THE WELL-WISHER

Satyen was a conscientious employee and had spent close to a quarter century in a private bank. A devoted family man, he found solace in his cosy two-bedroom flat, sharing life's journey with his wife and adult children. Life, with its inevitable ebbs and flows, tested him as it did everyone else, but Satyen firmly believed that resilience in the face of adversity was the key to happiness.

Meanwhile, Amit, Satyen's son, carved his path in the financial world. Armed with degree in Statistics and Economics and a post-graduate degree in Business Management, he navigated the realm of mutual funds as an analyst with an asset management company. Collaborating closely with Tushar, his affable colleague from marketing, they forged a bond beyond the confines of the office, nurturing dreams of entrepreneurial success. Their friendship blossomed over shared meals, movie nights, and spirited debates during IPL matches.

And this is when, given the bond that had developed between them, they decided to venture out on their own. They reasoned that with Amit's analytical skills and Tushar's marketing prowess, they would start a financial advisory business and if they were able to scale up operations, then the ultimate aim was to launch an equity fund of their own.

Amit sounded Satyen about their plans to start a new venture and was pleasantly surprised that Satyen, though having no entrepreneurial experience himself, was enthusiastic about it. Amit was probably not aware that deep within Satyen too had wanted to venture out on his own. But, probably lacking the risk appetite or not wanting to rock a steady boat, he never worked on it.

As Amit and Tushar delved deeper into planning their venture, resigning from their current jobs to focus wholeheartedly on their newfound endeavour became inevitable. Striking a balance between professional commitments at work and entrepreneurial aspirations became increasingly taxing, prompting them to take the leap of faith. They put in their papers a few days apart, hoping the company's management would not read too much into their departure.

That Satyen was enthusiastic about this new venture, as Amit realised later, was an understatement. At a family get-together, he spoke to close relatives freely about Amit's new venture. Not only did he speak about Amit's plans but also about how the mutual fund industry was poised to grow adding that presently people preferred investing their savings in Equities and Mutual Funds rather than parking them in safe havens such as Fixed Deposits, Government Bonds and Debentures.

The responses that Satyen received were not entirely to his expectations. Whilst his siblings and their spouses were polite and unhesitatingly wished Amit "All the very best", there was a 'but' in their tone. They spoke of exercising caution and about the high failure rate in start-ups. He was also queried whether Amit had a well-paying job, and if so, why was he throwing it away. Some even inquired about their source of funds for the office rentals, salaries and administrative expenses, and if Satyen had the financial means to back Amit if required. On reflection, Satyen felt that his extended family did not share his excitement about Amit's leap of faith and his aspirations. He thought it best not to talk about it socially and let Amit's work speak for itself.

Amit's notice period was coming to an end, and one evening, leaving office early he decided to visit his father at work. As they chatted over a cuppa in Satyen's cabin the Vice President of the Bank, Mr. Shenoy, passing by, taking notice of Amit, stepped in. "How are you, young man? So, what have you been up to lately?" he asked in his usual affable voice. The VP too, was with the bank for several years and knew family members of his close associates well, having interacted with them at dinners and get-togethers organised by the bank.

Amit, hesitant at first, let him know of his plan to embark on his journey in the world of finance. The VP looked at him enquiringly, nodded his head,  then invited both of them to his cabin.

As they seated themselves on the sofa in his spacious cabin, the VP enquired of Amit how he planned to go about his new venture. Having heard Amit patiently, the VP now focussed his attention on his partner, Tushar. He asked Amit what kind of business Tushar achieved monthly and whether he was able to meet company targets. Having satisfied himself that Tushar had good connections and the drive to scale up the business, he turned to the administrative essentials. He enquired about the proposed location of their new office, what type of staff they proposed to have, and finally about their finances. Along the way, he also offered his views and helpful tips that he had acquired over the years working in the world of finance whilst emphasizing the trials and tribulations of entrepreneurship. But, he then added, "this is how all great businesses are built". The rock-solid foundation of business is the founders' strong sense of self-belief, a can-do attitude mixed with a large dose of perseverance.

The VP then fell silent letting Amit soak in all that he had said. After a few moments of silence, he spoke again. "Amit, I am proud that you have taken the bold step of venturing out on your own. If you require any assistance which is within my means to provide, I would be very happy to help. Good luck, my boy!" 

As the father and son duo left the Vice President's office, Satyen could not but contemplate the contrast between the response of his relatives and that of his boss to the news of Amit's new business venture.

Armed with newfound encouragement and a mentor's blessing, Amit embarked on his entrepreneurial odyssey with renewed vigour, and the knowledge that now not only did he have his father's unwavering support but also that of a true well-wisher on whom he could count for guidance and invaluable insights.

