Hemant Kumar (1920-89)

Introduction

Hemant Kumar Mukhopadhyay, widely known as Hemant Kumar (HK), was a multi-faceted Bengali and Hindi film personality who started off as a singer, became a composer and music director in both the languages and ended up producing films in the last phase of his illustrious career. HK had a rich baritone voice that excelled in both solos and duets. In terms of appearance, he was tall and well-built and looked more a bhadralok professor than someone connected with the film world. 16th June 2024 was his 104th birth anniversary. Vividh Bharati devoted its Bhule Bisre Geet and Geet Gaata Chal programs that morning to his Hindi film songs. In this blog, I pay tribute to HK by combining a few songs from these two programs.  

As his life and career are well documented, I am skipping those details and going straight to HK’s songs. Following his success in Bengali films, HK moved to Bombay in 1951. Anand Math (1952) was the first Hindi film for which he scored music. After that, he was a popular playback singer. Nagin (1954) was his first major success as a composer and fetched him the Filmfare Best Music Director Award in 1955. Thereafter, he scored music and sang in many successful films and began making Hindi movies in the 1960s. The collection of songs in this blog are mostly from the 1950s and 1960s. Almost all his hits are available as audios or videos on YouTube and other platforms. So rather than use those sources that can be easily accessed by anyone, I have chosen to present only live recordings of HK’s songs in this blog.

O Nodire – HK – Neel Akasher Neechey(1959)

This is a haunting melody composed and sung by HK for Mrinal Sen’s Neel Akasher Neechey. The song was such a hit that HK used the same tune for Lata’s O Bekaraar Dil in Kohraa in 1964 and reused the original song in Conrad Brooks’ Siddhartha in 1972. The recording presented here is obviously much later but the voice of an older HK has not lost any of its magnetic quality.

Yeh Raat Ye Chandni – S D Burman – Jaal (1952)

This is one of the early hits of the HK-SDB combination. In the film, HK’s voice blends so well with the tune and instrumental score that this song went on to become a hit. The live recording gives us a good feel of the original.

Jagat Bhar Ki – Laxmikant-Pyarelal – Harishchandra Taramati (1963)

Na Tum Hamen Jano – S D Burman – Baat Ek Raat Ki (1962)

Bekarar Karke Hamen – HK – Bees Saal Baad (1962)

Girado Purdah – HK – Non-Film

These four songs are from the same live recording of Doordarshan Sahyadri. The first is an early film of Laxmikant-Pyarelal duo and one of their few featuring HK. His evocative rendering does justice to Kavi Pradeep’s lyrics and elevates the song into a benediction. HK renders the other two hits effortlessly and apparently without referring to any notes. The last song is a nazm of Gulzar that seems to be part of a non-filmi collection.    

Ganga Aaye Kahan Se – Salil Chowdhury – Kabuliwala (1961)

Kabuliwala is a poignant film based on Tagore’s short story about an Pashtoon fruit seller who is compelled by circumstances to live in Calcutta away from his daughter and mother in Afghanistan. Prem Dhawan’s lyrics and HK’s voice combine to give us an idea of the inner turmoil in the mind of a foreigner living in forced exile in an alien country.     

Zindagi Kitni Khoobsoorat Hai – HK – Bin Badal Barsaat (1963)

This is a lovely song composed and sung in Raag Yaman by HK himself. I present a rare live recording of the song sung by HK with a minimal harmonium, instrumental and percussion support. The sound quality is not very good but HK’s relaxed rendering more than makes up for it.

I conclude with a collection of a dozen songs and geets of that were live recorded in London between 1969 and 1977 at the residence of a music lover. It is a private collection available on the internet. Please do a Google search on Hemant Kumar Live at London and select this private recording from the drop-down options.

Summing Up

To assess HK on a sample twenty of his Hindi film solos – completely ignoring his work in Bengali and the many lovely duets he had sung with Geeta Dutt, Lata, Asha and others – is hardly fair. I was struggling for an appropriate word to sum up HK as a singer-composer. It then struck me that his work had a lot of what in Kannada would be called ‘Ganathe’ that has several shades of meaning – dignity, majesty, decorousness, grandeur, gravity, etc. Every one of these descriptions will apply to one or the other songs of HK. No wonder Salil Chowdhury felt that HK’s was the voice of God while Lata was reminded of a saint singing whenever she heard him. For Gulzar, his was the voice of Ganga Mata.

HK was a gifted singer and accomplished musical composer. Though he did not have the all-round dexterity and range of Rafi or Kishore, he did not let this become a limitation. He was a niche artist with his own following. As a singer, I would rate him on par with Talat. As a composer, particularly in how he brought out the melodious best of Lata, he was in the same league as Roshan and Madan Mohan.

With its rich archives and using tools of modern sound technology, I wish Prasar Bharati restores his live recordings and telecasts them again. They could also collaborate with connoisseurs of music to acquire private recordings and make them more widely accessible to music lovers all over the world.

S. Krishna Kumar

28th June 2024

Berkeley

Blog # 96     

Manderley, Berkeley

Introduction

The novel Rebecca by Daphne du Maurier has this famous opening line, “Last night I dreamt I went to Manderley again.” For Vilasini and me too, being in Berkeley with our daughter Rohini, son-in-law Vijesh and their sons Sid and Arinjay after seven long years has a dream-like quality. We flew to SFO by Air India’s direct flight from BLR on 29th and were at their new renovated home by 8 PM. After unpacking and dinner, we slept well. I woke up for a bio-break at about 3 AM only to espy a lovely half-moon shimmering in the clear dark sky beyond the bedroom window. After that sight and the flood of memories it brought back, I could not go back to sleep. A little later, I nudged Vilasini awake and made her join me at the window to admire the moon. Over the next thirty hours, I have put together the memories in this blog.

Father Elias D’Souza

I completed my PUC and BSc at St. Joseph’s College (SJC) Bangalore during 1961-65. Father D’Souza (FD) was our principal during this period. He was part of the faculty of Mathematics and taught us Astronomy. SJC was then the only institution with an observatory and a fairly powerful telescope. For the record, Indian Institute of Astrophysics came up only in 1971. FD taught us not only the theory and maths behind astronomy but also encouraged us to observe celestial phenomenon by providing us regulated access to the telescope. I recall a major conjunction of many planets in 1963 or so, which we were able to see through the telescope just after sunset one evening. From being mere students of astronomy, he made many of us amateur astronomers. We began to follow the Night Sky map/column in The Hindu on the first of every month. We could identify many planets, stars and constellations.

Waxing/Waning Phases of the Moon

Apart from the mighty celestial bodies, we also studied the more proximate moon. FD taught us the mathematics of how to calculate the phase of the moon from the time and its location in the sky and vice versa. He taught us the distinction between the waxing and waning moon. In the former phase, after the New Moon, the moon is seen in the evening sky after sunset first as a thin crescent and then as a quarter, half and full moon in a fortnightly cycle. The reverse happens in the next phase as the moon wanes from full to half, quarter and crescent towards the next New Moon. As the moon was up in the eastern sky a few hours before dawn, I knew that what I saw was the waning moon. Such was the power of FD teaching and illustration through numerous examples.  

Light-Hearted Banter

Lest you think that all this esoteric stuff engaged only a few students, let me hasten to add that a number of my classmates found the idiosyncrasies of FD very amusing and poked fun at him. Whenever he had to convey that a celestial body was easily visible, FD would say that it could be seen through the ‘unaided’ eye! He never used the phrase ‘naked eye’. We could not figure out if that was due to some oath that he had taken as a Jesuit priest or his own personal sense of modesty or prudishness. Naughty students would deliberately use ‘naked eye’ during discussions to provoke him but he would good-naturedly stick to his ‘unaided eye’!

Why Manderley?

Along with astronomy, Daphne du Maurier was a writer I discovered and enjoyed during my BSc days. Rebecca apart, I had read her Jamaica Inn, Hungry Hill and My Cousin Rachel. Like Dickens’ immortal ‘It was the best of times, it was the worst of times…,’ from Tale of Two Cities, the opening line of Rebecca had stuck in my mind. Why did I think of Manderley last night? Was it the dream-like experience of sighting the half-moon in the wee hours of the morning at Berkeley? Was it the serendipitous ‘ley’ ending of the two words? Frankly, I do not know.

Why did I suddenly recall the theory and practice of astronomy as taught by FD during my under-graduate days sixty years ago? As I age, I am continuously amazed by how, in recollection, our minds link events and experiences. In literary criticism, such narration, I believe is referred to as ‘stream of consciousness’. If literature students among readers of this blog agree with that, I can only inform them that it has happened unconsciously!

