhai Vaishnav) and Maheshbhai families at Dantiwada circa 1980/81

Today it may sound quite trite to say that I could ride through that phase only because of Susmita’s unflinching support.

It was only after the birth of Tadatmya (in 1981) that we had come out of the initial teething trying phase of putting up Arish Equipment from ICU support. However, by the time things became little comfortable, Maheshbhai passed away in December 1983.

Another factor that helped us to remain floating was very active and live company of the families of my three very close friends, Kusumakar (Dholakia), Mahesh (Mankad) and Samir (Dholakia). As each one of us married, their spouses – respectively, Jagruti, Harmila and Meena – and later their children – respectively, Khyati, Anang & Hirawa and Fenil – too remained closely bonded. We also enjoyed dine-outs in outdoor restaurants near Ahmedabad as well as dine-ins at any of the homes.

Image

Image

The first sign that our marriage was on sound economic and social tracks can be assigned to our trip to Kulu Manali (in 1987). We chos to join a conducted tour, the only one that we so did in all these years. On way to Ambala, near Dahod a few coaches of goods train had derailed, causing our train to get parked at a very small station, where only bananas were available, which too ran out of stock soon. The AC of the coach was also switched off after about half an hour. So, we passed around four hours of waiting time on a small bench on the platform. Our improvised dinner of samosa and masala parathas was served at Ajmer by around 11 PM. Even at that hour, I and Tadatmya duly consumed samosas, preserving the parathas for early breakfast next morning. Our train reached Ambala by one o’clock in the afternoon. At that hour, the cooks accompanying the tour cooked a quick lunch right on the footpath near railway station. All the fellow travellers of the tour too duly enjoyed the much on that very footpath.

Image

Apart from the organized trips we did enjoy informal visits to Bhuj and Mumbai.

Image

 

During one such our visit to Mumbai (my maternal cousin) Nimesh, his wife Pratibhabhi family too had been visiting Pratibhabhabhi’s brother Yogeshbhai. We had arranged a get together at Juhu beach during that visit.

Image

As marriage of Akshay, here before referred to at The Courtship, helped us bring us closer during the courtship, other functions like marriages of Bharati (my maternal cousin sister) at Porbandar and Vibha (my other maternal cousin sister) at Gandhinagar, yagnopavit function of Darshan (my younger cousin brother), marriage function of Harshika (my younger cousin sister), were great help in providing much needed relief from our, mentally too demanding, routine of the then life.

Around 1989, we purchased our own first car, a white Premier Padmini. Susmita tried to refresh her driving skills for some time. In those years, Gorakaka family used to live in sector near Gandhinagar power station. Susmita did drive the car from our home at Pragati Nagar to Gorakaka’ home in Gandhinagar and back. She was felling quite confident to continue driving the car on Ahmedabad roads. But then gave up finally, being fed up with (the then) traffic pattern of Ahmedabad.

It was around that time that I was elected President of Vatva Industries Association. We hosted a gala dinner for around 50 to 70 people at a garden restaurant near what is now known junction of Sargam – Bodakdev road and Satya Road leading out to the CG Road.

Another very memorably happy function that we participated was in organising a Nagar Mandal get together at Pragati Nagar. The event was co-hosted by the then members of the Nagar community of Pragati Nagar.

Image

Susmita had to bear the stress of my freak illness – caused by severe acidity – after we had wound up the process of sale of our ancestral house at Bhuj in 1992.

It was after that we started to search for a ‘bigger’ accommodation for ourselves. We ran our search through all possible locations in Ahmedabad. However, once when we were returning from a walk, we saw a house under construction near Sanskar Bharati Society (Ankur Road, Naranpura, Ahmedabad). Just a couple of more enquiries and one closer inspection at the location and we finalized the purchase of our own first home at 10, Meera Apartment. Six months of dedicated efforts to develop the interiors to our taste made the home ready to occupy.

As we shifted to this home, we had had the privilege of performing the well-laid housewarming ceremony. To all others in VAISHNAVs family, watching me dutifully performing the rituals was a double pleasure.  The obvious was because of shifting to our own home. But even more pleasurable to them was seeing someone like me, who is normally not much inclined to rituals and traditions, sitting through the puja ceremony. So much so, that Gorakaka (my uncle, Janardanbhai Vaishnav) insisted that I put on a mandatory puja dress code, dhoti. He even helped me to put it on, with a constant care all-round the function, while secretly enjoying my obvious discomfort!

My colleagues at ‘Ratnamani’ took up the total logistics responsibility of shifting our household belongings from Pragati Nagar to Meera and even setting it up very well at Meera. They also planned and executed a traditional luncheon for around seventy-five guests.

Almost immediately thereafter, we had opportunity to organize the marriage function of Darshan (and Ami).

Though my work-life balance continued to remain skewed our personal life was now on an even track.

In 1998, Tadatmya went away to join the graduation study in Computer Science and Engineering at KRC, Surathkal. Physically that did some create avoid in our life, his steady progress there more than compensated whatever emotional loss we obviously felt.  We have had occasions to enjoy his stay there by organising two vacation tours – to Mangalore- Udupi circuit and to Kochi -Thiruvananthapuram circuit at Kerala.

Image
I, Ben and Susmita at sunset of KREC, Surathkal beach

We also had to bear the trauma of 26th January 2001 earthquake. Once our house stopped moving like a pendulum, we all walked down the staircase and came out in the open street. By late afternoon, the arrangement was made for the stay of all residents of Meera in a ground floor house opposite Meera. We had put up a community stay for around a fortnight there. Tadatmya, who had come for a vacation from Surathkal, had to travel back from there too.

On 22nd September 2002, we lost Pratibhabhabhi for ever.

Towards the end of 2002, I was offered the position of Unit Head for Saw Pipes Ltd Plant at Nana Kapaya, Mundra (Kutch).

For me it was just a challenge of succeeding at a much higher professional level. But for Susmita, it was once again living through the period of mental uncertainty, coupled with physically setting the family in a new environment.

When I took leave to take up my midnight train to Gandhidham, I and Susmita would have liked so much that Susmita could have been able to come to drop me at the railway station. However, returning alone from the station at that late hour forbade us from doing so. Susmita had to remain content with bidding goodbye from the Derasar corner near Meera.


[1] Recalling the Memories of Ashwin Shantilal Palkiwala


 

To follow….

2003 to 2011

Fading Memories…. Unforgettable Songs: Volume XI – March 2026

Ghulam Mohammed and His Singers: 1955 (2)

ImageGhulam Mohammed (1903 – 17 March 1968) was trained as dholak player, but the strength of his natural insight for rhythm ensured he was equally comfortable and proficient with folk percussion instruments like duff or matka.