THE INTERVIEW

It was “Open Interview Week” and the university campus was filled with excitement as industry leaders sought outstanding talent with promising offers. Though the final exams were two months away, clearing them was deemed a mere formality for this prestigious institution attracted the brightest minds.

Anand Raj exuded confidence that he would secure a significant opportunity. Armed with an engineering degree and two years of work experience in a major Indian industrial conglomerate, he believed an MBA would provide him with a comprehensive view of company operations.

A week earlier, as upcoming interviews and group discussions loomed ahead, the students busily prepared with guidance from the university's placement cell. Upgrading wardrobes became a priority, considering their casual attire over the past sixteen months.

As anticipated, Anand aced the interviews with the two companies of his choice among the seven visiting the  university. One of the companies was a snack and beverage MNC whilst the other was a consulting and transaction services firm. Both were impressed, offering him lucrative positions with substantial pay and jaw-dropping joining bonuses. Anand preferred the consulting and transaction services firm, envisioning it as a stepping stone to understanding diverse businesses for his future venture.

After informing the HR manager of his decision, Anand was surprised to learn about a final interview with senior management before formal induction. He had assumed the selection process was complete, but the HR manager assured him it was a mere formality.

Anand excelled in his final semester and, after a brief farewell getaway with classmates, returned home to prepare for the last interview. Confident of leaving a lasting impression, he entered the President's cabin with self-assurance. The President, accompanied by the HR Head, the head of the department he was to join, and a lady in charge of the Corporate Social Responsibility, conducted the interview.

The interview proceeded as anticipated, with the department head seeking Anand's insights on his team’s current project. The President maintained a more relaxed tone during their interaction. However, it was during the HR Head's inquiry into Anand's family background that he opened up about the challenges he faced in his formative years.

Anand shared the poignant story of losing his father at the tender age of three, leaving his mother, with their limited savings, to take up employment. Despite exhaustion from her work, she tirelessly managed all household responsibilities to ensure Anand's education remained unaffected. Additionally, she often took on extra assignments to supplement her income, covering the rising costs of Anand's tuition and extracurricular activities. Hoping to convey his determination to overcome adversity, Anand provided this detailed response, with the President's expression seemingly reflecting an understanding of his resilience.

As Anand perceived it, the interview concluded when the President, turning his gaze towards the others, silently inquired if anyone had additional remarks. At that moment, the lady, who had quietly observed the proceedings, posed an unexpected question: "Throughout all those years when your mother laboured tirelessly every day to ensure you lacked nothing in your upbringing, did you regularly assist her with the daily household chores?" Anand felt a sudden jolt as her inquiry hit him like a surprise revelation sending a hushed stillness through the room.

Initially, he stared at the lady, his gaze eventually shifting to a distant, contemplative look. A stiffness set in, and his demeanour underwent a noticeable change. Words eluded him as he sat in silence, flooded with memories of his mother's tireless efforts. The late-night work, early morning preparations of proper meals, bedtime stories, and assistance with homework flashed before him. His mother never flinched when he requested new clothes or obliged without hesitation to fund school trips. It dawned on him that he rarely witnessed his mother buying a new dress or socializing with friends. The only times she indulged in movies were at his insistence.

Overwhelmed with guilt, Anand, who had planned to accept the job, stood up, expressing his gratitude but requesting time for reflection. He needed a few days before giving his final response, as he felt compelled to return home and be with his mother.

As he prepared to leave, the President understanding Anand's predicament, expressed that they would be happy to have him on board whilst acknowledging his need to be with his mother for the time being.

Laughing Through Surnames: A Parsi Comedy of Suffixes

As Bombayites, or now Mumbaikars, we live amongst the largest congregation of Parsis anywhere in the world. And, most of us must have noticed, with some amusement, the funny surnames some of them bear. Probably, the first such surname that comes to mind is Sodawaterwalla. Well, it is a no-brainer that it was given to a Parsi gent in the carbonated water business. Much before colas were invented, we had Raspberry, Orange, Lemon and Pineapple flavoured carbonated drinks. This surname was fictionally elongated to Sodawaterbottleopenerwalla by Adi Marzban in his popularly funny Parsi Nataks.

The next one sounds a bit embarrassing – Boywalla. Whilst in today’s lingo it sounds quite Gay, it has nothing to do with one’s sexual preferences. This surname comes from the Boi ritual which involves feeding the sacred fire in a fire temple with fragrance and fuel. And the persons who performed it were referred to as Boiwala or Boywalla.