Viewing Advice

I am publishing this blog on 31st May. 6th June will be the next New Moon. So, for the next three to four days at least, those interested and lucky enough to have a clear sky in their area, can see the crescent of the waning moon in the south-east corner of the sky at dawn and even an hour or two after sunrise. For intrepid husbands, I have a special request. Please do not set the alarm for 4 AM and ask your wife to make you coffee before you step out of your home for moon-sighting. Even if you do, please do not insist on them joining you to enjoy the spectacle! You have been warned!    

S. Krishna Kumar

31st May 2024

Berkeley

Blog # 95 

Aaj Jaane Ki Zid Na Karo

Introduction

Aaj jaane ki zid na karo (AJKZNK) is a popular nazm of Pakistani poet Fayyaz Hashmi tuned by Sohail Rana, a gifted Pakistani composer. In the voice of Habib Wali Mohammad, it first became a hit film song from Badal Aur Bijli (1973). It was then popularised by the famous ghazal singer Farida Khannum first on Pakistan TV and through live concerts later. It has since been rendered by many male and female singers. In this blog, I present a few of the better-known versions, along with the lyrics of the nazm with meanings so that you may enjoy it better.  

Lyrics with Meaning

Aaj jaane kī zid na karo, yuuñ hī pahlū meñ baiThe raho

aaj jaane kī zid na karo

haa.e mar jā.eñge, ham to luT jā.eñge, aisī bāteñ kiyā na karo

aaj jaane kī zid na karo

Tum hī socho zarā kyuuñ na rokeñ tumheñ

jaan jaatī hai jab uTh ke jaate ho tum

tum ko apnī qasam jān-e-jāñ, baat itnī mirī maan lo

aaj jaane kī zid na karo

yuuñ hī pahlū meñ baiThe raho

aaj jaane kī zid na karo

Waqt kī qaid meñ zindagī hai magar

chand ghaḌiyāñ yahī haiñ jo āzād haiñ

in ko kho kar mirī jān-e-jāñ, umr-bhar nā taraste raho

aaj jaane kī zid na karo

Kitnā ma.asūm rañgīn hai ye samāñ

husn aur ishq kī aaj me.arāj hai

kal kī kis ko ḳhabar jān-e-jāñ, rok lo aaj kī raat ko

aaj jaane kī zid na karo

yūñhī pahlū meñ baiThe raho

aaj jaane kī zid na karo

The nazm is the plea of a lover to the beloved, imploring him/her to stay in the present moment and not to leave.  It reflects the fleeting nature of time and the importance of cherishing the present, instead of losing it in lifelong regret. The simple and heartfelt poetry is a timeless piece that resonates with audiences across generations and decades. It is an exquisite example of the enduring theme of intense longing and inevitable separation resulting in a deep sense of loss and pain. Its lasting popularity is due to the universal imagery it creates of lovers wanting to hold on to each other amidst the foreboding sense of losing each other. I particularly love the lines “Waqt ki qaid mein, zindagi hai magar, chand ghadiyan yahi hain jo aazaad hain” where Fayyaz Hashmi tantalises us with the conundrum of life being imprisoned by time but of a few stolen moments being free! 

I now proceed to present the nazm as sung.          

AJKZNK – Habib Wali Muhammad (Recorded Version)

Habib Wali Muhammad (1921-2014) was a Pakistani ghazal and film playback singer from a business family. Music was not his profession but more a leisurely pursuit. In 1973, he recorded this song for the film Badal aur Bijli which shot him to fame.

AJKZNK – Habib Wali Muhammad (Live Version)

This expanded live version seems to have been recorded in the USA at least two decades after the original. The singer has lost none of his verve and carries the nazm effortlessly with just his harmonium and the tabla and guitar co-artists.

AJKZNK – Farida Khannum – (Recorded Version)

Multiple recordings of Ghazal Queen Farida Khannum’s rendition of the song are available on YouTube. I present what appears to be one of the early versions from a live concert in 1978. Farida’s husky voice and the minimalist harmonium and tabla score make it an all-time classic.

AJKZNK – Farida Khannum – (Live Version)

This is a live version recorded eight years ago. Farida’s voice is still deep and resonant making it a pleasure to listen to her old hit all over again.   

AJKZNK – Ustad Amjad Khan with Vir Srivastava and Kaushiki Chakraborty

I conclude with a recording of the song from the Ragas by the River festival earlier this year. This combination of sarod maestro Amjad Ali Khan, host Vir Srivastava and singer Kaushiki Chakraborty, apart from being a tribute to Farida Ji, also demonstrates how even a film song can be elevated to the level of a classical piece by the sarod.

Acknowledgement

This blog was triggered by a recent WhatsApp forward by my cousin Kummu Anna of the Amjad Khan variant of AJKZNK discussed above. I thank him for being the provocateur. By way of extended acknowledgement, I also thank his parents – Parvati Athai and Jayasankar Athimber – for introducing me to Habib Wali Muhammad some sixty plus years ago when I listened to his LP record of Lagta Nahin Hai Jee Mera and Yeh Na Thi Hamari Kismat at their home in Bangalore.

Postscript 1

AJKZNK has been sung by many professionals like Asha Bhosle , A R Rahman and Arijit Singh and even more amateur singers including music competition contestants. Several of these recordings are available on YouTube. For the sake of preserving the pristine quality of the original, I deliberately chose not to present any of those versions in the blog.

S. Krishna Kumar

11th/13th May 2024

Bengaluru

Blog # 94

Mokshamu Galadhaa

Introduction

Mokshamu Galadhaa is a composition of Tyagaraja in raga Saaramathi. Over the past few days, I happened to hear two vocal renditions of the song which made me recall the other versions I had listened to earlier and thus was this blog born.

The Song

The song and its meaning are given in the website www.Karnatik.com

Lyrics

Pallavi

MOkSamu galadhA bhuvilO jIvanmuktulu gAni vAralaku

Anupallavi

SAkSAtkAra nI sadbhakti sangIta jnAna vihInulaku

CharaNam

PrANanAla sam-yOgamu valla praNava nAdamu sapta svaramulai bAraga
vINA vAdana lOluDau shivamanO vidha merugaru tyAgarAja vinuta

Meaning
Is salvation attainable by anyone in this world, who has not realised the Self? Are you not, Lord, ever ready to vouchsafe your vision to those intensely yearning for it? Is Beatitude attainable by anyone who has not experienced the profound ecstasy of devotional music?

The vital force praaNaa and anaala, fire, combine to generate praNava, the Omkaara (sound of Om). From that Omkaara, the seven musical notes emerge. To those who cannot intuitively perceive the mind of Shiva, who worships naada through the VeeNa, is salvation attainable?

In the following paragraphs, I present multiple versions of the song as I have heard it rendered by various artists over the years.

Dr. Dwaram Venkataswamy Naidu (1893-1964)

I heard the song for the first time in the summer of 1962 when my brother Viji and I spent a few weeks in Pandu near Gauhati with our Chithi and Chithappa. He was then in charge of construction of the Saraighat rail-cum-road bridge across the Brahmaputra. He was a music lover with an eclectic taste ranging from Pankaj Mallick and K L Saigal to MLV and Chembai. He had a very good collection of records. I heard Mokshamu Galadhaa played on the violin by Dwaram and fell in love with the tune. My knowledge of Carnatic music was rudimentary and it was from then on, that my ‘Kelvi Gnanam’ took root. Dwaram’s was a basic version of the song with no aalaapana of the raga. Yet it made such an impression on me that I enjoyed listening to the longer versions from then on.

M S Gopalakrishnan (1931-2013)

From 1965 to 1967, I was pursuing my MSc in Physics at the Central College, Bangalore. My classmate and fellow music lover Raghavendra was a good vainika himself. We had somewhat similar tastes and MSG was one of our common favourites. I recall listening to a Akashvani Sangeeth Sammelan concert of MSG during those years where he played Mokshamu Galadha. I am unable to lay my hands on that concert. I am however giving the link to another YouTube recording.

Sandeep Narayan    

Among younger Carnatic musicians, Sandeep Narayan has established a name for himself as a vocalist who can blend classicism with popular appeal and attract the youth of today to concerts. I came across his Mokshamu Galadhaa by chance a few days ago. I liked his leisurely aalaapana as well as the detailed rendition of the song. Hence, I have featured it in this blog.

Thanjavur S Kalyanaraman (1930-94)

I don’t know it is just machine learning or its fuller-blown avatar AI, Sandeep Narayan’s Margazhi Maha Utsavam concert from 2020 landed on my inbox a few days back. There, in the first Q&A feature, Sandeep says that among musicians who are no more, he would like to spend a day conversing with S Kalyanaraman. After that, he goes on to sing Arula Vendum Thaaye, Dandapani Desigar’s Tamil song in raga Saaramathi. Coincidence or the power of AI? To make matters even more eerie, Kalyanaraman’s own rendering of Mokshamu Galadha popped up in my inbox thereafter. He brings out the Karuna and Bhakthi rasa of Saaramathi exquisitely. Please listen and enjoy.