He was as plain and unsophisticated as his music apparently appeared. Ghulam Mohammad composed music independently for 36 films he has scored music in his career. It is to refresh our memories of multi-talented music director Ghulam Mohammed that we commenced the present series in the month of death of Ghulam Mohammed’s songs with special focus on the playback singers he chose to fructify his creations. Till now we have covered Ghulam Mohammed’s songs for the year

1943 to 1949 in 2021,

1950-1952 in 2022.

1953 in 2023,

1954 in 2024, and

1955 (1) in 2025.

Ghulam Mohammed composed music for three films in 1955.Of these three, we covered Hoor-e-Arab in our previous episode. We will now take up the second film Kundan, in this episode.

Kundan (1955)

Kundan is based on Victor Hugo’s famous novel Les Misérables.

Lyrics are penned by Shakeel Badayuni.

The film features Sunil Dutt who is credited to have debuted in the film Railway Platform, also released in 1955.

Aao Hamari Hotel Mein Chai Piyo Ji Garam Garam, Biscuit Khao Ji Naram Naram – S D Batish, Sudha Malhotra

The vendors selling their wares and services in the form of song was a favorite situation till 50s. Most of the time the sale was being made through live performance, hence harmonium was a natural choice as main instrument.

Jahanwale Hamein Duniya Mein KyuN Paida Kiya Tune – Lata Mangeshkar

In a film based on a story like Les Misérables, the protagonist complaining to The Almighty for causing her all the miseries of the world can be expected as a normal choice for a song situation.

Matwale O Matwale Nain Ke Teer Kha Le … Dil Mein Dard Basa Le – Shamshad Begum, Lata Mangeshkar

In the backdrop of live stage performance in a lavish restaurant, some secret of the plot seems to be unfolding, giving us a duet rendered in two different moods by Shamshad Begum and Lata Mangeshkar respectively.

Mera Bhola Balam Ji Ki Batiyan Ho Ram Kasam Na Jaane – Mubarak Begum

The song was not included in the film, However, we remain grateful that we still have been able to listen to a Mubarak Begum solo.

Meri Aankhon Ke Taarey Ae Dil Ke Sahare Main Tere Sadque – Lata Mangeshkar

Lullaby was another favorite topic for songs. In fact, HFM has  very rich treasure of songs of this genre.

Meri Jaan Tum Ghair Ko Paan Khilaya Na Karo – Mohammad Rafi, Geeta Dutt

Here is a Roothana Manana song, typically used a comedy filler on the films.

Na Kar Paap Duniya Mein Naadan Ban Ke Dikha De Zamane Ko Insaan Ban Ke – Manna Dey

A background song that seems to preach the targeted protagonist was another popular genre.

Naujawano … Bharat Ki Taqdeer Bana Do – Mohammad Rafi

Is it a coincidence that the subject of song – desh prem -was to shape the off-screen life of Sunil Dutt!

Shikayat Kya KaruN Dono Taraf Gam Ka Fasana Hai – Lata Mangeshkar

Another tailor-made melancholy song for a beautiful and talented actress, haplessly cast in tragic roles ,,..

Ye BaharoN Ka Ye Suhaana Sama Ab To Sun Lijiye Pyar Ki Dastaan – Lata Mangeshkar, Mohammad Rafi

For a change Nimmi gets a happy song to sing. Was it for just this she was cast in the dounle roles in the film?

In the next episode in this series, we will take up songs of the third film, Sitara, composed by Ghulam Mohammed in the year 1956.


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.

Tadatmya – The GenNext

It was forty-five years before on this day, February 25 (1981) that destiny had taken up scripting a new chapter in our life, in the form of birth of a baby boy. Ahmedabad was tense in those days, and the mood against job reservation was very strong. However, we had no hesitation in selecting TADATMYA (Sanskrit: Tādātmya; feeling of being one even when physically being different) to symbolize our relationship among our now extended family.  As is the practice in our community, a different name was selected on the maternal side, which was TATPAR.

Image
Maheshbhai, carrying Tadatmya – flanked by Sandip and Gayatri; their mother (my cousin sister) Deviben at the back and Purnimakaki (partly visible)

After about a month or so, Susmita, along with Tadatmya, accompanied Kunjalataben to go to Bhuj to be away from the tense atmosphere of Ahmedbad and also to recuperate fully.

Image
Kunjlataben with Tadatmya – Bhuj

After Susmita came back, the life started to settle down around the presence of Tadatmya.

Image

Image
(Chaitanya Patani, I, Sanjay, Susmita carrying Tadatmya, Kunjalataben, Ben)

Image

He was very fond of being rocked in his cradle, particularly when going to sleep at night. He would either like to keep listening to stories or would keep chatting. Normally, this would be the duty of Susmita. However, if Ben (grandmother) or Maheshbhai (grandfather) would happen to be at Ahmedabad, then they only were acceptable for this job. But perhaps his most favoured was Mota Amma (great grandmother). After a good time, when he would totally calm down, and would appear to have gone to sleep, Mota Amma would stop pushing the cradle. Tadatmya, though feeling very sleepy, would exhort to continue. At that stage, our efforts to relieve Mota Amma would just not be acceptable to Tadatmya!

The ritual of shaving the first hair for Tadatmya was duly performed sometime in February 1983.

Image
Tadatmya, adorning a childlike mischievous smile and fresh hairline

Along with Tadatmya’s freshly growing hairline, I had experimented growing a beard!

Image
Tadatmya, adorning a childlike mischievous smile and fresh hairline

Tadatmya’s steady growth through this childhood phase remains a very happy phase for us as well.

One activity that we enjoyed together with him was his developing interest in reading. We always used to be on the lookout for material that he, as a child, would find interesting to read. I made it a practice to buy a book every time I visited out of Ahmedabad for my official work-related visits.

Image

During 1983 to 1984-85, our cousin Sudhakarbhai (son of Chamanlal Dholakia) was posted in Ahmedabad. As a result, his son Bhavya was very good peer company to Tadatmya.

Image

Tadatmya seemed to be so much used to the in-house way of life that he was extremely uncomfortable at Padmaben’s KG home-school. Ben had to sit outside the schoolhouse so long as Tadatmya was in the class. Tadatmya would keep coming out of the class to check up that Ben was indeed still waiting outside. However, when he would return from the school, he would merrily narrate all that he learned during the day, while enjoying mixture of sev-mamra (puffed rice mixed with fried crunchy chickpea noodles). He carried his liking for that snack even when he moved to primary school. There his school friends also took so much of a liking to it that they would swap their lunch, containing paratha, dosas, etc. with Tadatmya’s sev-mamra.

While he was in KG, he participated in a fancy-dress competition and acted as Madhubhai, his auto-rickshawwallah. He told us that one of his classmates, Hardik Bali, was going to play “Kensikendra”. We were quite puzzled by this, and when we asked him, he said it was a kind of bird. But actually, it turned out that he was playing “King Sikandar”!

Image

Image
Tadatmya – in one of his very typical ‘mischievous’ moods

On the whole, his pre-primary years passed almost like a blink.