A Ginwalla would probably be the lucky bloke dealing in liquor. Sadly, no. On the contrary, those who were referred to as such were textile mill employees in charge of the Ginning machines. Similarly, the highly erotic-sounding Screwalla surname was suffixed to those whose job was quite boring – overseeing loads of fluffy cotton pressed tightly into bales by a screw-operated mechanism. And, while Daruwalla indicates liquor trade, the word Daru was also used to refer to gunpowder.

Fanibanda may tickle your funny bone but it refers to Parsis from a place in Hubli (Karnataka) called Faniband. Similarly, Dhondys were residents of Daund near Pune. While Parsis are known anglophiles and have anglicised surnames like Cooper, Nicholson, Driver, Doctor, Engineer, etc., a few even had European-sounding surnames like Petit, Sinor and Italia. Not that they have any connection to France, Spain or Italy. Petit is the French equivalent of the Parsi-Gujarati Nalla meaning short or small, whilst Sinor and Itala are villages in Gujarat! Another village that has given a rather unpleasant-sounding surname is Gharda, meaning old in Gujarati.

A lot of Parsis made their money in the 18^th,  19^th and early 20^th centuries due to their business links with the British in India, though this association was not confined to cities like Bombay, Calcutta, Surat and Madras. Many Parsis travelled to, and later settled in, military cantonments at Deolali, Nagar (Ahmednagar), Belguam, Poona and called themselves Deolaliwalla, Nagarwalla, Belgaumwalla and the most famous of all since Covid, Poonawalla. And from one such cantonment in Karachi comes the story of a particularly derogatory but laughable surname. A Parsi contractor desperate to win a contract for military supplies adopted such patronising behaviour towards a particular British officer in charge of procurement, that the hassled official told the contractor that he would consider his proposal if he changed his surname and the name of his company to Bumsuckerwalla! Evidently, the Parsi complied!!

The Bumsuckerwalla family of Karachi

And finally, when it comes to the most famous Parsi surname of all, TATA, which is associated with their fair treatment of employees, their commitment to the nation, and winning the trust of its customers in India and abroad, one would be surprised to know that it is a corruption of the word Tartar, meaning hot as in hot-tempered, referring to an ancestor of Jamsetji who, so it seems, was quite irritable!

PS: I was inspired to write this piece after attending a talk on Parsi surnames by Kaevan Umrigar at Khaki Labs in Fort, Mumbai. Burjor Daboo’s compilation of Parsi surnames on Zoroastrians.net has also been a point of reference. The image is from Parsikhabar.net

                                                                                                                       

 

 

 

 

 

 

The Hopeful Brides

As the industrial revolution gained momentum in Europe during the 19th century, India became an important source of raw materials that were exported from the country. In turn, the ships brought back finished products to be sold here. But, in the 1830s, another 'cargo' came on board – White Memsahibs. With the advent of the steamer, the travel time between Britain and India shortened to about a month, making the journey less exhausting, thus prompting many young English girls of marriageable age to seek their fortune and a life of privilege in a "mystic and exotic" land.

Such was the annual influx of hopeful girls, especially during the winter months, that by the 1850s and 60s, incoming passenger ships were referred to as the 'Fishing Fleet'. Whilst many of these young hopefuls were successful in 'fishing'  suitable and well-provided grooms, some, sadly, had to return home unmarried and were often derisively referred to as the 'Returned Empties'.

So, what did these maidens desire? Dashing young men, of course. But not necessarily. It was equally important for them to seek the comforts of life offered here and improve their social standing by mingling in privileged circles. Many of these girls came from ordinary backgrounds and could not afford the conveniences and social standing that English women enjoyed in British colonial India. Traditionally, civil servants were prized catches, often considered a marital lottery. They were also known as 'Three hundred a year dead or alive men' as a newly appointed civil servant drew a salary of about 300 pounds annually. If he survived for a few years, his widow could expect to receive the same amount as a pension.

With the opening of the Suez Canal in 1869, the passage to India became even shorter, especially for countries in the Mediterranean. And, with the rise of Bombay as the commercial capital of India, it also provided an opportunity for European and Mid-eastern 'ladies of the evening' to seek their fortunes here. The city's census of 1864 revealed that Kamathipura housed the largest number of European females after Colaba, which was a cantonment. European brothels became so conspicuous that Cursetjee Shuklaji Street in Kamathipura came to be known as Safed Galli (White Street). 