Mandolin Srinivas (1969-2014)

I am adding one more instrumental rendition and my choice is Mandolin and Srinivas. His fingers dance over the instrument as he brings out the bhava of the raga very beautifully. His death at such a young age was an irreparable loss to the world of music!

Bombay Jayashri

Mokshamu Galadha is sometimes sung starting from the Anupallavi as Bombay Jayashri does here. I like her presentation both because of its leisurely tempo and relaxing qualities enhanced by the interplay of the piano and the flute in the background.

Mithun Jayaraj

This is a cover version of the song put together by an ensemble led by the young vocalist Mithun Jayaraj. Like Bombay Jayashri, he too begins from the Anupallavi. The gentle notes of the guitar and keyboard enhance the appeal of the melody. Mithun has a good voice that holds it all together.

Conclusion

This is not a blog that started out to be about a particular raga or composition. It began serendipitously with my hearing Sandeep Narayan and Kalyanaraman, dived back to Dwaram, MSG and Srinivas and moved forward to Jayashri and Mithun. Those who are fond of Carnatic music or at least familiar with it, can go through the song in any order of the artists. The novitiates may like to start with Mithun and Jayashri and work their way up.

Radhu, a family friend and regular reader, had called me two days ago to convey her appreciation of an earlier blog Baaro, Baaramma, Baaro. It was nice to know Krishna Nee Begane Baaro was one of her favourites and hear her describe my presentation of six versions of that song as “Aru Suvai Virundhu”. With seven musicians rendering Mokshamu Galadhaa in this blog, I have added to Radhu’s problems. She may have to savour one of the tastes a second time!

Postscript 1

Vilasini and I got married in 1972. My mother’s cousins B V Raman and B V Lakshmanan sang at the reception. (Incidentally, those interested, may read about their music in my December 2022 blog titled ‘Gentle Giants’). Ahead of the concert, I gave them a list of songs I wanted to hear them sing, including Mokshamu Galadhaa. Ramu Anna (as the elder twin was addressed) drew me aside and told me in a hushed tone that it is not an appropriate song at marriages. I never asked him why nor have I since found out the reason. My guess is that the wedding day is a little too early in life to begin pondering over Moksha!

Postscript 2

Recordings of Mokshamu Galadhaa by renowned artists like Santhanam and MLV are available on YouTube. Just now, the Kadri Gopalnath version has popped up in my iPhone. Please savour them, if this blog has vetted your appetite rather than kill it!    

S. Krishna Kumar

10th April, 2024

Bengaluru

Blog # 93

Chiaroscuro

Background

Times of India (TOI) is an English-language daily of India that started publication in 1838. TOI Weekly Edition came out in 1880 and was renamed The Illustrated Weekly of India (IWI) in 1923. In 1953, A S Raman who had earlier been with Hindustan Times, Statesman and TOI joined IWI as Asst. Editor and soon took over as its first Indian editor. Our father was a keen reader of ‘Chiaroscuro’, Raman’s column devoted to art and culture. At his behest, I dug up the meaning of this obscure word and found the contents of Raman’s column to be as arcane as its title. I warmed up to IWI only when Khushwant Singh sassed it up after taking over as editor in 1969.  

The Word

Chiaroscuro is a compound word made up of chiaro and scuro meaning light and dark respectively in Italian. It is pronounced key-uh-roh-skuh-roh. In art, it refers to the strong contrasts between light and dark elements used to convey space and depth. It is also the technical term for  using contrasting light to visualise objects, figures and models in 3-D. Similar effects used in films and black-and-white photography also go under the name of chiaroscuro.

Chiaroscuro in Films

In cinema, light is not used just to illuminate scenes but as a powerful storytelling tool to shape the mood, tone, and narrative of a film. For this, the technique used is ‘Chiaroscuro Lighting’ (CL) that exploits the interplay of light and shadow to create visually compelling images.

CL was part of the broader German Expressionism of the 1920s.  It soon crossed the Atlantic as the darkness it was able to bring out was readily usable in movies like Orson Welles’ Citizen Kane. Film noir was born soon thereafter and since the 1940s, CL became a staple in various film genres, from horror to drama. The interplay of light and shadow can bring out the inner turmoil of a character, enhance the atmosphere of a scene or even convey moral ambiguity. By using chiaroscuro effectively, filmmakers can engage viewers on a subconscious level, drawing them deeper into the story.

Romanticising Chiaroscuro through Film Music

If Europe and America were drawn to chiaroscuro by its ability to depict the darker and harsher side of life, Indian cinema discovered its efficacy in portraying softer moods and musical scenes. This ‘romanticisation’ of chiaroscuro was led by directors like Bimal Roy and Guru Dutt and cinematographers like Kamal Bose and V K Murthy. Their rich collaborative output is what this blog is setting out to celebrate.      

Immediate Provocation for the Blog

A few nights ago, I happened to watch the Rafi solo Aap Ke Haseen Rukh from the film Baharen Phir Bhi Aayengi on TV. The song picturised on Dharmendra, Mala Sinha and Tanuja is popular on film music shows. I was struck by how well the director and cinematographer had collaborated to give us a visual classic to match the music of O P Nayyar.

I knew straightaway that there are far too many such gems where, as much the lyrics, music and voice, the setting and photography have been superbly exploited. So, this is a relatively short blog where I merely list the songs and let you enjoy the chiaroscuro effects yourself. I want to believe that I have picked the songs randomly, but some bias in favour of songs from my growing up years cannot be ruled out.

A second caveat may also be in order. In selecting the songs for this blog, I have focused on those where the director and cinematographer have combined artistically to enhance the chiaroscuro effect beyond the contours of black and white photography by a combination of scene setting, shot composition, etc. I comment on this aspect briefly in each song.

I also depart from my usual practice and list the names of the cinematographer and director instead of the lyricist, music director and the singer.

Tere Bina Aag Ye ChandiniAwara (1951) – Radhu Karmakar – Raj Kapoor

Awara enjoyed cult status and success. Here, Raj Kapoor and his cinematographer build on his dark character in the film as a petty thief and produce a stunning dance song. The fire is used to produce both light and heat in building up the initial nightmare into a delectable Ghar Aaya Mera Pardesi climax.    

Bachpan Ke Din Bhula Na DenaDeedar (1951) – Dilip Gupta – Nitin Bose

Another early song of this genre that left an impression on me. I like the chiaroscuro opening of the white swans against the dark water and the way the camera pans across the trees that have shed their leaves as the children sing Rut badle ya jeevan beete, dil ke taraane ho na puraane.

Jayen To Jayen KahanTaxi Driver (1954) – V Ratra – Chetan Anand

In his songs, Dev Anand hogs the footage usually. Here, even in a moving solo picturised on him, elder brother Chetan Anand is able to devote a lot of attention to the sea and its waves. Ratra uses long shots more than close ups to augment the impact.

Hum Aap Ki Ankhon MeinPyaasa (1957) – V K Murthy – Guru Dutt

Of the many great songs from Pyaasa, I have picked this as proof of Murthy’s genius in using CL to combine a dream sequence with a waltz number so tellingly. Smoke and mirrors may be a pejorative term but not for me and certainly not after Murthy’s brilliant demonstration of its positive aspects! 

Suhana Safar Aur Ye Mausam HaseenMadhumati (1958) – Dilip Gupta – Bimal Roy

In this song, Dilip Gupta captures the tender beauty of the flowers close by as well as the distant majesty of the hills and makes the painter-hero decare that he has not seen such a confluence of the sky and the earth anywhere else on earth. Like Dilip Kumar, we the audience see the proof of this on the screen thanks to the combination of Gupta and Bimal Da.     

Sun Mere Bandhu Re Sujatha (1959) – Kamal Bose – Bimal Roy

Here the depth of the river is conveyed by its darkness. The brief conversation between Sunil Dutt and Nutan acts as an interlude to the song rendered in the sonorous voice of Burman Da himself.

Waqt Ne Kiya Kya Haseen SitamKaagaz Ke Phool (1959) – V K Murthy – Guru Dutt

Among Hindi films, this is the most iconic song sequence captured using CL techniques. It is shot in a film set and reveals Murthy at his best, winning him his first Filmfare Award as Best Cinematographer.   

O Sajna Barkha Bahar AaiParakh (1960) – Kamal Bose – Bimal Roy

Even the falling rain is made part of the chiaroscuro effect. New comer – her debut film Love in Simla was released earlier in the same year – Sadhna’s radiant face adds to the ‘chiaro’ part of the overall effect.

Khoya Khoya ChaandKala Bazar (1960) – V Ratra – Vijay Anand

Murthy had been Ratra’s assistant earlier. Here the guru shows signs of his own greatness. The entire scenery with the hills, valleys, tree lines, cloud-specked sky and lake come alive as though they were an indoor studio set with CL. It may have been the effortless mastery of Ratra, but a lot of hard work must surely have gone into bring it off. For me, Waheeda Rehman’s silhouette towards the end of the song looking at the lake into which the hills cast their own shadow is an effort worthy of a Renaissance master like Vermeer.