The brother-in-law of my colleague at Arish Equipment, Ashwinbhai Palkhiwala[1] – Shri Ashokbhai C Gandhi – was a trustee at AG School Trust. So, Tadatmya’s admission to the primary school fortunately turned out to be a very easy affair.

Here too Tadatmya took some time before he got settled. But once had made new friends, his entire schooling went almost on autopilot.

Image

As I attempt to capture Tadatmya’s mixed mood as he gets ready for the school, a terrible camera-shake fuzzed Susmita’s image.

Image

Image
Tadatmya – playfully ready to go to school

Tadatmya had now started participating in other activities of the school as well.

In standard 6th, Tadatmya played the role of a Buddhist monk who gave diksha to King Ashok.

Image

Now, in retrospect, it can be said that development of his own unique personality had already commenced just as he was to complete the primary school!

He would be quite absorbed in his own activities.

Image

while simultaneously remaining so innocently childlike…

Image

By the time Tadatmya reached primary school stage, his growth had been on the self-propelled trajectory. I was getting more occupied in my professional grind. Our roles, and mine in particular, too had become those of facilitators. Sometime when the shared autorickshaw would not turn up, I would have to drop Tadatmya to school. We would pick up his classmate Neeraj (Saxena) on the way. After we had purchased our Premier Padmini car, Tadatmya and Neeraj always looked forward to the car ride to the school on such occasions. During the Yagnopavit ceremony of Tanay (Tadatmya’s son) (in 2024) when Neeraj met me, he fondly recalled such rides, particularly on the heavy monsoon days. He very vividly described how they looked forward to the car getting stalled at one of two spots where there would be heavy waterlogging. If the car would be stalled, they would get the fun of pushing the car out, and in turn get fully drenched. That they would get an unencumbered day off from the school would be a bonus.  However, he keeps lamenting that I never allowed their wish to come true!

My daily commute to Vatva for work created a large gap of time before we would meet again (late) in the evening. Tadatmya and I both looked forward to our face-to-face meeting as soon as I reached home. Tadatmya would be waiting at the door. As soon as I would ring the bell, Tadatmya would open the door and right on the threshold itself would reel off his day’s activities!

Once we shifted to Meera Apartment (in 1993), Tadatmya lost his daily outdoor games time of Pragati Nagar. He made good that loss by improvising on an indoor (modified) cricket-cum-squash. As we climbed three steps on a stair from the drawing room to the first-floor penthouse living room, there is an open wall face. He would convert it into a bounce-back wall to keep hitting the ball with his bat.

During one of those years, we had planned an outstation trip during one of the vacations of Tadatmya. Our planned trip had to be cancelled because of exigency of my professional work. So, we worked out a make-shift trip to Diu by road. Our first halt, in the evening, was at Rajkot. Our first halt was Nimesh’s – my maternal cousin, son of my mother’s sister Dhanvidya Pradyumnaray Mankad. From there we went to our other cousin Sudhkarbahi’s. We then all got packed into our Sumo and had a quick trip to Aji dam. On return everyone enjoyed Rajkot’s famous ice=cream ice golas. We stayed at Sudhkarbhai’s for the night. From there we took off to our next stop – Junagadh. Sudhkakarbhai’s children Utkantha and Bhavya had joined us. My close friend Mahesh (son of Dilipray Mankad) was then collector at Junagadh. We had lunch at his home Mahesh had made arrangement for our night stay at a guest house at Sasan and next day visit to jungle safari. Now Mahesha’s children, Anang and Hirwa, too, joined the party. From there we proceeded to Diu via Ahmedpur Mandvi. We had a two-night, three-day stay at Diu. On return, for our trip to Somnath, Mahesh and his wife, Harmila (incidentally, daughter of Babifai, sister of Susmita’s father, as well) also joined in their car. On way to Somnath, we saw hot rolled ganthiya being coming off from the woke. We stopped there and got them packed to enjoy them en route Somnath in the car. From Somnath, Mahesh family parted to go to Junagadh and we drove on back to Ahmedabad vis Rajkot.

During the period of home-based preparations for his 10th standard examination, Tadatmya improvised his recharge breaks by having a quick look at the TV commentary or highlights of the day of 1996 One-day cricket World Cup matches. The World Cup final between Sri Lanka and Australia was on the day prior to the first exam – Maths! Tadatmya watched the entire match, while Susmita was worried that he wasn’t preparing for the exam!

Gorakaka (my uncle, Janardanbhai Pranlal Vaishanv) lent his moped, Luna, for Tadatmya to commute to the tuition classes when he was in 11th standard. That Luna remained mor in repair shops then on the road, Ad yet, Tadatmya and Neeraj always looked forward to double-seat drive on that Luna, more as an adventure than as convenience.  Neeraj’s unfulfilled wish to be able to get opportunity to push the car out of water logging had been satisfied multiple times when Luna would play truant on the road and would have to be pushed to the mechanic’s shop for repairs.

Image

After Tadatmya’s completion of his Std XII board exams, admissions to the engineering colleges were delayed because of ongoing litigation. The option for admission to BITS, Pilani also was not available because of some technical snag of coordination between BITS and the Gujarat state board. However, my colleague at Ratnamani, the late Prakash Bhat (who had studied at KREC Surathkal, Karnataka, upgraded to NITK in 2002) opened up an option for seeking admission at RECs. He had given us a very good reference about KREC, Surathkal. He had also arranged to manage the information that for Computer Engineering – the discipline of Tadatmya’s first choice – REC Trichy was considered the top choice, followed by KREC, Surathkal.

On the day I returned from my official trip to Mumbai, there was an advertisement in the newspapers that in order not to miss the deadline for admissions to RECs, counselling for the admission process was to be held beginning that very day.

We lost no time in reaching the counselling centre at LD Engineering College in good time. Just as the process was to commence, we came to know that Tadatmya was second in the merit list. As soon as the process commenced, the first one in the merit list opted for REC, Trichy. Tadatmya did not even wait for his name to be called to declare that his choice was KREC, Surathkal. We immediately paid the fees and completed the formalities. As we were preparing to leave the venue, we did meet parents of Paras Gandhi who had also secured admission at KREC. They informed us that first available train to Surathkal was after two days. That put us in a spin.

We rushed homewards. The news was a pleasant shock to Susmita. As she and Tadatmya started planning the details of preparation for Tadatmya’s hostel stay, I left to book the train tickets.

On our way to the Kalupur railway station on the day of travel, we encountered an unusual traffic jam near Delhi Darwaja. Though we had planned for sufficient safety time margin, we soon started to fear the possibility of missing the train. We left the car we were riding in, carried all our luggage and stepped out into the traffic. In order catch an autorickshaw, we had to wade through the snarl of vehicles jammed up back-to-back, side-to-side. Ultimately when we reached the station, we came to know that the train was also late, but now it had arrived and would depart in the next ten minutes. We started running across the first platform, foot overbridge and then on the main platform. Just as the last of us boarded the coach, the train started chugging out of the platform! However, the train journey to Surathkal was a pleasant experience, and the Konkan coast was breathtaking. Probably, fate signalled miraculous beginning to a new chapter of Tadatmya’s life outside Ahmedabad.