Travelling to India in the age of the steamer was a great leap over the sailing ships that plied in the first half of the 19th century. Southampton was usually the port of embarkation, and with stops at Gibraltar, Malta, Port Said and Aden, the steamers reached Bombay in about three weeks. Coming in the winter months was the best option as it gave the ladies time to acclimatise themselves to India's tropical heat and humidity. It was not uncommon for ladies to travel solo, though having a strong reference was necessary to avoid any potential inconveniences in a strange, new land. Travel was undoubtedly not light, with luggage consisting of bath essentials, medicines, books, reading lamps and a wardrobe to suit different occasions. Travel advisory books covering subjects from 'travelling in comfort to household management and cookery were popular picks. Books such as 'The English Bride in India' and 'A Handbook for Women in the Tropics' were written especially for  'arriving Memsahibs'. However, tips in the books notwithstanding, the ground reality was often demanding. 

An English girl, sometimes as young as sixteen years, would need to adapt to life in the British Raj, which was very different from the one back home. It involved a significant cultural adjustment as well as adapting to India's hot and humid climate. Besides, the "marriage market" in British India was influenced by considerations of class and social status. Many eligible bachelors preferred marrying girls within the resident British community whose parents held positions of power and influence. It was a way to advance one's career and social status in the Raj.

There were a few cases of English women marrying 'Natives', but these unions often faced racial and cultural challenges, not to mention the conflict it caused in the colonial hierarchies of the time.

With the advent of the 20th century, social norms and attitudes towards marriage underwent a significant change in Britain. As more women gained economic independence they began to make their own choices regarding marriage, often opting for partners within their own country. The traditional practice of girls from Britain travelling to India to marry became less common.

Finally, with the end of the British Raj and the withdrawal of the British colonial administration and military personnel from India, there were negligible opportunities for English women to meet and marry British men in India.

And thus ended the journey of the hopeful Brides.

Footnote: English women here refers to women from Britain and Ireland.

DEVICES THAT MADE OUR LIFE EASY

The 20th century saw a paradigm shift in the way we live and work. The ease with which we do most things today is a far cry from the struggle and hard work that went into accomplishing them earlier.

The industrial revolution began in the late 18th century, but many of its practical benefits were available much later.

One of the early time and effort saving devices appeared in 1873. Correspondence, both official and personal, since time immemorial, was handwritten. With the advent of the typewriter, letter writers got replaced by a solid square machine that went clickety-clack and churned out reams of paper in a uniform font. It helped speed up communication and made reading letters and messages easy. It wouldn't be wrong to say that the typewriter performed another cultural transformation; it got women into a place that was strictly the domain of men - the office! Soon stenographers, primarily women, became an integral part of offices. Many went on to become personal secretaries and accountants. Later, with the spread of education, women now hold important positions in management. But it all began with the humble typewriter!

                                                   

We are all in the midst of a heatwave. And imagine how uncomfortable it would be were it not for the fan? The earliest fans recorded in history were hand-operated. Later, hydraulically operated fans were developed in China during the Han dynasty. The mid-nineteenth century saw the development of steam-driven fans. They worked on the principle of pistons pushing a crankshaft to rotate the blades. These were table models that required inserting a kerosene or oil lamp into its base to generate steam which propelled the pistons. In the 1880s, German-American inventor Philip Diehl attached blades to a sewing machine motor and fixed it to a ceiling. With that began the era of the modern fan. Today we have all kinds of fans: Ceiling, Wall, Table and Pedestal mounted to keep us cool. Further developments in this concept led to the Air Cooler, which blows cool air from moistened pads placed behind a fan. In the last few decades the fan and the air cooler have been replaced by the air conditioner with our homes, offices, transport and public spaces increasingly becoming airconditioned.

Never mind what the quick delivery adverts say these days, we do need the Refrigerator or Fridge. Earlier, ladies at home prepared freshly cooked food before mealtime as one could not store food for long, especially during summer. With the arrival of the Fridge in the early twentieth century, it became possible to keep fruits, vegetables, eggs, butter, and desserts unspoilt for days. Nowadays, cooked meals are stored in the Fridge too, only to be heated in the microwave later. Another essential function the Fridge performs is to make ice. The freezer which makes the ice, also cools our beverages quickly and keeps frozen food good for months. All said and done; no kitchen is complete without a Fridge.

Besides the Fridge, another appliance that is an essential part of the kitchen is the modern kitchen stove. Be it a gas stove or an electric one, every kitchen has it. Before the advent of the modern stove, food was cooked on an earthen stove fuelled by wood or coal. The problems with the earthen stove were that it produced smoke, took time to start, and the cooking process was slow. With the availability of piped gas as early as the 1790s in the UK, initially for lighting and later for cooking and heating, the modern stove made of metal made its entry into the kitchen. The concept of multiple burners came with the new stove, which meant that one could simultaneously cook more than one dish. The flame could be ignited, controlled and put off with a twist of the knob. All this made cooking easy and did not fill the kitchen with health-harming smoke. 

