And the SOY Award for the Best Male Singer goes to?
In KL Saigal’s active years, the Best Male Singer was generally a one-horse race. He has sung great songs in 1941, too, in the film Lagan. Yet he is not a runaway winner. Nay, I would say with Doctor (1941) in which Pankaj Mullick appears as an actor-singer and the music director, he came up with a score of a lifetime. With six immortal solos from this film which I have included in the Overview Post, Pankaj Mullick is by far the front-runner in 1941.
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In my series of articles on 
The regulars of SOY who have been following year-wise reviews of the best songs of the year would have noticed an interesting feature. Every vintage year was characterised by some film(s) whose music became timeless. If we had Rattan in 1944 by Naushad, we had Kismet and Tansen in 1943, and Basant and Bhakt Surdas in 1942. 1941 too is no exception. If KL Saigal is there in a year, you can expect some everlasting songs. But besides Lagan (1941), Doctor helmed by the actor-singer Pankaj Mullick from New Theatres turned out to be an artistic and musical masterpiece. It is remarkable that New Theatres achieved that with a social message. 
The world of science is replete with cases where some great inventions happened from inadvertent errors. One most famous example is that of Penicillin. Sir Alexander Fleming was working on a cure for Pneumonia, rampant during WWI. In 1928, Dr Fleming observed that a particular type of mould growing on a Petri-dish of Staphylococcus bacteria seemed to be preventing the bacteria around it from growing. We know that accidental discovery of the mould as almost cure-all, Penicillin. 
Ramprasad Sharma (1900 -1995) belonged to Gorakhpur in the then United Provinces (present day Uttar Pradesh). The band master of Bharatpur State recognised Ramprasad’s flare for instrumental music. He played the trumpet here. He then played in Agra Military Band. This groomed him into the art of music arrangement to rise to the position of Band Master in a circus. He toured Delhi, Lahore and Calcutta with the circus. He settled for some time in Calcutta and worked for Columbia and New Theatres. At that stage, he mastered playing ten instruments and had acquired good knowledge of intricacies of classical raags. 
When AK Ji wrote to me asking whether I would be interested in writing an article on Rafi on his centenary year, I was elated beyond words. This is a task that I would consider a blessing from the heavens! The year 2024 marks the birth centenary year of the legendary Rafi sahab and I do not know when AK ji would be publishing this, but let us celebrate Rafi throughout the year. I do not think Rafi needs any introduction to the very knowledgeable readers of SOY and so I will skip even a brief biography. In his glorious career of around 35 years, he won the hearts of the listeners not only with his singing but, more importantly, with his humbleness and humanitarian character he earned people’s love and respect. There can be personal likes and dislikes on music composers, singers, lyricists etc, but it is indeed rare to find anyone talk anything negative about Rafi, the human being. The way he could emote the song depending on the mood and actor on whom it was picturised is legendary and one can say that he created a unique style of playback singing. 
Men may not be from Mars nor women from Venus, but there is a fundamental difference in the way the two genders bond with each other. In semi-urban settings at a party, the two genders automatically segregate, each forming their own group. We generally ascribe it to patriarchy. But at a recent get-together for three days at a resort with colleagues, including women colleagues and their spouses, we were at a dinner hosted by a local friend. As the number of guests increased, there was a need for some to move into another room to decongest. We didn’t realise there was anything unusual when men moved into another room until, after some time, the ladies led by some feisty colleagues trooped into the room slamming the gender segregation. Patriarchy surely does not explain this. 
Even in the absence of authentic statistics, there is unanimity among Hindi film historians that, from 1947 to 1987, one or other member of the Lord family – father Cawas Lord, the elder son Kersi Lord and the younger son Burjor Lord – has, on an average, played in every third song recorded in Bombay. Jazz and Latino music became integral to Bombay film music largely due to the Lords.
It is next to impossible to determine when dancing as a sort of celebration was introduced among humans. Migration of homo sapiens commenced from Africa and over several millennium they spread over Europe and Asia. It is much later they settled in various places, found a community with distinct language of their own. Once basic necessities of survival were achieved, society turned towards development of various kinds of artistic skills. Music and dancing were the offshoot of such an endeavour. There is adequate archeological evidence of prevalence of a sort of music and dance even in early societies of human beings. Over a long period of time as they improved their standard of living, artistic skills also flourished in tandem. Music and dancing diversified among societies in the world and in our country this reached a pinnacle much earlier. Many schools of music and dancing were established in different regions. In music we had the Hindustani and Carnatic system. In dance many offshoots as Kathak, Kuchipudi, Bharatnatyam evolved. 