We have never learnt more details about ‘roughness’ of initial few days at the hostels, for Tadatmya has eschewed that experience and left it far behind in his forward journey.

Image
From left: Tadatmya, Saurabh Garg, Noel Fernandes, Rajendra Sharma (at the back), Anand Nawalgund, Kiran Padhiyar (at the back), Paras Gandhi and Jignesh Gohil.

Several of Tadatmya’s trips back to Ahmedabad during vacations had four to eight hours of delays because of landslides on Konkan railway tracks during the monsoon. During his one such trip in January 2001, we purchased a new TV on 24th January and then underwent the trying experience of the earthquake. Tadatmya had to stay for the rest of that vacation at a makeshift shelter at a house opposite our Meera Apartment. During his 2002 home visit, his last from Surathkal, we had held a conference to decide whether to accept the proposal of my joining Jindal Saw, Nana Kapaya (Mundra, Kutch) which called for our shifting to Nana Kapaya as well.

We too paid two visits to Surathkal during Tadatmya’s tenure there. In one trip we visited places near Surathkal.

Image

Our second trip was visit to Kerala wherein Tadatmya had joined from KREC.

Image

Other than this physical medium of contact, exchange of letters through the postal system and talking through landline phone were the modes of communication. The hostel authorities at KREC had arranged for one telephone line for every hostel block. We had set up a fixed schedule for making the call so that Tadatmya would remain present near to their phone. These calls used to be quite matter-of-fact discussions only because many other students also would be awaiting call from their parents.

In 2002, Tadatmya joined Novell, Bengaluru, directly from KREC. We had then paid a visit to Bengaluru too, and from there to Ooty and Mysore.

Image

While at Novell, Tadatmya actively worked for taking up PG studies. He had appeared for GATE examination for entrance to post-graduate engineering discipline while in his final year at KREC, but his attempt had fallen far short. He had learnt that IIMs offered option of choosing systems management as well. In the interview process of IIM Bangalore, he faced a question about his views on Narendra Modi, the then chief minister of Gujarat. Since he had been away from Gujarat all those years, he probably could not articulate the views that may have may have met the expectations of the interviewers, so Tadatmya was not finally selected. But he did well for all phases of admission to IIM, Lucknow and joined IIML in 2004.

We paid visits to IIML twice – during the winter of his first year and then at the convocation ceremony. During the first visit, we undertook a trip to Kashi and Allahabad and during the second visit, undertook trip to Nainital.

Image

Tadatmya’s trips to Ahmedabad before he joined IIML and when he left IIML have associations of two sad and one good memories. In the first instance, when Tadatmya landed at Ahmedabad airport from Bangalore, he was surprised to find us there to receive him. We had been to Ahmedabad a day earlier to attend the last rites of Mahesh (my close friend – Mahesh Dilipray Mankad) had passed away During his journey back from Mundra, to join IIML, Tadatmya had the opportunity to attend marriage reception of Harshit – Tadatmya’s friend of our Pragatinagar days and son of Dr. Ashokbhai and Bhavnaben Desai. In the second sad instance, while he was enjoying his last vacation at Mundra after completing his PG at IIML, Madhumama (my maternal uncle – Madhukant Mulshankar Chhaya) passed away.

The year 2006 became another defining year in Tadatmya’s life and career.


[1] Recalling the Memories of Ashwin Shantilal Palkhiwala


To be continued

Carnival of Blogs on Golden Era of Hindi Film Music – Volume XIV – February 2026 Edition

Welcome to February 2026 edition of XIVth Volume of Carnival of Blogs on Golden Era of Hindi Film Music.

Presently we move on to our section on tributes and celebrations for the month –

Love is Bliss – Wishing everyone a very Happy Valentine’s Day with guest article by DP Rangan

What is it about Noor Jehan’s ‘Neher wale pul’ that refuses to age?Suanshu Khurana – As it circulates through the digital universe in 2026 while resonating with Gen Z, Noor Jehan’s 1952 song, Neher wale pul, works because it was not designed to be ‘content’.

Mehefil Mein Meri has been celebrating O P Nayyar’s Birth Centenary by revisiting his songs sung by the prominent singers – Geeta Dutt, Asha Bhosle, Rafi, Shamshabad Begum Kishore Kumar,  and  Mahendra Kapoor in the past one year. In the concluding article are covered  more singers in the O P Nayyar’s work – G M Durrani, Bhupinder Singh, Meenu Purushottam, Balbir, Kamal Barot,Krishna Kalle, Usha Timothy, Badri Pawar /Shankar Dasgupts, Usha Khanna, Vani Jayram, Uttara Kelkar, Pushpa Pagdhare, Dilarj Kaur, Anuradha Paudwal, S Janki / S P Balasubramiam, Kavita Krishnamurthy, Amit Kumar, Mohammad Aziz, Ranjana Joglekar.

Kashmir ki Kali: The Shakti Samanta-OP Nayyar blockbuster – One film, eight songs, two men who brought it all together into a memorable package.

Ghazal King Jagjit Singhji’s thoughtful creations are revisited on birth anniversary – Jagjit Singh’s excellent compositions will remain immortal forever.

नलिनी जयवंत – प्यार, स्टारडम और गुमनाम मौत – From ruling the silver screen in the late 40s & 50s to suddenly stepping away from the limelight, her life was as dramatic as the films she acted in.

Nalini Jaywant : Love, Stardom & The Untold Story of a Golden Era Diva | 100th Birth Anniversary

Here are Bollywood Rewind articles of Samapda Sharma in Indian Express:

February 2026 episode of XIVth volume of Fading Memories, Unforgettable Songs presents Talat Mahmood – Duets with Asha Bhosle – 1957-1958 . Till now, we have explored –

In 2017, an overview of Talat Mahmood’s duets receding from the memory.

In 2018, Talat Mahmood’s duets with rare co-singers,

In 2019, Talat Mahmood’s duets with Mubarak Begum and with Madhubala Jhaveri,

In 2020, Talat Mahmood’s duets with Geeta Dutt, essentially from 1950 to 1952,

In 2021, Talat Mahmood: Duets with Geeta Dutt, from  1954 to 1957, with one duet even in 1972

In 2022, Talat Mahmood: Duets with Shamshad Begum,

In 2023, Talat Mahmood’s: Duets with Asha Bhosle: 1951 | 1952 | 1953

In 2024, Talat Mahmood – Duets with Asha Bhosle: 1954| 1955, and

In 2025, Talat Mahmood – Duets with Asha Bhosle 1956.