As the world's population increased exponentially in the last 120 years, living and working spaces have gone vertical to accommodate more people in existing areas. Cities and large towns now have multi-storeyed homes, offices, and even factories. This shift from the horizontal to the vertical was made possible by the invention of the Elevator or Lift. Thanks to the Elevator, we now zip up and down multi-storey buildings and move materials with ease. Gone are the days when one had to climb up and down the stairs, even though buildings were usually two or three floors high. This 'exercise' was especially tough for the elderly, sick and disabled. If today we see a change in our city's landscape, it is thanks to the Elevator, introduced by an American, Elisha Otis, in 1853 in New York.

Washing dirty linen and clothes was always a backbreaking chore, what with all the scrubbing and squeezing required to get the dirt off our clothes. Thanks to the washing machine, all we need is to add a measure of detergent, press a few buttons, turn a knob and presto! we have clean clothes within 45 mins to an hour. These machines were invented in the 1850s and were at first manually operated. Later, many inventors improved the technology over the following years, giving us the modern washing machine without which most modern urban homes are incomplete.

But the main driving force for these gadgets and appliances to succeed was the availability of running water, piped or bottled gas and electricity. Without these, none of the modern devices that have become an integral part of our daily lives would have seen the light of day.

DUETS WITH THE SWAR SAMRAT

On this day, 75 years ago, the mellifluous nasal baritone voice of Kundan Lal Saigal fell silent. However, thanks to modern technology, with about 200 recordings and 36 films, his mesmerising voice has been immortalised to the delight and pleasure of later generations. Saigal didn't have any formal training in music from a Pandit or Ustad of a Gharana, though he did spend two years with a Sufi Peer, Salman Yusof. He nurtured his musical skills in the company of wandering minstrels, Sadhus and Sufis, and at Mehfils and Mushairas. It was his love of singing that refined and polished his vocal cords. As the waters of a river flow uncharted through the land enriching its soil, his natural voice, unconstrained by conditioning, flowed through his lips, lending a mystic charm to his songs. He sang a vast repertoire of songs. Romantic songs such as 'Do Naina Matware Tihare Hum Per Zulum Kare'; songs of love and yearning like 'Tarpat Beete Din Rain Nit Din Birhaa Ko Raat Satave'; Bhajans and Ghazals; sad, melancholy songs such as 'Dukh Ke Din Ab Bitat Nahin' and lullabies, probably the first in Hindi cinema, 'So Jaa Rajkumari, So Jaa'. His mastery over the classical genre was evident in Jhoolana Jhulao Aao Ri. At the same time, he sang children's songs with equal ease, as is apparent in Ek Raje Ka Beta Lekar Udanewala Ghoda, a piece that had lyrics as well as prose. The evergreen 'Ek Bangala Bane Nyara' resonated with the collective emotions of millions desiring a magnificent house. Besides these, there are the classics: Babul Mora Nahiar Chute Jai, Balam Aaye Baso More Mann Mein, Karun Kya Aas Niraas Bhayi, Diya Jalao Jag Mag Jag Mag, Kahe Ko Raad Machaiyi and many more that are regularly played by popular demand on Vividh Bharati and Radio Ceylon, or Sri Lanka Broadcasting Corporation as it is known now. Whilst Saigal's solo songs cast a spell on his fans, his duets with singer-actresses of that era were equally popular. He sang some memorable duets with Uma Shashi, Kanan Devi, Khursheed Bano and Suraiya. Saigal first tasted success with the film Chandidas. The story is about Chandidas, a poet, played by Saigal, who falls in love with Rami, a low caste girl played by Uma Shashi. As Rami sings of building a home on the foundation of love, Chandidas joins in this melodic duet, 'Prem Nagar Mey Banaoongi Ghar Mein'. It was one of Saigal's earliest duets that became a hit. They paired together in many New Theater movies, such as Puran Bhakt, Daku Mansoor and Dharti