Tere Ghar Ke Samne Ek Ghar BanaungaTere Ghar Ke Samne (1963) – V Ratra – Vijay Anand

This is a song shot with chiaroscuro special effects with Dev Anand imagining Nutan in his liquor glass!

O Beqarar Dil Kohraa (1964) – Marshall Braganza – Biren Nag

This is again an outdoor song sequence. In addition to all of Ratra’s repertoire, Braganza brings in his own little deft touches – like the bullock carts lined up to pick up the women at the end of the days’ back-bending work, the spokes of the wheels of the cart, etc. So arresting are the visuals that you forget Kaifi Azmi’s deeply haunting lyrics and Hemant Da’s masterful use of raag Bhimplasi. This is the skill of romanticising chiaroscuro.

Naina Barse Rim Jim Rim JimWoh Kaun Thi (1964) – K H Kapadia – Raj Khosla

Given the snow-bound landscape and Sadhna’s white saree contrasted with Manoj Kumar dark jacket and trousers, this is a complete chiaroscuro song.   

Kuch Dil Ne Kaha Anupama (1966) – Jaywant Pathare – Hrishikesh Mukherjee

In this outdoor shoot, the cinematographer focuses not on the whole of the landscape but on the trees in particular. It is almost as through the entire scene has been shot in an arboretum. The chiaroscuro effect is enhanced by the light saree worn by Sharmila Tagore contrasted with the dark shawl draped around Dharmendra’s shoulders. He watches her unobtrusively as she walks around singing, till she climbs the hill and comes up in front of him.

Aap Ke Haseen RukhBaharen Phir Bhi Aayengi (1966) – K G Prabhakar – Shaheed Latif

To end where it all started! Instead of the outdoors and the whole of nature, the cinematographer works with three faces as Dharmendra’s song is heard differently by Mala Sinha and Tanuja as can be inferred from their facial expressions. Brilliant exploration, or is it extrapolation of chiaroscuro!     

Vandha Naal MudhalPaava Mannippu (1961) – G Vittal Rao – A Bhim Singh

So as not to give the impression that CL was used only in Hindi movies, I conclude with a song each from a Tamil and Kannada movie. In Tamil, I have chosen Vandha Naal Mudhal, Kannadasan’s immortal verse from Pava Mannippu. It is picturised in rural Tamil Nadu in a setting that most viewers can relate to. The message seems to be that chiaroscuro is not an esoteric artifice but something that you encounter in everyday life!

Dhoni Saagali Mundhe HogaliMiss Leelavathi (1965) – S V Srikanth Kumar – M R Vittal

The magic of these iconic verses written by KuVemPu are captured by the sense of flow created by the music and by the lapping sound of the waves caused by the rowing by excellent cinematographic work.   

Conclusion

For the 16 songs I have listed, readers may easily come up with dozens more. That hardly matters as it will only buttress my argument that an Italian painting style of the 17th century was preserved and adapted to films nearly four centuries later and that Indian cinematographers had their own role in refining and extending CL beyond the horror and crime genre to romances, musicals and even family/social dramas. This remains an unheralded achievement that I hope my blog will begin to correct.   

Acknowledgement

In reading about chiaroscuro lighting and its use in films, I greatly benefited by going through No Film School, a popular website on filmmaking. In particular, a 2023 post by Jason Hellerman was very useful. It can be accessed at: https://nofilmschool.com/chiaroscuro-lighting.

The above post lists Da Vinci, Caravaggio, Vermeer and Rembrandt as early proponents of CL. Luckily for me, a print of Vermeer’s Girl with a Pearl Earring adorns one of the walls of our home. I have therefore used it at the beginning of the blog.

S. Krishna Kumar

31st March 2024

Bengaluru

Blog # 92  

Baaro, Baaramma, Baaro

Introduction

Last month, Shakuntala Katre, a former colleague at the Mysore Education Society (MES) sent me the video of Krishna Nee Begane Baaro (KNBB) sung at a live concert in Budapest.   It was fascinating to watch and listen to.

KNBB is a popular Kannada song in Carnatic music. It is one that youngsters learning Carnatic music try to master early in their career. At the same time, it is also a piece that stalwarts like M L Vasanthakumari (MLV) and M S Subbulakshmi (MSS) sang in their concerts. Generations of female and male singers have followed them and tried different styles of singing KNBB. Two other songs are similarly popular – Bhagyadha Lakshmi Baaramma (BLB) and Baaro Krishnayya (BK). This blog is an exploration of some of the versions of these three songs that have appealed to me over the years.

History of the Three Songs

KNNB is a composition of Vyasatirtha (1460-1539), a leading Dvaita philosopher from Bannur in Mysore district. BLB is a song of Purandara Dasa (1484-1564) while BK is composed by Kanaka Dasa (1509-1609), a disciple of Vyasatirtha. Most compositions in Carnatic music are about the attributes of the Gods/Goddesses or entreaties for divine grace. The songs featured here are unique since they are invitations to Krishna and Lakshmi   to the abode of the ordinary Bhakta!

Krishna Nee Begane Baaro (KNBB)

I present six versions, starting with a Bharatanatyam one by MLV, followed by two versions by Aishwarya and Saundarya (great granddaughters of MSS) and T M Krishna, a Carnatic-Hindustani jugalbandhi by Vijay Prakash and Ustad Rashid Khan, a fusion piece by the Colonial Cousins Hariharan and Leslie Lewis and the symphony version that I mentioned in the intro.

KNBB – MLV – Bharathanatyam Song

I have included this song for the tonal clarity of MLV’s singing and her impeccable diction. It is rendered in the Bharathanatyam style through which it became popular initially.

KNBB – Aishwarya-Saundarya – Traditional Rendering

This is the style preferred by new as well as established singers.

KNBB – T M Krishna – Concert Style

There are multiple versions on YouTube. I have picked the one where the violinist Akkarai Subhalakshmi and the mridangist Arun Prakash are also in focus.

KNBB – Vijay Prakash – Rashid Khan – Jugalbandhi

Here raga Yamuna Kalyani and Yaman are rendered in Carnatic and Hindustani styles by the two vocalists.

Colonial Cousins – Krishna – Video – Fusion

Sung by Hariharan and Leslie Lewis, this song became a cult classic when it came out in 1996!

Krishna – Kavya Limaye-Deepak Pandit – Budapest Live Concert

Here, Kavya’s soulful rendition is more than matched by the beautiful score of the Budapest Symphony Orchestra. Deepak Pandit (violin) and Paras Nath (flute) were long-time associates of Gazal maestro Jagjit Singh. Kavya and the two of them go now under the name of Sufiscore.      

Bhagyadha Lakshmi Baaramma (BLB)

BLB pays homage to Goddess Lakshmi, the Hindu deity symbolizing wealth, prosperity and good fortune. It extols her virtues and seeks her blessings for abundance and well-being. In the Carnatic style, it is set in the raga Madhyamavathi.

BLB – M S Subbulakshmi – Traditional Style

BLB – Bhimsen Joshi – Bhajan Style

Here the same classic is sung in contrasting styles by two Bharat Ratnas. Both have inspired many younger artists to master this song and include it in their repertoire.   

Baaro Krishnayya (BK)

This is a song about the devotee Kanaka inviting Krishna who dwells in Udupi to his home. It is a Ragamalika piece set in Maand, Bilahari, Mishra Piloo and Jonpuri. The first version is the one that was immortalised by MLV many decades ago and has remained a popular Thukkada piece in both vocal and instrumental concerts ever since. It begins with an Ugabhoga which is a free verse similar to the Viruttam in Tamil. The second version of BK is from the same concert of T M Krishna featuring KNBB referred to earlier. It has a tantalising introduction to Maand and charming swara sequence in Bilahari.  

BK – (with Ugabhoga) – MLV

BK – T M Krishna

Post Script

As I was working on the blog this morning, my friend Ganapathy Vibhu forwarded the Press Release of Music Academy announcing that the Sangita Kalanidhi Award 2024 will be conferred on T M Krishna. Happenstance, I had picked his rendition of two of the three songs in this blog. So, I take this opportunity to congratulate him and dedicate this blog in his honour. I met him for the first time some ten years ago in Mysore where I presided over a function to release his Kannada book Sahaspandana.I have since attended some of his formal and non-formal music performances and a book launch in Chennai and a few lectures in Bengaluru. We have remained email friends exchanging comments on each other’s writings. I continue to enjoy his music as well as his espousal of many social concerns.

Conclusion

I feel that a blog that begins with Baaro, Baaramma and Baaro must end with the endearing Kannada welcome “Banni, Enjoy Maadi”!