We now move on to posts on other subjects –

Forgotten Artists of Early Cinema and The Same Name Confusion Book 5

Image

Author: Arunkumar Deshmukh
Publisher: Professor toofaani publishers, East Lansing, MI, USA
Price (Pothi.com): ₹599 plus shipping (Paperback)
Copyright: © Arunkumar Deshmukh | Pages: 146

Finally Found: The Other Song (a documentary by Saba Dewan) – a documentary film referred to in a post “Nazir Lagi Tore Bangle Par” and Zarina Begum. The song referred to is a mujra sung by Asha Bhosle for Nalini Jaywant in the film Kala Pani (1960). Zarina Begum had been performing a version of this song likely since a time well before Asha Bhosle’s.

Love Triangle Songs has, normally, two heroes rooting for one heroine or vice versa. There is more drama introduced when a fourth vertex is added to the triangle – त्रिकोण का चौथा कोण, as it were. There could be a situation where both A and B love C but D loves A. This makes the problem even more wicked. The filtering covenant is that these songs have all the dramatis personae are seen in the song, whether in the same frame or otherwise. Also, there is no extramarital love as they are all single. E.g. Na Aadmi Ka Koi Bharosa – Aadmi (1968) – – Md.Rafi – Lyrics: Shakeel Badayuni – Music: Naushad – In the end, Manoj gets married to Simi Garewal – the त्रिकोण का चौथा कोण, while Dilip to Waheeda. Here a rendering of this song by Mahendra Kapoor in a totally different tune.

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 –

Jaane Jigar Yun Hi Hota Rahe Ishara Tera – Mujhrim (1958) – Lyrics: Majrooh Sultanpuri

Raat Bhar Ka Hai Mehmaan Andhera – Sone Ki Chidiya (1958) – Lyrics: Sahir Ludhianvi

The song has Mohammad Rafi solo version.

https://youtu.be/NufQfRt0uCQ?si=pPWCy2XrCOn7_0fg


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 not 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 Quality Management Articles and Blogs -Volume XIV – February 2026 Edition

Welcome to February 2026 edition of the XIVth volume of Carnival 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 Resilience.

The concept of resilience traces its roots back to the work of C.S. Holling, an ecologist who first noted the characteristics of a resilient ecological system in 1973. Since then, the notion of resilience has been applied to fields as diverse as psychology, systems thinking, disaster management, and more recently, supply chain management.

For some, resilience is a reactive capability that occurs after a disruption or shock has taken place. Others see resilience as more proactive efforts toward helping the firm prepare for a disruption. In light of these divergent observations, it is not surprising that there is confusion surrounding this key concept.[1]

Image

Supply chain resilience refers to a supply chain’s ability to anticipate, adapt and recover from disruptions, such as natural disasters, pandemics or other unexpected events.

Resilient supply chains typically exhibit four core components: contingency, flexibility, visibility and collaboration.

Often, resilience strategies focus on critical supply chain practices such as forecastinginventory managementsupplier management and commodity management.

To measure the effectiveness of a resilient supply chain, companies can track key performance metrics. Three key metrics are:

Time-to-survive – refers to the length of time a business can continue to operate during a supply chain disruption without experiencing severe operational or financial setbacks.

Time-to-recover – is the period that it takes for a business to return to normal operations following a disruption.

Time-to-thrive – is the duration it takes for a supply chain to not only recover but also capitalize on opportunities after a disruption.[2]

Image

To deliver value, supply chains must transition from a fragile to resilient to antifragile state in which they gain value amid uncertainty. The shift requires supply chain planning (SCP) leaders to understand how uncertainty affects supply chain planning and decision making, and what needs to change to achieve an antifragile state.[3]

Image

More reading:

What Is Supply Chain Resiliency?

How to create a resilient supply chain strategy

Course for Change: Mastering supply chain resilience in an unconventional world

We will take up more topics on supply chain and supply chain management in the future episodes.

We now turn to our regular sections.

From Quality Mag –

However, as a time management tool, in particular, there is a philosophy of tackling the simple before the complex in an attempt to clear tasks from “your desk” first, to provide time and focus to addressing the more important.

In quality manufacturing, the idiom “first things first” could be called a cornerstone principle, translating directly to core methodologies, such as process control, risk management, and lean manufacturing. In a fair amount discussion of best practices in business and manufacturing, the phrase is said to convey an emphasis of the importance of prioritizing foundational steps and prerequisites before attempting more advanced tasks. Further, adherence to this principle is crucial for building robust processes, minimizing errors, and achieving consistent product quality.

At its most basic level, “first things first” means ensuring a stable process before scaling up production. Skipping the initial checks often leads to systemic problems, requiring costly rework or recalls later in the production cycle. Without a stable baseline, data gathered from the process is unreliable and any improvements are likely temporary or misleading.

This philosophy is also deeply embedded in risk-based thinking. Manufacturers address the highest-risk items first, ensuring those with the greatest impact are mitigated before they can occur.

Furthermore, “first things first” aligns with the gemba walk philosophy in lean manufacturing, where management goes to the actual place where work is done to observe and understand the real situation. The priority is understanding the current state of the process before proposing any changes. This direct observation ensures that solutions are grounded in reality rather than assumptions.

In the quality industry, “first things first” is a powerful operational guide. It demands discipline and foresight, ensuring that every effort builds upon a solid foundation, thereby minimizing waste, enhancing efficiency, and ultimately delivering the superior quality that customers expect. By prioritizing the foundational elements of quality management, manufacturers establish a resilient system capable of sustainable success.

Yet another benefit of this approach is improved workflow. As Jim Smith notes, “Enhancing the design process helps improve everything downstream.”


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] Understanding Supply Chain Resilience

[2] What is supply chain resilience?

[3] Build Supply Chain Resilience to Arrive at an Antifragile State

Fading Memories…. Unforgettable Songs: Volume XI – February 2026

Talat Mahmood – Duets with Asha Bhosle – 1957-1958

ImageTalat Mahmood (24 February 1924 – 9 May 1998) as a singer had a magical spell over the listeners in the 50s. The career of this velvet-voiced singer ran parallel to his other cotemporary singers like Mohammad Rafi, Mukesh, Manna Dey and Kishore Kumar. Talat Mahmood sang 747 songs in 12 Indian languages and starred in 13 films.

Talat Mahmood’s duets with all major female singers of his times presents have a very special place in the annals of Hindi film music. Therefore, we have undertaken a series of his (rare) duets to commemorate the memory of Talat Mahmood in the month of his birth. Till now, we have explored –

In 2017, an overview of Talat Mahmood’s duets receding from the memory.

In 2018, Talat Mahmood’s duets with rare co-singers,

In 2019, Talat Mahmood’s duets with Mubarak Begum and with Madhubala Jhaveri,

In 2020, Talat Mahmood’s duets with Geeta Dutt, essentially from 1950 to 1952,

In 2021, Talat Mahmood: Duets with Geeta Dutt, from  1954 to 1957, with one duet even in 1972

In 2022, Talat Mahmood: Duets with Shamshad Begum,

In 2023, Talat Mahmood’s: Duets with Asha Bhosle: 1951 | 1952 | 1953

In 2024, Talat Mahmood – Duets with Asha Bhosle: 1954| 1955, and

In 2025, Talat Mahmood – Duets with Asha Bhosle 1956.