Mata. Audio of Prem Nagar Mey Banaoongi Ghar Mein https://www.youtube.com/watch?v=Bp9eTM_6bvQ Their romantic duet in Dharti Mata, 'Main Man Ki Baat Bataaun, Kya Kya Baat Uthat Man More' penned by Pt. Sudarshan and beautifully composed by Panjak Mullick, in which both lovers express their thoughts towards each other became extremely popular. Audio of Main Man Ki Baat Bataaun https://www.youtube.com/watch?v=VRbSop0O8qE Though, the song that first comes to mind when one refers to Dharti Mata is 'Duniya Rang Rangili Baba, Duniya Rang Rangili' in which Saigal is joined by Uma Shashi and K C Dey (Pankaj Mullick in the record). Audio of Duniya Rang Rangili Baba https://www.youtube.com/watch?v=d2dQWFVU8Qg Another well-known actress with whom Saigal successfully paired was Kanan Devi. And their most notable performance was in Phani Majumdar's Street Singer. Whilst Saigal's rendition of Wajid Ali Shah's thumri, 'Babool Mora Naihar Chooto Jaye' made him a singing sensation, his love duet with Kanan Devi 'Sanwariya Prem Ki Bansi Sunai' helped establish Kanan Devi's reputation as a melody queen. Another classic duet with Kanan Devi in Street Singer is 'Rut Hai Suhani, Mast Hawaein, Chaayi Hai Udi Udi Ghatayein'. Credit must also be given to Arzoo Lakhnavi, who penned the lyrics, and Rai Chand Boral for composing music for many of the hummable melodies Saigal sang solo or in a duet in films produced by New Theaters, Calcutta. Audio of Sanwariya Prem Ki Bansi Sunai https://www.youtube.com/watch?v=2HOIUiCtO6g When he came to Bombay in 1942, he signed a contract with Shree Ranjit Movietone, and the first movie made under this banner was Bhakt Surdas. It was in the genre of Saint Films and was a huge success. Its bhajans and devotional songs became an unforgettable part of the Saigal legacy. One such eternal melody is a duet with Rajkumari, who did not act in the film but lent her voice as a playback singer, sung in Raag Bhairavi, 'Sar Pe Kadamb Ki Chhainya Muraliya Baj Re, Mori Laaj Rahi'. Audio of Sar Pe kadamb Ki Chhainya Muraliya Baj Re https://www.youtube.com/watch?v=r2Au9JhujHI Actress-singer Khursheed Bano, who starred opposite Saigal in Bhakt Surdas, tasted success after a string of forgettable films. Her romantic duet with Saigal "Chandani Raat Aur Taare Khile Ho, Taare Ki Chaiyya Mein Do Dil Mile Ho" is still doing the rounds on Radio and YouTube. Audio of Chandani Raat Aur Taare Khile Ho https://www.youtube.com/watch?v=0tKIi5R-qNU The following year they paired again in the classic, Tansen. It was as if Saigal was born to play the role of the great 16th century Sangeet 'Nav Ratna' of Akbar's court. "More Balpan Ke Saathi Chhaila Bhool Jaiyo Na", a duet with Khursheed, was an instant hit, as was Khursheed's solo 'Ghata Ghanghor Ghor, Mor Machave Shor, More Sajan Aaja'. Saigal's peerless solo rendition of songs such as Diya Jalao Diya Manao, Baag Laga Dun Sajani, Sapt Suran Teen Gram Gaao Sab Guni Jan and Rhum Jhum Rhum Jhum Chaal Tihare made Tansen the second highest-grossing film after Kismet in 1943. This was Khemchand Prakash's first association with Saigal as a music composer, and the often hummed lyrics were written by Pandit Indra. However, D N Madhok is also mentioned as a co-lyricist in the credits. Video of More Balpan Ke Saathi Chhaila Bhool Jaiyo Na https://www.youtube.com/watch?v=9RvcNEVFrKE Towards the end of his career, Saigal did two movies with Suraiya, a leading singing star of the 1940s and early 50s - Tadbeer and Parwana, the latter released after his passing away. A love duet in Tadbeer with Suraiya that became popular was "Rani Khol Apne Dwar, Milne Ka Din Aa Gaya, Aa Gaya, Karle Naino Nain Do Char, Milne Ka Din Aa Gaya, Aa Gaya". In many of his songs, Naino or eyes have been used to express love. Audio of Rani Khol Apne Dwar, Milne Ka Din Aa Gaya https://www.youtube.com/watch?v=8-6cmNSzNdY

On 26th December 1946, Saigal, having completed Shahjehan and Parwana despite failing health, boarded the Frontier Mail to visit his hometown Jalandhar. On 18th January 1947, the legend passed away, but his songs continue to remain popular with the connoisseurs of music, young and old.   