S. Krishna Kumar

17th March 2024

Bengaluru

Blog # 91

C Ramachandra by Chitalkar

Introduction

A happy consequence of listening to a lot of music is that I wake up on most mornings with one or the other song buzzing in my head. The songs are from either films or classical music and unrelated to what I may have heard the previous day or even recently. Last week, I caught myself unconsciously humming “Apni Kaho, Kuch Meri Suno” while brushing my teeth. This is a lovely Lata-Talat duet from Parchhaian (1952) for which music was scored by C Ramachandra (CR). I decided that my next blog will be on CR (1918-1982), a versatile music director from the 1950/60s and a peppy playback singer of that era who went by the name of Chitalkar.

As I began to list the songs to include in the blog, I found that apart from singing in his own films, Chitalkar had, in interviews/TV programs, rendered some of his hits sung by Lata, Talat and others. So, I am departing from my usual practice of giving YouTube links to the original songs listed in the blog. Instead, I will provide links only to videos featuring Chitalkar. Thus, you will get to learn about the life and music of CR in his own words and voice.

Short Biography

Ramachandra Narhar Chitalkar was born into a Marathi Brahmin family on 12th Jan. 1918 in Puntamba, a small town on the banks of Godavari in Ahmednagar district of Maharashtra. He studied music first but joined the film industry and played small roles in the late 1930s. He went back as a harmonium player in Minerva Movietone. His debut as music director was in the Tamil films Jayakodi (1940) and Vana Mohini (1941) directed by actor Bhagwan. The long association between the two led to Sukhi Jeevan (1942) and culminated in the runaway hit Albela (1951).

With his eclectic sensibility, CR came under the influence of American jazz clarinetist/bandleader Benny Goodman. This inspired him to use the alto sax along with the guitar and harmonica in Hindi film music. Soon, he added the oboe, trumpet, clarinet, saxophone and bongo in his scores. This period in his career gave us a number of lively dance songs.             

Wikipedia lists 106 Hindi films for which CR scored the music. His biggest success as a music composer was Anarkali (1953). Songs of this movie like “Yeh Zindagi Usiki Hai“, “Mujhse Mat Poochh Mere Ishq Main Kya Rakha Hai“, “Mohabbat Aisi Dhadkan Hai” and “Jaag Dard-E-Ishq Jaag” became popular hits and are highly cherished to this day. Apart from Anarkali, CR gave us many more memorable hits in the 1950s culminating in the Shantharam films Navrang (1959) and Stree (1961). His career declined thereafter.  Toofani Takkar (1978) was perhaps his last Hindi film.

Interview with Mahendra Kaul London 1978

In this fascinating conversation, C Ramachandra reveals how he learnt music due to his father’s pressure, entered the film world wanting to be a hero, how his maiden film Naganand was abandoned half way and his later foray into film music. Prompted by Kaul, he sings Mohabbat Hi Na Jo Samjhe from Parchhaian (1952) in raag Bageshri. He then reveals how he was inspired by Western music to create Meri Jaan Sunday Ke Sunday for Shehnai (1947) and goes on to sing Na Bole Na Bole Re from Azaad (1955) also in Raag Bageshri. He confesses that Aaja Re Aaja, Lage Na Mora Jiya from Sarhad (1960) was one song inspired by Western music where he could not improve upon the original. Though Bageshri was his favourite, he agrees to outline Malkauns and sing Aadha Hai Chandrama Raat Aadhi from Navrang (1959). His exposition of Malkauns is exquisite. In the midst of all this, we also get intimate glimpses of his personal life and inspirations.

Live at BBC Studios Birmingham 1981

This clip is of the Lata solo Mohabbat Aisi Dhadkhan Hai from Anarkali (1953). Chitalkar sings it with lots of feeling and subtle nuances that could not have been packed into a normal movie song. Though YouTube lists this as a BBC recording, both this clip and the interview of Kaul seem to have been recorded by Sat Datta in 1978. The quality of the recording is not very good and in the YouTube version, it is mixed up with another song as well.

The Great C Ramachandra Part One      

This is a recording of a private program that took place in Liverpool in the home of Dr. Shyam and Jayashree Wadkar, perhaps in the late 1970s. CR chats with guests, tells jokes, recites shairees and sings Marathi and Hindi songs composed by him. The highlights are the songs Dekh Tere Sansaar Ki Haalat (Nastik – 1954), Mohabbat Hi Na Jo Samjhe and two well-tuned Marathi songs.

The Great C Ramachandra Part Two

This part starts with a Marathi song and contains gems like Mohabbat Aisi Dhadkan Hai (Anarkali – 1953), Tum Kya Jano Tumhari Yaad Mein (Shin Shinaki Bubla Boo – 1952), Na Bole Na Bole and Jari Jari O Kari Badariya (Azaad – 1955), Aadha Hai Chandrama Raat Aadhi (Navrang – 1959) and Aye Mere Watan Ke Logo (26th Jan. 1963). In between, you hear CR enjoying himself with the guests amidst conversation and laughter. 

Aarohi – C Ramachandra    

This is a Doordarshan Sahyadri recording from the 1970s where CR sings his all-time great hit Shola Jo Badke with Kavita Krishnamurthy and presents four rare songs by new singers Suresh Wadkar, Chandrashekar Gadgil and Uttara Kelkar, two new poets Shyam Anuragi and Kamal Kant Jain and Sant Visoba Khechar, an early 14th century composer. The affection and respect with which CR introduces these artists and encourages them by singing along is so endearing to watch.

Anil Biswas Remembers Vasant Desai/C Ramachandra

In this affectionate tribute, Anil Da who was CR’s guru refers to the song Meri Jaan Sunday Ke Sunday with which CR broke free of his shadow and features snippets of Eena Meena Deeka from Aasha (1957) and Bholi Surat Dil Ke Khote and Dheere Se Aaja Ri Ankhiyan Mein are from Albela (1951).  

Kannum Kannum KalandhuVanjikottai Vaaliban (1958)

This song from the Tamil film Vanjikottai Vaaliban is sung by P Leela and Jikki and features dancer-actors Padmini and Vyjayanthimala in a fierce competition. Music was composed by CR, assisted by R Vaidyanathan. Blending Carnatic music with Bharatanatyam would not have been easy but CR pulls it off with aplomb. To this day, the song retains its iconic status and cult following.

CR – An Overall Appreciation

Two attributes that leap to your mind when you listen to the songs of CR are originality and versatility. He was an original with a capital O. Not for him the treaded path where others had gone before. He wanted to blaze his own trail and showed that he was capable of it. His music straddled various genres like classical, folk and Western.

Among contemporaries, he had the most comprehensive understanding of different music styles and synthesised them most evocatively. “As a composer, I hold CR at a high level. He made tunes by the minute and all the time smiling and joking. Yet, such beautiful tunes one after the other,” Hemant Kumar is reported to have said in an interview in 1989. Asked about adapting Tum Kya Jaano, Tumhari Yaad Mein, he said, “What to do, I just fell in love with that composition. What a unique and beautiful tune.”

Much has been written on CR being inspired by Western music. But he indigenised that music rather than copy it. He brought in the chorus to create a joyful and ebullient mood. He was the first music director to showcase the possibility and potentiality of song and dance in tandem. While Sunday Ke Sunday reveals Western influence in the choice of the tune and the beat, these are in full-blown view in the Gore Gore, O Banke Chore (Samadhi) and Shola Jo Badke (Albela) songs with orchestration to match. And CR’s genius is seen in how the Indian flute breezes in and out of Shola Jo Badke! I had watched Albela in the 1970s as a rerun at the Kalpana theatre in the Majestic area. I still vividly recall how the audience in the ground floor spilt over into the aisles and danced to the many peppy numbers. Even now, as I watch the clip, I feel that CR’s tunes were so breezy that the chorus of actors may have danced naturally without a choreographer. You can see the delight on their faces. It was as though CR was both music and dance director!

To CR goes the credit of introducing scat singing in Hindi films. Scat singing improvises melodies and rhythms using the voice as an instrument rather than as a speaking medium. This enables deployment of nonsense syllables or even no words at all. Eena Meena Deeka from Aasha is a zany Kishore Kumar number. The nonsense Konkani words Maka Naka Naka are said to have been added by the Goan trumpeter Chic Chocolate and fellow arranger John Gomes. Such was CR’s collaborative genius!  

As a singer, CR went by the name of Chitalkar. He mostly sang songs composed by himself but had also sung for Anil Biswas, Husnlal-Bhagatram, Hemant Kumar and Roshan. He had a voice somewhere between that of Talat and Rafi. He was a gifted singer who could emote the songs that he had composed for Talat or even Lata. The numerous recordings I have included in this blog clearly demonstrate his abilities as a vocalist. I personally feel that he could well have sung Aye Mere Watan Ke Logo himself!