Before we take up Talat Mahmoods’s duest with Asha Bhosle for the years 1957 and 1858, we wiil catch up with one duet of 1953 which had been missed earlier by oversight

Kisi Ne Nazar Se Nazar Jab Mila Di  – Hamsafar (1953) – Lyrics: Sahir Ludhianvi – Music: Ali Akbar Khan

This is the second Navketan film, after Aandhiyan (1952) for which Ali Kbar Khan, known more as classical Sarod player. Jaidev was assistant to him in both the films.

Chori Chori Dil Ka Lagaana Buri Baat Hai  – Badaa Bhai (1957) – Lyrics: Prem Saxena – Music: Nashaad

Filmed on Ameeta and Anant Marathe, this is a very lovely cycle rickshaw duet.

Haseen Chaand Sitaaron Kaa Waastaa Aa Jaa – Mera Salaam (1957) – Lyrics: Shewan Rizvi – Music: Hafeez Khan

As a playback singer, Hafeez Khan was known by his pseudonym ‘Khan Mastana’. A detailed family history of Hafeez Khan is available here .

This song is composed on a slow tempo and does not have musical interludes between stanzas. Even the use of musical instruments during the singing is minimal.

Tum Ho Kaheen Ke Ham Hain Kaheen Ke Mohabbat Mein Ho Gaye Ab To YahiN Ke – Taajposhi (1957) – Lyrics-Anjum Jaipuri – Music: Bipin Babul

A duet that forms dialogues of enjoying the moments of courtship.

Pyaas Kuchh Aur Bhi Bhadkaa Di Jhalak Dikla Ke, Tujhko Parda Rukh e Raushan Se Hataana Hogaa, Itni Gustaakh Na Ho Ishq Ki Awaara Nazar Husn Ka Paak Nigaahon Ko Sikhaana Hogaa – Laala Rukh (1958) – Lyrics: Kaifi Azmi – Music: Khayyam

This is happy version of a celebrated Talat – Asha duet

This is its sad version:

 pyaas kuchh aur bhi bhadka di jhalak dikhla ke ae
tujhko parda rukh e raushan se hataana hoga
chaand mein noor na taaron mein chamak baaqi hai ae
ye andhera meri duniya ka mitaana hoga

Hamein Haal e Dil Tumse Kahna Hai, kahiye, Agar Ho Sake Meri Aankhon Mein Rahiye – Chaubees Ghante (1958) – Lyrics: Raja Mehdi Ali Khan – Music: Bipin Babul

We have one more of a very pleasing duet.

Tim Tim Tim Taaron Ke Deep Jale Neele Akash Take Ham Dono Ki Preet Pale – Mousi (1958) – Lyrics: Bharat Vyas – Music: Vasant Desai

Here is one more addition to the list of pleasing duets of Talat Mahmood – Asha Bhosle.

Mujhe Hai Zara Jazb e Dil Aazmaanaa – Zindagi Yaa Toofaan (1958) – Lyrics – Naqshab – Music – Naashad

Presence of Tabla and Sarangi indicate the kotha culture, but in the absence of video, it is difficult to confirm.

Hamara Kya Hai Ham Tadpein Magar Tumko Qaraar AayeZindagi Yaa Toofaan (1958) –  Lyrics: Nakshab – Music: Naashaad

Both broken hears seek succor for their partners.

Pyar Par Bas Nahin Hai Mera Lekin – Sone Ki Chidiyaa (1958) – Lyrics-Sahir Ludhianvi – Music: OP Nayyar

When softly sought to know whether she loves him or not she replies in her acceptance in humming.

The song has a twin version as a solo by Asha Bhosle.

https://www.youtube.com/watch?v=Yx9YfmyuOHU&list=RDYx9YfmyuOHU&start_radio=1

Sach Bataa Tu Mujhpe Fidaa Kyun Hua Aur Kaise Hua – Sone Ki Chidiyaa (1958) – Lyrics-Sahir Ludhianvi – Music: OP Nayyar

A very brief shot in the very beginning shows what is being ‘acted’ in out of the script!

https://youtu.be/ufdzFhY6AIU?si=KroS52xTRom9Ooh4

We will continue with Talat Mahmood’s duets with Asha Bhosle in our next episode…


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.

Susmita – My Companion for Life – Getting closer and The courtship

Continuing from The Proposal and Acceptance

Getting closer

Now that we had agreed to accept each other as life companions, we lost no time in updating each other with the basic essentials of our present. The first couple of letters broadly detailed as many aspects as we thought was necessary for each of us to know about each other. Then next couple of letters detailed out the clarifications / elucidations of the issues that emerged in the earlier letters.

Image
Susmita – attending a function during her teaching tenure at Bombay

Midway through the second week, an opportunity opened up for me to visit Bombay for an official work. I sought permission from the office to extend it by a day more. Once that was agreed upon, and to and fro travel arrangements were confirmed, I informed Susmita and sought her views to make the most of this visit. A phone call later, the plan was chalked out. I was to meet Susmita near Flora Fountain in the evening, when she would be returning from her day at college (Bombay University) and we would ride together to their home – Pearl Palace – at Santacruz (West), as she routinely used to do. That would provide us a good 45 to 60 minutes of private time in public place of the bus – a great positive feature of Bombay life.

On the appointed day, I managed to reach the meeting place in good time, I planned a visit Rhythm House (at Kala Ghoda) to purchase a record, as I frequently used to do whenever I happened to be in that part of Bombay during my official visits. That buffer did help me to reach the appointed place a few minutes before. Hardly had I waited for five minutes or so at the bus stop, that I saw Susmita coming from the other side. When we were about two three minutes distance away, our eye contact was made. In that fraction of the first ever eye contact, I could feel apprehension of knowing hardly anything about each other that I had felt when I first read her proposal melt away. The feeling of the gratitude for having accepted each other and joy of seeing each other in person for the first time seemed to glisten in our eyes. Before we could greet each other, our bus had arrived and we climbed up and occupied a vacant two-seater seat on the upper deck of the double-decker bus. Our first synchronous ‘how-are-you’ greeting could happen only after we had purchased the tickets for the bus journey.

For next 45 minutes or so, we talked on many topics as if we knew each other for many years. The tone of our discussions was so very informal that while physically seating next to each other we mentally felt seamlessly together.