                                                   

1970s - THE DOORDARSHAN DECADE

Television came to Bombay on Gandhi Jayanti, 2nd October 1972. Inder Kumar Gujaral, who was then the I&B minister and later went on to become Prime Minister, made the inaugural speech launching a service that would connect, educate and entertain millions across our city and state. But in reality, it did much more than that. In today's lingo, TV became a disruptive medium. Because, though it was telecast only for a few hours every day, Bombayites began to adjust their daily routine according to the timings of their favourite shows which were produced by a division of Prasar Bharati known as Doordarshan. The day's telecast would begin on weekdays at 6.00 pm with a signal bar chart followed by the Doordarshan logo that would come on to the screen with its signature tune playing in the background. The telecast was in Black and White. The launch of Doordarshan spawned a new industry - the manufacture of Black & White TV sets, cables and aerials. The TVs were housed in a rectangular wooden box standing on four legs with folding or sliding doors protecting the screen, the speakers and the control panel. And though most televisions had a knob to switch channels, the irony was there was only one channel available. As the viewership increased, advertisements for TV brands such as Standard, Televista, Telerad, Weston, JK Tv, Dynora, Crown and the government-owned ECTv became increasingly visible in the print media. But to own a TV set, one needed a licence that had to be renewed annually at the local post office. And, inspectors were doing the rounds to ensure that you did! The TV sets were connected by a flat co-axial cable to the aerials mounted on a pole on the roof or terrace. And every time there was image distortion on the screen, one had to go up and readjust the aerial whilst someone else had to co-ordinate from below, often leaning dangerously out of the window. It was a chore that we now remember as fond memories but was quite annoying then. Another option was the indoor V-shaped antenna which was usually placed on the TV cabinet.

Despite all the shortcomings in the early days, TV became a popular source of entertainment. The telecast was a mix of educational, social and entertainment programmes with something for everyone in the family. For children, there was Magic Lamp in English, Kilbil in Marathi, Santakukdi in Gujarati and Khel Khilone anchored by the effervescent Manju Singh in Hindi. The children enjoyed quiz, arts & crafts, puppetry and ofcourse, the stories narrated on these shows. Besides these, there were English serials - Fireball XL5, Invisible Man, Man In A Suitcase, Count Of Monte Cristo, Sir Francis Drake, Here's Lucy, Charlie Chaplin, Nicholas Nickelby, Father Dear Father and the universally popular German games show, Tele-Match. Ventriloquist and puppeteer Ramdas Padhye added to the merriment with his 'friend-in-arms' Ardhvatrao in Meri Bhi Suno.

                                 

Cartoons such as Flintstones and those by the Films Division were also fun to watch. Stop Pull Chain, Skin in the Bin, Tree of Unity, etc., were produced by Films Division to spread a social message in a fun way. Though the quality of animation was below par as compared to Walt Disney cartoons, they did make their point. Chaya Geet, a medley of Hindi movie songs was telecast on Thursdays whilst the effervescent Tabassum conversed with Hindi film personalities in Phool Khile Hai Gulshan Gulshan on Fridays. Both these programs were aired at 9.10 pm. Saturday evenings were reserved for regional movies and plays, usually in Marathi and occasionally in other languages such as Gujarati and Sindhi. However, the most awaited program of the week was the Hindi movie on Sunday evening. Before the advent of the VCR, this was the only way one could watch a movie outside a theater. Such was the popularity of these programs that those who did not own a TV set would visit a neighbour, friend or relative to watch their favourite show. It was common to see many people huddled in the drawing rooms of those fortunate enough to own a TV set, especially on a Sunday evening to watch the Hindi movie.

Before we had the very popular Hum Log in the 80s, we had Chimanrao, a Marathi serial starring Dileep Prabhavalkar and Bal Karve. It was written by humourist Chintanman Joshi and it regaled audiences across language barriers. It continues to be popular even today and is widely watched on YouTube. Sunday mornings had us laugh at the witty conversation between Babban Prabhu and Yakub Sayeed in Haas Parihas.  Another popular Marathi program was Gajra which was telecast weekly. It was produced by Vinayak Chaskar and presented humourous skits and light-hearted interviews. The Diwali episode of Gajra was always a special treat. Sundar Maaze Ghar hosted by Suhasini Mulgaonkar was a 'Ladies Special' offering home improvement tips whilst in Pratibha Aani Pratima personalities from the field of Arts, Literature & Culture were interviewed giving an insight into their contribution to society.