Although he makes light of his formal music learning in childhood, CR time and again reveals the enduring influence of that phase of his life in his later years. Apart from Bageshri and Malkauns, he has used other raags in his films. O Chand Jahan Woh Jaye (Sharda) and Rang De De (Navrang) are exquisite creations in Hamsadhvani. He was one musician who used the tabla most creatively to enhance the tempo and appeal of a song. He was a great harmonium player as the video clips in this blog clearly bring out. He also showcases his sense of rhythm when he accompanies Kavitha Krishnamurthy in Shola Jo Badke!

Summing Up

CR was a like a breeze of fresh air in Hindi film music in the 1940s and 1950s. The sudden decline in his creativity and career in the next two decades is as inexplicable as it is sad. But for those who loved his unique collection of joyful and forlorn songs, he has left enough of a treasure house to savour and enjoy in one life time! For that, music lovers will for ever be grateful to him.

S. Krishna Kumar

5th March 2024

Bengaluru

Blog # 90     

Vasant Panchami

Introduction

Today, 14th February, 2024 is Vasant Panchami, a Hindu festival marking the onset of Spring or Vasant. Panchami is the 5th day of Shukla Paksha, the waxing phase of the moon after New Moon or Amavasya. (or of Krishna Paksha, the waning phase after Full Moon or Poornima). Vasant Panchami is observed in the Shukla Paksha of the Hindu month of Magha that falls in late January or early February. Vasant Panchami is celebrated more widely in North India and in parts of South Asia such as Indonesia.

Vasant Panchami 1968, Jaipur

Having spent the first twenty-two years of my life mostly in Bangalore and in small towns of Salem district in Tamil Nadu, I was completely unaware of Vasant Panchami as a festival and the observances associated with it. In late 1967, I landed up as Associate Lecturer in Physics at the Malaviya Regional Engineering College, Jaipur. I was a paying guest in the Raja Park area, a resettlement colony for Punjabi families who had crossed over from West Pakistan during partition. Vasant Panchami 1968 was my first introduction to the festival. What stands out in my mind is the whole neighbourhood, particularly women, coming out in yellow dresses and sweets being distributed. I do not recall any rituals or temple ceremonies as such.

Vasant Panchami 1980s, Delhi

During the 1980s, I was posted in New Delhi and worked mostly in the North Block, Transport and Shram Shakti Bhawans. On Vasant Panchami, some of the lady officers and many of the lady staff turned out in yellow outfits. Almost all of them seemed new. I realised then that this traditional Hindu festival also had a sartorial component to it!

We lived for the most part of my tenure in New Delhi in a two-bedroom government quarters on Pandara Road. Khan Market, which was within walking distance, was a busy commercial hub even then. On Vasant Panchami evenings, Khan Market glowed with a light-yellow tinge. If there was any Vasant Panchami sale, I did not notice it. I am happy to record that things have not changed for the worse. I read the New Delhi edition of the Indian Express online. I did not find any Vasant Panchami sale unlike the ones for Akshaya Tritiya or Valentine’s Day!   

Vasant Panchami 2024, Bengaluru

This morning, as I was at my laptop doing my usual post-breakfast ‘screen time’, I read about the observances of Vasant Panchami. To my surprise, I learnt it is not just a festival of seasons but one dedicated to Goddess Saraswati and is actually observed in many parts of India as Saraswati Pooja. Having grown up in the South Indian tradition of Saraswati Pooja being celebrated as part of Navaratri, I was pleased to see it being observed as a stand-alone festival and that practices such as Vidyarambham or Initiation of Learning are organised on Vasant Panchami day. Functions and programs are held at schools and colleges too. I was always under the impression that Saraswati was adorned in white, but was surprised to learn that yellow is also her color. I also read that there is a tradition of preparing yellow-coloured food items on Vasant Panchami.

Innovations in Vasant Panchami 2024

Freshoff my laptop, I felt that our family must celebrate Vasant Panchami too. As the maxim has it, all pooja is ultimately pet (pronounced pate) pooja. So, I wanted us to have a yellow-themed lunch. Instead of khichdi, I opted for Lemon Rice with Coconut Rice as companion. In our family, chips/wafers have enjoyed respectability as ‘yellow vegetables’ for over fifty years now. That was a help. The dessert was a toss-up between Rava Kesari and Paal Paayasam. Vilasini was not too excited about either. But we settled quickly for Sabudana Kheer which is Pearl Paayasam in our family, after our daughter Rohini found that convenient name as a child.  I showered and picked up a yellow bush shirt to wear. Hopefully, we can improve on the menu and plan the celebrations in advance from next year.

Saraswati Pooja 2024

In younger days, I remember us children handing over a few books to our mother as preparation for Saraswati Pooja. I would typically pick one or two text books, a note book and a story book. On the Pooja day, the books would be ceremoniously removed from the steps where they were arranged bedside with the Navaratri dolls. All of us would then read a few pages from these books. Vilasini and I stuck to this practice till recently. As we are left to our own ‘devices’ for most of our reading these days, the Saraswati Pooja tradition has all but disappeared. But a sloka that I had imbibed in the earlier days still resonates with me. I will conclude this blog with that.

Saraswati Namastubhyam Varade Kamarupini
Vidyarambham Karsihyami Siddhir Bhavathu Mey Sada

Salutations to the Goddess Saraswati, one who bestows all the wishes, who resembles the form of passion, beauty, and wish-fulfilling nature (Kamarupini)

I am going to start my studies, O Goddess please bestow me always with the powers to accomplish the tasks (Siddhi)!

Happy Vasant Panchami!

S. Krishna Kumar,

14th February, 2024

Bengaluru

Blog # 89

Pens and Penmanship

Introduction

Our son Deepak who is on a short visit from Seattle with his family presented me with a Puerto Rican pen carved out of wood. My immediate/extended family is aware of my fondness for pens. I have a huge collection of my own plus many Sheaffer pens gifted by Vilasini’s brother Sridhar who is based in Toronto. As I mulled over the idea of my next blog about pens, my friend and former colleague K K Misra sent me a video about Prakriti Malla, a school student in Nepal having the best handwriting in the world. After watching it, I felt that the blog can be about pen and penmanship and the difference between the latter and handwriting. Handwriting is the generic, physical act of writing by hand, including formation of letters and words, spacing between them and overall appearance of the written text. Penmanship, on the other hand, refers to the quality of handwriting, including factors such as legibility, neatness and consistency.

Early Usage of the Pen

I must have started using the ink pen from the time I was in the second/third form, the equivalent of today’s seventh/eighth standard. I recall my father getting me a Swan pen with a pinkish brown body. It was probably the same brand he used. We shared the bottle of Bril ink and the ink filler. By the time I was in high school, I had graduated to a Pilot pen which was more colourful and wrote better. I stuck to the Pilot pen for many years. I may have used a Waterman pen for a short while. I was gifted my first Parker pen during my college days. It had a silver cap and a dark green body. I soon switched to another Parker pen with a universally popular red body. Kalpana Stores on Sampige Road was my go-to place for pens, ink and consumables. For old-time Malleswaram residents, Kalpana Stores used to be at the same place between 7th and 8th Cross where the Bata showroom is now located. During those years, my preference also got fixed on pens with nibs that permitted thick rather than thin handwriting. That also enabled me to write faster which was always useful. The Parker pens helped me in my UPSC examinations.

Pens during the Service years

Having been used to fountain pens, I did not take to ball point pens when they arrived. But another development that I benefitted greatly from was the sketch pen. The Luxor group was the first to introduce it in India. I found that as much for writing, they were good signature pens and were also available in multiple colours. I loved their blue-green and green variants. Signing a large number of documents – even on rough government stationery – was made easier by these smooth-writing pens. So much so, I spurned advice given in my probationary period to shorten my signature to S K Kumar or even SKK. In later years, whenever I had to sign multiple copies of papers, I always regretted the foolhardiness of my younger days!

Using green coloured ink served me well in unexpected ways. In the 1970s as Assistant Commissioner of Indi sub-division in Bijapur district, I faced a dharna by the MLA alleging that government was not responsive to the severe drought there and that elected representatives were being ignored. The matter was looked into by the Revenue Commissioner who found that the letters written by the MLA had been seen by me at the tappal stage itself and clear instructions given in green handwriting on the action to be taken and followed up.

In the 1980s, when I was Deputy Commissioner, Mysore, a Minister complained that I had left cement distribution in the district entirely to my Food Assistant. The Joint Director of Commerce and Industries from Bangalore came to look into the matter. He found that month after month, the draft allocation of cement to various taluks/ dealers proposed by the Food Assistant had been vetted by me in my distinctive green hand. The complaint evaporated, with serious loss of face to the Minister himself. That the Minister complained against the Food Assistant because he refused to collect money for him for an MLC election could never come on record!             

My posting in Delhi exposed me to superior versions of the sketch pen. By the 1980s, Pilot had come up with its own sign pens, more elegant than Luxor. The body had stripes in the colour of the ink alternated with white. I discovered these pens during transit at Dubai airport and soon built up a collection. I recall using blue-green/ green during my tenure in the Government of India. But Arun Shourie has a delightful story to tell about The Ink-Botched Files in his book Governance and the Sclerosis That Has Set In.