As we reached home, I ‘met’ (Susmita’s mother) Kunjalataben in person. The mood of our just concluded bus journey acted as a catalyst in making the meeting my mother-in-law for the first time without any burden of formality. Before dinner, our discussions recalled how the reactions of relatives on both sides varied from total unbelieving surprise to happiness of the ‘inevitable’ event to have happened! Kunjalataben had prepared sevaaiyan as special sweet dish to welcome me. Our discussions over the dinner covered what else I liked, why or why not etc. Post-dinner our discussions updated me with Divyabhash’s professional activities, their way of life at Zaire etc. On the whole, that one meeting brought all of us abreast with most of the essential aspects of our ways of living.

Image
Kunjlataben, Divyabhash, Karnika, Susmita

In the hindsight, the thaw at both levels had happened so organically that by the time we were to take up seemingly complex discussions like structuring the marriage proceedings, I was freely able to put forth my perspective, and (vehemently) defend that too, with Kunjalataben,.

To buttress the level of informality that was attained in my relationship with Kunajalataben, I recall an amusing anecdote. While awaiting a bus to visit Harshavadanbhai and Surabhi, Kunjalataben noticed the height difference between myself and Susmita. In a tone of relief that she will be spared of listening to any adverse comments from the hawkeyed visions of our community, at least on this count, she very candidly stated that it was good to see that Ashok is a little taller than Susmita.

During some of my subsequent visits to Bombay, I was duly introduced to their other close relatives and acquaintances like Bhujangibhai Antani @ Irla), Vijayafai family (@ Banganga) and Priyavadanbhai and Kokilaben Baxi (@Kolaba). Having known Maheshbhai’s association with Ramkrishna Ashram, Kunjalataben introduced me to the Ramakrishna Ashram at Santacruz (West), while paying a visit to my maternal sister Bakulaben (Jayvantbhai Vaidya, daughter of Ben’s elder sister Minmasi, a.k.a. Laxmiben).

Thus, My trips to Bombay facilitated a deeper understanding between myself and Susmita, as well as between myself and Kunjlataben.

The courtship

At our personal levels, buoyed by our meeting of minds during that an hour of our person-to-person meeting, our subsequent corresponsence became free exchange of ideas and sharing of some or other noteworthy experiences of the week that we thought would be of interest to each other. Some part of these letters gradually covered our responses each other’s letters.

That pattern of exchange of views on different subjects continued during our personal meetings during my official work-related visits to Bombay. Time permitting, we used to visit Juhu beach, spend available time there talking about small things, not like a couple who was recently engaged to be married, but as if the one who knew each other for years of married life. The only thing that signified our status of recently engaged couple was that we eagerly awaited our next meeting, and at every such meeting, our first eye contact had that spark of our first ever meeting would be vigorously rekindled.

The development of ethereal bond of carnal platonic love between us during this period was cemented by three mundane events.

The first one was a week-long visit to Ahmedabad by Susmita (and Kunjalatben) during the Deepavali festival. Gorakaka (Maheshbhai’s younger brother, Janardanbhai Vaishnav) family, along with Mota Amma (my grandmother) too had come from Rajkot, to join the maiden festivities after our engagement. For Susmita, it was her first, formal and full-scale, exposure to the ways of VAISHNAVs’ living. For two of us, it was a live dress-rehearsal of one facet of our future married life.

It was during these days that my grandmother made her second ‘liberalization’ (as we now know the easing of customs and rules, since 1991) – she told Susmita, in public, that Susmita can address me by name, in her presence, and even in the presence Susmita’s father-in-law (my grandmother would not address her sons by name, as per the prevalent custom of her time) if he did not mind. Her first such declaration was after the marriage of Divyakumarbhai (my elder cousin, elder son of my uncle Kamalbhai Pranlal Vaishnav) that henceforth the wives of the family need not cover their face in deference to the (male) elders of the family. Coming from a matriarch who had spent her life in very conservative society, making such declarations on her own speaks volumes for Mota Amma’s liberal thinking and care and affection she had for the new generation!

[Note: This practice of maintaining decorum indeed has not been followed in the family since then, but Susmita still does not address me by name! Incidentally, it came into practice after about a decade and half when Darshan (my younger cousin, son of my younger uncle, Janardanbhai Vaishnav)’s wife Ami (a.k.a. Ashlesha) started using Darshan’s name in her communications.

Susmita recalls that after Mota Amma’s permission, Maheshbhai (my father) did start talking to her directly. However, he ensured to avoid direct eye contact during such conversations!]

The second one was marriage of Akshay (my maternal cousin, son of my maternal aunt, Bhanumais, a.k.a. Bhanugauri Dolarray Anjaria – elder sister of my mother- and parental cousin of Susmita (son of Susmita’s uncle, Dolarray Mohanlal Anjaria) too. The groom’s party, consisting of some twenty members of extended family, was to travel over night by train from Ahmedabad to Jetpur (Saurashtra). We had been able to manage a space in a small compartment having four rows of seats. Even after some members of the party were accommodated on the overhead luggage racks, four people ‘sleeping’ on the floor space between the rows of the seats, five six of us had to manage the ‘seats’ on the compartment floor. I and Susmita were given special treatment by being ‘allowed’ to set side-by-side. We ‘enjoyed’ our sleep by dozing off on each other’s shoulders!

The third instance was relating to the discussion of the way our marriage should be planned. I was of the opinion that marriage should be planned with utmost simplicity so as to avoid all the expenditure. My proposal was not based on any idealism but on the realism. As per the custom, we the groom’s party has to go to the bride’s place for marriage ceremony. If the marriage was to take place at Bombay, then we would have to incur expenditure of costs of travel of all our relatives, from Ahmedabad to Bombay. In addition to this, everyone had to incur a good amount for travel to and fro Ahmadabad from their places of residence. My proposal was that instead of following the traditional Hindu custom if the marriage is consummated by registering in the court, in the presence of only the immediate families, we can avoid all the expenditure that traditional Hindu custom related functions and ceremonies would have necessitated.  My perception was that financial surpluses on our side were just becoming comfortable after completion of my studies and purchase of house at Pragatinagar. Hence, need to avoid expenditure on marriage ceremonies and customs. I had spelt out my view in a letter to Susmita, to which she had concurred. Obviously, my proposal was not accepted by either my parents or by Kunjalataben. As a result, I caused lengthy discussions with them to convince them to my point of view. In the end, a compromise was arrived at where the venue of the marriage was agreed to at Ahmedabad, with marriage ceremonies limited to the bare minimum. The only part of my proposal that did not change was the consummation of actual marriage only by registration at the court. Even, the registrar of marriage was invited to the marriage venue to solemnize the marriage! All through the process, Susmita had had been able to see my de-glamorised, one ‘real’ side of me! As such, this was one of the many future occasions where even when we agreed on something, our reasons and approach may chart different paths. In the hindsight, it was a great learning to both of us to agree to disagree while understanding and accepting each other’s views.

The day appointed for our marriage was 17th March, 1977.

Carnival of Blogs on Golden Era of Hindi Film Music – Volume XIV – January 2026 Edition

Welcome to January 2026 edition of XIVth Volume of Carnival of Blogs on Golden Era of Hindi Film Music.