        

Besides entertainment, Doordarshan also had social responsibilities to fulfil. And two shows that did just that were Amchi Maati Amchi Maansa and Kamgar Vishwa. The first gave valuable farming-related inputs to farmers and the other took up labour-related issues. Many may not be aware that Doordarshan also launched Education Tv or E-Tv, a program aimed at students studying in Municipal and Government schools. It was telecast in the mornings and afternoons on weekdays. This project was a joint venture between ISRO & NASA and was known as Satelite Instructional Television Experiment or SITE. But probably the most remembered program must surely be "Aapan Yaannaa Pahilat Kaa?"! It showed pictures of missing people whilst describing their physical details and last seen location. It often made viewers wonder if they had recently seen 'that' face somewhere.

Somewhat similar to Pratibha Ani Pratima was Parikrama, a talk show in Hindi hosted by Kamleshwar. Besides being a show host, Kamleshwar was also an author, screenplay writer and critic. In Parikrama, he interviewed a wide cross-section of people from diverse fields on current topics. Whilst Parikrama was wide in its scope, Aapka Swasthya hosted by Dr. Padam Singhvi focussed on different medical conditions and their treatment. For those interested in being healthy the natural way there was Dhirendra Bhramachari's Yogabhyas in which two of his pupils would demonstrate various yoga poses whilst he would explain their health benefits.

Adi Marzban, a doyen of Bombay Theatre produced the immensely popular Gujarati show Aavo Mari Sathe. Like Gajra in Marathi, it presented Gujarati singers, musicians as well as humourous skits featuring well-known stage artists like Dinyar Contractor, Adi Pocha and Kishore Bhatt, a.k.a Karsankaka. Besides Avo Mari Sathe, Adi Murzban also introduced What's the Good Word, a word-guessing game show with Gautam Vohra as host. It was telecast on Saturdays at 9.10 pm. Later, it was Sabira Merchant who went on to become the popular face of the show for the next two decades.

Some other programs in Gujarati were Parijaat, Mauj Majha, Gher Betha and Yuvadarshan, the last being telecast in Hindi and Marathi as well. For music lovers, there was Sugam Sangeet. Other musical programs were Shabdanche Palikade in Marathi and Sham-e-Gazal in Urdu.

For sports lovers, there was Fredun de Vitre's Sports Roundup and AFS 'Bobby' Talyarkhan's Looking Forward, Looking Back. Talyarkhan used to deliver his bland monologue with a poker face facing a fixed camera. In the absence of live relays of most sports tournaments, both these shows analysed the recent outings of Indian sportsmen.  Cricket, however, was an exception. Doordarshan brought home Cricket Test matches by broadcasting them, usually live when they were played in India. The first match telecast was the 1974 series against England, followed by one against the mighty West Indies. Later in July 1976 viewers saw Nadia Comaneci score a perfect 10 in gymnastics at the Summer Olympics in Montreal.

Besides cricketing updates, Doordarshan featured daily 10 minute news in Marathi, Hindi and English. Marathi news or Batmya was telecast at 7.30 pm and was read by Pradeep Bhide or Bhakti Barve, Anant Bhave, Charushila Patwardhan, Smita Talwalkar and later, Smita Patil. Hindi Samachar came in at 9.00 pm and was presented by, amonst others, Sarita Sethi, Kumud Merani and Harish Bhimani. At the close of the day was News in English at 10 pm with Luku Sanyal, Dolly Thakore, Gerson DaCunha, Nirmala Matthan and Pratap Sharma giving the last dispatch before we went to bed. Some of the Marathi newsreaders were also the face of Udyache Karyekram and Saptahiki which gave a preview of what would be telecast the next day and over the coming week. As newsreaders, they became household names although some of them were already in the public eye due to their association with the theatre.

Though it was a monopoly service, Doordarshan did make an effort to feel the viewer's pulse. There were shows in Hindi, Marathi and Gujarati, where viewers' letters were read out and replies given. T P Jain and Sudha Chopra hosted the Hindi version which was titled Aap Ki Rai whilst J B Desai and Jyoti Vyas hosted the Gujarati version, Aapne Sambhodhine.

Advertisements on Doordarshan initially were still images with a voiceover. Ads for Forhan's Toothpaste, Bournvita, Digjam Suitings, Binaca Floride, Mysore Sandal Soap were some of the few that appeared early on. Later, HMT Watches, Complan, Thums Up, Liril film ads started appearing on TV.

With Delhi hosting the Asian Games in November 1982, a decade after Doordarshan Kendra Bombay's inaugural show, colour finally arrived on the small screen. With that, the golden era of black-and-white television that regaled us with wholesome entertainment came to an end. With the arrival of colour, and later more channels, viewers could now watch a variety of programs as well as the live telecast of events throughout the day and most importantly, get news that was not government-censored.

With inputs from Ms. Nita Parekh, ex-producer Doordarshan Kendra, Mumbai.