Back in Bangalore, I was introduced to Lamy pens by my friend late Narndranath Swamy of Times of India. I loved it, particularly for the thick script it enabled me to write. Meanwhile, Luxor and Pilot became partners. In the final years of my service and later, gel pens such as Pilot Hitechpoint V7 pens available in four colours and Uniball have been my favourites. A variant that I use exclusively for signing is the Pilot V Sign Pen that is available only in blue and black.

Penmanship

Right from my school and pencil days, I was blessed with a good handwriting, a trait I inherited from Raja Mama on our mother’s side and our father. Early fountain pens cemented the habit of writing well and neatly. Better pens made writing down good poetry and prose a delight as well as a life-long habit. To this day, I have preserved many note books containing memorable words I had read and written down in my college and early service days. One of my recent blogs on Unloving Critics, Uncritical Lovers was in fact based on a 1968 scrap book entry. Post-retirement, I have opened a few more note books. Though it is tempting to copy-paste my online reading into a Word document or save a whole file, I prefer to write down the shorter quotes at least on to one of my note books. I tend to agree with Francis Bacon that writing indeed maketh an exact man. And the added pleasure of putting a good pen to paper? Priceless!

Is the Pleasure being Lost?

Much as I would like to think otherwise, I get the feeling that today’s students do not love writing as much as we did in our school and college days. Apart from the fact that ballpoint pens are better for scribbling and may have taken the charm out of writing, I suspect that students of today have too many ‘writing’ assignments that automatically introduce an element of drudgery. Our granddaughter Aditi is a school topper. But even she does not score as much as she easily can in essay-type questions as she does not enjoy writing long answers. Our grandson Yuv has considerable oral skills and impresses his teachers by his classroom participation but hates writing per se.

Just-In-Time Reading and Writing?

Underlying the above changes is the fact that technology has changed the way students read, absorb and recall content. Today, a good part of the syllabus, particularly extra reading, is from multiple online sources. There is also the pressure of competition and entrance tests. All of which leave the students with little or no opportunity to hone handwriting or penmanship. However, thanks to the emphasis on and opportunities for creative writing, many students excel in writing good poems and essays. But I do not know if the mechanics of preparing a Word document or a PowerPoint presentation and zipping it across the world as an email attachment can match the joy and excitement that I had experienced when a few of my hand-written articles were accepted by Himmat and Shanker’s Weekly for publication! Also, there is no brand loyalty leading to the exhilaration of using a Pilot or Parker these days when pens have been commoditised as ‘writing instruments’ and there is no exclusivity between them and stationery.

Please click on the highlighted words Prakriti Malla and The Ink-Botched Files to read more.   

S. Krishna Kumar

12th February, 2024

Bengaluru

Blog # 88        

Pitch (Im)Perfect

Introduction

I began to work on this blogpost just days after India won the cricket Test against South Africa at Cape Town by 7 wickets on 4th Jan. 2024. Instead of commenting on how a 5-day match folded up in under 2 days setting dubious records on the way or on stellar individual performances (mostly bowling), I propose to raise some issues about the quality (or lack thereof) of the Newlands pitch that made the contest so lopsided.

Preparation of Pitches – Broad Regulatory Framework

By convention, preparation of pitches is the prerogative of the home country where the matches are being played. Having said that, it appears that cricketing countries have their own rules for pitch preparation. The oldest among these are The Laws of Cricket of the Marylebone Cricket Club (MCC). The extant version is the 2017 Code. The BCCI website contains the following unequivocal affirmation:

“The BCCI upholds the MCC Laws of Cricket, which are the bedrock of the sport. These Laws ensure fair play, sportsmanship, and competitiveness. We encourage all players, officials, and stakeholders to familiarize themselves with these principles, as they define the integrity of every match under the BCCI’s purview. By adhering to the MCC Laws, we preserve cricket’s spirit, heritage, and timeless values, inspiring fans and players alike.”

In the 2017 Code, the following Laws are relevant.

LAW 6 The Pitch

There are 5 parts to this Law of which the following 3 are pertinent to our discussion.

“6.2 Fitness of pitch for play

The umpires shall be the sole judges of the fitness of the pitch for play.

6.3 Selection and preparation

Before the match, the Ground Authority shall be responsible for the selection and preparation of the pitch. During the match, the umpires shall control its use and maintenance.

6.4 Changing the pitch

The pitch shall not be changed during the match unless the umpires decide that it is dangerous or unreasonable for play to continue on it and then only with the consent of both captains.”

The related Laws are the following.

Law 2 The Umpires

“2.7 Fitness for play

2.7.1 It is solely for the umpires together to decide whether either conditions of ground, weather or light or exceptional circumstances mean that it would be dangerous or unreasonable for play to take place. Conditions shall not be regarded as either dangerous or unreasonable merely because they are not ideal. The fact that the grass and the ball are wet does not warrant the ground conditions being regarded as unreasonable or dangerous.

2.7.2 Conditions shall be regarded as dangerous if there is actual and foreseeable risk to the safety of any player or umpire.

2.7.3 Conditions shall be regarded as unreasonable if, although posing no risk to safety, it would not be sensible for play to proceed.

2.7.4 If the umpires consider the ground is so wet or slippery as to deprive the bowler of a reasonable foothold, the fielders of the power of free movement, or the batsmen of the ability to play their strokes or to run between the wickets, then these conditions shall be regarded as so bad that it would be dangerous and unreasonable for play to take place.

2.8 Suspension of play in dangerous or unreasonable circumstances

2.8.1 All references to ground include the pitch. 

2.8.2 The Umpires shall immediately suspend play, or not allow play to start or to recommence, if either umpire considers that the conditions of ground, weather or light, or any other circumstances are either dangerous or unreasonable.

2.8.3 When there is a suspension of play it is the responsibility of the umpires to monitor conditions. They shall make inspections as often as appropriate, unaccompanied by any players or officials. Immediately the umpires together agree that the conditions are no longer dangerous or unreasonable they shall call upon the players to resume play.”

ICC – Pitch and Outfield Ratings

ICC launched its system to monitor pitches and outfields in 2006 and updated it in Jan. 2018 to reflect the diversity of playing conditions globally and make member boards more accountable for the pitches they prepare, as also to introduce greater transparency in the rating of pitches. Six potential ratings apply to the pitch as well as the outfield: very good, good, average, below average, poor and unfit. Bottom three ratings incur 1, 3 and 5 demerit points for the pitch and 0, 2 and 5 for the outfield. 

A pitch is deemed to be ‘below average’ if there is “either very little carry and/or bounce and/or more than occasional seam movement, or occasional variable (but not excessive or dangerous) bounce and/or occasional variable carry”. 

A pitch is deemed ‘poor’ if it “does not allow an even contest between bat and ball” irrespective of whether that favours batsmen or bowlers. The guidelines also invoke “excessive seam movement/uneven bounce/assistance to spin bowlers, especially early in the match” and “little or no seam movement or turn at any stage in the match together with no significant bounce or carry” as well as “excessive dryness” and “excessive moistness”.

With this overview, I will examine the efficacy of the legal provisions to deal with specific situations like that of the recent Newlands pitch.

Standards First, Ratings Later

It is commonsense as also a legal truism that something cannot be punished as sub-standard unless the standard has been formally (preferably objectively) defined. And yet, this is what the following ICC stance amounts to:

“In addition, if a pitch or outfield is marked as sub-standard, the relevant Home Board and the venue are required to explain why the pitch and/or outfield performed below the required standard.” (emphasis added)

What standard, as ICC does not have one? That of Cricket South Africa (CSA) in the case of the Newlands pitch?  In 2002, the United Cricket Board (UCB) of South Africa (one of two predecessors to CSA) had published the book “Principles and Practice of Pitch Preparation” authored by 6 experts from the University of Natal and Potchefstroom University. The book sets out clear expectations and lays down detailed guidelines spread over 13 chapters. One presumes that CSA is still following this book or its updated versions. Chapter 2 of the book titled “What do we see as being a good pitch” states:

 “We define an ideal pitch as follows:

For a four- or five-day game

Day 1:

The pitch should be quite moist, with some green grass on the surface (not all will agree with this, as in the Australian examples which will be discussed later). A green surface will allow the ball to seam around a bit (later we will explain why greenness promotes this movement). The pitch should have consistent pace and bounce.

Days 2 & 3:

The pitch will have dried out and should become more bouncy and it should quicken up (provided it does not crack badly by becoming too dry too quickly). It will have lost its greenness and so should not seam around much. The ball should come nicely onto the bat and the pitch should now be ideal for batting.