Presently we move on to our section on tributes and celebrations for the month –

OP Nayyar at 100: How his music set a young India’s heart beating with rhythm and desireSuanshu Khurana – On his centenary, remembering OP Nayyar, a composer who infused sensuality into Hindi film music, made a star out of Asha Bhosle, and whose trendy songs — still remixed and replayed — never quite needed Lata Mangeshkar.

OP Nayyar: The Composer Par Excellence – This is the fifth and final post[1] on OP Nayyar in the celebration of his hundredth birth anniversary, which is an overview of OP’s musical career along with other aspects related to his life.

Mehefil Mein Meri has been celebrating O P Nayyar’s Birth Centenary by revisiting his songs sung by the prominent singers – Geeta Dutt, Asha Bhosle, Rafi, Shamshabad Begum,  Kishore Kumar, and Mahendra Kapoor in the past one year. 30+ more singers too figure in the O P Nayyar’s work.  C H Atma, Rajkumari, Talat Mahmood, Mukesh, Suraiya, Manna Dey, Hemant Kumar, Ustad Aamir Khan, Ustad Amanat Ali and Ustad Bade Fateh Ali, Suman Kalyanpur, Usha Mangeshkar, Nirmala Devi, Sudha Malhotra, S D Batish and Jagmohan are covered in the first of the two-part tribute.

ओ पी नैयर @100 : धुनों के जादूगर का अनोखा अंदाज़ – O P Nayyar’s weightage can be judged by the way Shekh Mukhtar explained Raj Kapoor that two ustaads in the film Do Ustaad (1959) are himself and O P Nayyar.

A Heartfelt Tribute to O. P. Nayyar : A Composer Who Broke the Rules

When Geetmala Ruled Hindi Film MusicRatnottama Sengupta travels back in time to the Wednesdays and Sundays and Fridays when school girls and college youths refused to trade their evenings with Ameen Sayani for plays or birthday parties. A personal journey through the golden age of radio and Binaca Geetmala.

Salil Chowdhury: Creating Music ‘Outside the Rules’NS Rajan – A lyrical portrait of Salil Chowdhury, this article journeys through his revolutionary beginnings, his seamless fusion of Western and Indian music, immortal film songs, deep artistic friendships, and a legacy that transcends language, era, and genre in Indian cinema. True to being a salt-of-the-earth figure, Salil once drew a parallel with Bengal’s passion for football to describe himself. He said, “Take the game of football. All the rules are there, yet there is a player like Pele who produces something outside the rules, even while remaining within them. I am that Pele in music.”

Shakti Samanta centenary: ‘There wasn’t a moment when he wasn’t thinking of films’Nandini Ramnath – The renowned director was a ‘risk-taker and an adventurer’

Here are Bollywood Rewind articles of Samapda Sharma in Indian Express:

Learning with Mani Kaul: ‘He unlocked something you did not yet know you knew’– Filmmaker and academic Soudhamini writes: “He brought a certain coherence to my thinking, that was also a psychic coherence.”

January 2026 episode of XIVth volume of Fading Memories, Unforgettable Songs presents Jaidev: Brilliant, But Underrated, Composer: 1982. 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.

We now move on to posts on other subjects –

Book Review: “Soulfully Yours – Ravi” – Manek Premchand starts his biography of Ravi, titled “Soulfully Yours: Ravi” with Overview: Composer Ravi – The Man, and His Music, giving therein a long list of his superhit parade, including some timeless songs, he poses a question, “Why this paradox, where Ravi’s music shines, but his name fades?”

Image
Soulfully Yours: Ravi Author: Manek Premchand
Published by: Blue Pencil, Delhi 2025 | ISBN: 978-81-943921-4-9
| Price: ₹675 (Paperback on Amazon) | Pages: 455

Khuda Nigehban Ho Tumhara: An Unforgettable Farewell – In a cinematic extravaganza that is replete with memorable music, Khuda nigehban ho tumhara remains underrated. Shirish Waghmode revisits this gem from Mughal-e-Azam.

Book Review: Anirudha Bhattacharjee and Parthiv Dhar’s ‘Kishore Kumar: The Ultimate Biography’ is not just about Kishore’s songs and his films, but also about him on a personal level: as a brother, a son, a husband, a father. A boss, an associate, a friend, an irate citizen standing up for his rights against a tyrannical government.

Image

The Lost Heart Songs! – when you lose your heart, that’s probably the best thing one could lose, especially to someone…..

Madhabi Mukherjee autobiography: ‘That face makes you want to take care of her’Madhabi Mukherjee  – An excerpt from the legendary actor’s memoir, published in 2012 as ‘Madhabi Kanan’ and translated by Arunava Sinha.

Image

Songs Ordering the Agents of Nature – in some songs, the agents are not summoned as messengers but are either gently coaxed or sometimes even ordered to perform an act or stop performing one. Thankfully, the agents/elements do not pay heed to what humans say or else imagine the upheavals this would lead to.

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 –

Jo Waqt Pe Kaam Aa Jaaye Wohi Sahara Achha Hua – Farishta (1958) – Lyrics: Qamar Jalalabadi

Dekh Ke Teri Nazar Beqaraar Ho Gaye – Howrah Bridge (1958) – Lyrics: Qamar Jalalabadi

https://youtu.be/o5F7AlW21uI?si=3sVc5cgHgOEm1MMa

Gora Rang Chunariya Kaali Motiyon Wali Hoye Hoye  Hoye Ke Dil Mera Lut Liya – Howrah Bridge (1958) – Lyrics: Qamar Jalalabadi

Mohabbat Ka Hath Jawani Ka Palla Shubhaan Allaa – Howrah Bridge (1958) – Lyrics: Qamar Jalalabadi


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.


[1] Reference to the previous for articles:

OP Nayyar’s transition from Shamshad Begum, Geeta Dutt to Asha Bhosle

OP Nayyar’s association with Mahendra Kapoor

OP Nayyar’s Non-Film Songs

OP Nayyar’s favourite instruments and his orchestration

Carnival of Quality Management Articles and Blogs -Volume XIV – January 2026 Edition

Welcome to January 2026 edition of the XIVth volume of Carnival 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]

Image

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]

More reading:

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.

From chaos to clarity: Total Digital Transformation with Thoms Jones

From Quality Mag –

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.


[1] Mastering Supply Chain Risk Management: Strategies & Solutions – Jarrod McAdoo

[2] Two Keys to Success in Supplier Risk ManagementWolfgang SchnellbächerCarsten Nee, Yulia Oleynikova, and Chittaranjan Jha

[3] The 4 C’s of SCM: Principles Driving SuccessBenjamin Gordon

Fading Memories…. Unforgettable Songs: Volume XI – January 2026

Jaidev: Brilliant, But Underrated, Composer: 1982

ImageJaidev – 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.

Design a site like this with WordPress.com
Get started