Day 4:

The surface should start to powder and the cracks will start to open up. This will slow the pitch down. It will become less bouncy, the bounce will become more inconsistent and it will start to take spin.

Day 5:

The above pattern will be accentuated as the pitch wears further.”

Chapter 3 identifies the nature of the black soil used, the way the pitch is prepared and water content in the soil is controlled and the type of turf used as the main elements to a good pitch. Details, including general management factors, are discussed in the subsequent chapters.

Can CSA claim with any credibility that Newlands was a good pitch adhering to the guidelines laid by their own experts?

The Untenability of the Umpires’ Position

Taken together, ICC and MCC Laws place umpires in an untenable position. On the one hand, they are the “sole judges of the fitness of the pitch for play. On the other hand, the onus of deciding whether “it would be dangerous or unreasonable for play to take place” is cast on them acting jointly. More strangely, two riders are imposed to curb their ability to discharge their responsibility objectively. One is that wetness of the grass/ball may be ignored in coming to their decision. The other is that “Conditions shall not be regarded as either dangerous or unreasonable merely because they are not ideal.” These caveats nullify the formal responsibility cast on the umpires and makes their role perfunctory. (Emphasis added)

Pitch Inspection

All Test matches are preceded by an inspection of the pitch by the umpires with the two captains and the match referee accompanying them. Typically, pitches are prepared by professional curators under the supervision of the home board. It is not clear if they give any report to the umpires ahead of the pitch inspection. In the absence of any such input, it is not clear on what basis the umpires come to the conclusion that the pitch is fit for the Test. Coming specifically to the Cape Town test, could the umpires, following their inspection, have anticipated the variable bounce and lateral movement of the ball that was on display within the first hour of the game?

Suspension of Play

As envisaged in Law 2.8, could the umpires have suspended play at some stage and requested CSA to redo the pitch before resuming the match? The tests laid down for this determination are the pitch must be “dangerous or unreasonable for play to take place.” With the commentators freely saying the pitch was ‘treacherous’ were these conditions not met? (Emphasis added)

The Spirit of Cricket

The Preamble to the 2017 Code of MCC referred to earlier opens with the following sentence:

“Cricket owes much of its appeal and enjoyment to the fact that it should be played not only according to the Laws, but also within the Spirit of Cricket.”

The preface to the same Code reads as follows:  

“The game of Cricket has been governed by a series of Codes of Laws for over 270 years. These Codes have been subject to additions and alterations recommended by the governing authorities of the time. Since its formation in 1787, Marylebone Cricket Club (MCC) has been recognised as the sole authority for drawing up the Code and for all subsequent amendments. The Club also holds the World copyright. The basic Laws of Cricket have stood remarkably well the test of time. It is thought the real reason for this is that cricketers have traditionally been prepared to play in the Spirit of the Game, recognised in the Preamble since 2000, as well as in accordance with the Laws. The changes made in this 2017 Code reflect views following a global consultation with players, umpires and administrators at all levels of the game, including the International Cricket Council, the sport’s global governing body. The game has evolved quickly, requiring six Editions of the 2000 Code to be published in only fifteen years. A new Code was necessary to rationalise these amendments and to list the Laws in a more logical format and order. The guiding objectives behind the changes, evidenced from the consultation, have been to maintain a fair balance between bat and ball, to make the Laws easier to understand, to safeguard players’ welfare, and to give umpires more mechanisms to address instances of poor behaviour by players.”

Even from the point of view of the spirit of the game and from the perspective of maintaining the balance between bat and ball, the Newlands pitch left a lot to be desired. More disappointingly, the umpires failed to use their authority to suspend the match and have the pitch rectified even after session after session on the first day of play revealed the poor quality of the pitch.  

Cricket is the Loser

In all the hullabaloo following the Cape Town test, one must not lose sight of the fact thata match that was to last 15 sessions spread over 5 days was over in 5 sessions in less than 2 days. The match lasted a mere 107 overs as against the maximum 450 overs possible. Test cricket is followed by serious lovers of the game and not by those seeking entertainment value in its shorter formats. The Cape Town test being played in the first week of the new year was expected to attract good crowds on all the five days. Should not the concerns of spectators be factored into any future Code and strictly enforced?

ICC’s Pitch Rating System

Following the early end to the Cape Town test, there has been a call for a review of the ICC’s rating system by players and other personalities on both sides. This seems to be driven by a concern for the rating the Newlands pitch. Obviously, South Africa does not want a repeat of the situation that the Wanderers pitch faced in 2018 when it was rated “poor’ and received 3 demerit points. India feels that the ICC system is unfair because match referees do not treat seaming and spinning pitches on par. This is not a very productive dialogue. A harsh decision about one type of pitch does not automatically justify a similar one on the other. What is required is a complete overhaul leading to a system that is robust and objective.     

This is not about the Cape Town/Newlands Pitch Alone

The issue about quality of pitches and their post-match rating is not new and has come up earlier too. The pitch at the Chinnaswamy Stadium which hosted a pink ball test between India and Sri Lanka in March 2022 was rated ‘below average’ as it offered a lot of turn from day 1 and made contest between bat and ball unequal. Prior to that, the VCA Stadium at Nagpur, that hosted the India – South Africa Test in Nov. 2015, was given a ‘poor’ rating as the pitch massively favoured the bowlers. The pitch at the Rawalpindi Cricket Stadium earned a ‘below average’ rating in 2022 as it resulted in a high-scoring contest between Pakistan and Australia with little help to the bowlers. In Dec. 2023, the Mirpur pitch for the second Test between New Zealand and Bangladesh where 30 out of 36 wickets fell to spinners was rated ‘unsatisfactory’ and received one demerit point. Earlier, the pitch at Ahmedabad which hosted the ICC World Cup 2023 final between India and Australia was rated ‘average’.

The Way Forward

Cricket at all levels is a game of skill and not of chance. Or guess work. The uncertainty brought in by the pitch, it’s preparation and anticipated behaviour during the course of a match must be minimised by tweaking the regulatory framework, making it more objective and strengthening enforcement. My suggestions towards this end are spelt out below. They are made in the context of Test matches and can be applied, mutatis mutandis, to the shorter versions of the game.

  1. ICC must issue a new and strengthened global version of the Laws of Cricket that will be adopted and made applicable to all countries. The 2017 Code of MCC can be a prototype for this exercise after member countries are duly consulted.
  2. The new Laws will make the duties/responsibilities of the umpires more explicit and formal and strengthen their ability to discharge them. Lines of communication among the pitch curator, home board and umpires will be clearly spelt out.
  3. Umpires will be empowered to take corrective action to salvage a match from deteriorating into an unequal contest because of the vagaries of the pitch.
  4. ICC must also come out with a global Manual on pitch preparation. The 2002 book of UCB can be the starting point for the exercise. The Manual will leave details of the soil used, etc. to the home board but specify the acceptable standards of pitches in all countries and all playing conditions.
  5. Pitch inspection on the eve of the match must be more rigorous. Before they go out for pitch inspection on the opening day, umpires will have received/gone through reports from the curator/home board on the quality and reliability of the pitch for the duration of the Test.
  6. Together, the proposed ICC Laws/Manual will ensure that ‘fitness for play’ and ‘suspension of play in dangerous or unreasonable circumstances’ do not remain vague objectives but become clear mandates for umpires to act on.                  

Conclusion

The Data Point column of the Hindu dated Jan. 8, 2024 analyses the pitch ratings of Men’s Test matches from May 2019 to Dec., 2023 and points out:

  • None of the pitches in New Zealand, South Africa, England and West Indies were ‘below average’ or ‘poor’ whereas more than 10% of the Tests played in India, Bangladesh, Pakistan and Sri Lanka were on ‘below average’/ ‘poor’ pitches;
  • In the first group of countries, less than 25% of the wickets were taken by spinners whereas in the other group, more than 50% the wickets were claimed by spinners, showing that in general, spin-friendly pitches are rated poorly; and
  • Similar pitches on which Tests were completed in fewer number of balls were rated differently based on the type of bowling that dominated. Inferior ratings were reserved for spinning tracks.

One hopes that following the pitch episodes in the 2023 World Cup finals at Ahmedabad and the recent one in Cape Town, BCCI leads the initiative to clean up system of pitch preparation and rating. It is clearly not a problem faced only by India but at least by the ‘Asian’ (if not the ‘Global’) South. Later this month, England is in India for a 5-match Test series. One of their players has already let out an ‘anticipatory wail’ that India may may produce ‘turners’. There is no reason for India to live with such insinuations, certainly with a world-class pace attack rearing to go even on our relatively placid pitches.   

Let me conclude with this ‘punch’ dialogue delivered by the cop Ajay Devgan to his DGP and police colleagues in his blockbuster movie Singham.

Galat kya hai, yeh jaanne se koi farak nahi padta

Galat ko sahi karne se farak padta hai

S. Krishna Kumar

Bengaluru

8th January, 2024

Blog # 87