LATA MANGESHKAR: MAJESTICAL VOICE, UNFORGETTABLE MELODIES:
HITS FROM THE SEVENTIES BY LATA MANGESHKAR:
(46) Naam Gum Jayega.................(Kinara 1977)
(47) Main Tulsi Tere Aangan Ki.......(Main Tulsi Tere Aangan Ki 1978)
(48) Dil To Hai Dil..................(Muquaddar Ka Sikandar 1978)
(49) Koi Ayegaa Layega...............(Kartavya 1979)
(50) Ye Mulaquaat Ik Bahana Hai......(Khandaan 1979)
This closes the period of Lata Hits for the Period 1970-1979:
We wish to note that during the years of 1977 1978 1979........This was certainly a slowing down period for Lataji. There could have been many reasons, like for instance touring and performing concerts away from home:
However, to be accurate we need to take a closer look at the stats:
Personally I am of the opinion that the Sixties was indeed a better period in terms of quality of songs for Lataji.
.
Former Member
Former Member
LATA MANGESHKAR: MAJESTICAL VOICE, UNFORGETTABLE MELODIES:
WE NEXT MOVE TO THE EIGHTIES AND FOCUS OUR LENS ON LATAJI PERFORMANCES:
.
WE NEXT MOVE TO THE EIGHTIES AND FOCUS OUR LENS ON LATAJI PERFORMANCES:
.
Former Member
LATA MANGESHKAR: MAJESTICAL VOICE, UNFORGETTABLE MELODIES:
WE NEXT MOVE TO THE EIGHTIES AND FOCUS OUR LENS ON LATAJI PERFORMANCES:
1980s
In 1980s, Lata voluntarily cut down on her singing to allow new younger talent to come up.
In 1983, Lata once again worked with Khayyam for the movie Razia Sultan, singing the song Aye dil-e-naadaan.
Ravindra Jain, the blind composer who was given a big break by Raj Kapoor in Ram Teri Ganga Maili, got Lata to sing popular songs like Sun Sahiba Sun.
Ramlaxman was another new composer who worked with Lata in many Rajashri Productions movies, including Maine Pyaar Kiya, Hum Aapke Hain Kaun and Hum Saath Saath Hain. Maine Pyaar Kiya (1989) was Salman Khan's second film and set a record of sorts. The songs sung by Lata and S. P. Balasubrahmanyam became popular - Dil Deewana, Kabootar ja ja, Aaja shaam hone aai and the title song.
In late 1970s and early 1980s, Lata worked with the children of composers she had earlier worked with. Apart from Sachin and Rahul Dev Burman, Lata worked has worked with Chitragupta and his sons Anand-Milind, Roshan and his son Rajesh Roshan, and Sardar Malik and his son Anu Mallik. Rajesh Roshan's first film Julie had some numbers sung by Lata, including Bhool gaya sab kuchh (duet with Kishore Kumar) and Yeh Raatein Nai Puraani.
.
WE NEXT MOVE TO THE EIGHTIES AND FOCUS OUR LENS ON LATAJI PERFORMANCES:
1980s
In 1980s, Lata voluntarily cut down on her singing to allow new younger talent to come up.
In 1983, Lata once again worked with Khayyam for the movie Razia Sultan, singing the song Aye dil-e-naadaan.
Ravindra Jain, the blind composer who was given a big break by Raj Kapoor in Ram Teri Ganga Maili, got Lata to sing popular songs like Sun Sahiba Sun.
Ramlaxman was another new composer who worked with Lata in many Rajashri Productions movies, including Maine Pyaar Kiya, Hum Aapke Hain Kaun and Hum Saath Saath Hain. Maine Pyaar Kiya (1989) was Salman Khan's second film and set a record of sorts. The songs sung by Lata and S. P. Balasubrahmanyam became popular - Dil Deewana, Kabootar ja ja, Aaja shaam hone aai and the title song.
In late 1970s and early 1980s, Lata worked with the children of composers she had earlier worked with. Apart from Sachin and Rahul Dev Burman, Lata worked has worked with Chitragupta and his sons Anand-Milind, Roshan and his son Rajesh Roshan, and Sardar Malik and his son Anu Mallik. Rajesh Roshan's first film Julie had some numbers sung by Lata, including Bhool gaya sab kuchh (duet with Kishore Kumar) and Yeh Raatein Nai Puraani.
.
Former Member
LATA MANGESHKAR: MAJESTICAL VOICE, UNFORGETTABLE MELODIES:
We have pointed out the decline in the numbers of songs by Lataji for years 1977 1978 1979; and looking at the writeups of the 80's, we are being told that the reason for the slowdown were:-
In late 1970s and early 1980s, Lata worked with the children of composers she had earlier worked with. Apart from Sachin and Rahul Dev Burman, Lata worked has worked with Chitragupta and his sons Anand-Milind, Roshan and his son Rajesh Roshan, and Sardar Malik and his son Anu Mallik. Rajesh Roshan's first film Julie had some numbers sung by Lata, including Bhool gaya sab kuchh (duet with Kishore Kumar) and Yeh Raatein Nai Puraani.
Also it was stated that Lataji wanted to give newcomers a break......these reasons are acceptable, and most important it was graceful of Lataji to think in the way she did.
.
We have pointed out the decline in the numbers of songs by Lataji for years 1977 1978 1979; and looking at the writeups of the 80's, we are being told that the reason for the slowdown were:-
In late 1970s and early 1980s, Lata worked with the children of composers she had earlier worked with. Apart from Sachin and Rahul Dev Burman, Lata worked has worked with Chitragupta and his sons Anand-Milind, Roshan and his son Rajesh Roshan, and Sardar Malik and his son Anu Mallik. Rajesh Roshan's first film Julie had some numbers sung by Lata, including Bhool gaya sab kuchh (duet with Kishore Kumar) and Yeh Raatein Nai Puraani.
Also it was stated that Lataji wanted to give newcomers a break......these reasons are acceptable, and most important it was graceful of Lataji to think in the way she did.
.
Former Member
LATA MANGESHKAR: MAJESTICAL VOICE, UNFORGETTABLE MELODIES:
When Nazia rattled Lata
Raju Bharatan
ON September 28, 2000, Lata Mangeshkar turns 71. And says she feels as young as those two digits reversed!
Lata Mangeshkar 'Going-on-17' is how ace composer Chitalkar Ramchandra viewed Lata when sweet on her. Lata was 26 when Chitalkar (Maze mohabbat ke aa rahen hain) Ramchandra envisioned her as sweet 16.
"You know what I found most rewarding in the way Lata came over in Aa jaa re pardesee?" Salil (Madhumati) Chowdhury (himself stuck on this supersinger) soliloquised in front of me.
"It was C Ramchandra seeking me out to congratulate me upon the fashioning of Aa jaa re pardesee. He was driving along when this melody fell upon his ears in a way that made him pull up short. 'I got the feeling that a 16-year-old was singing - and singing extra sweetly!' noted C Ramchandra."
"I have, in Aa jaa re pardesee," explained Salil to me, "used the seventh chord as basic melody, the chord of incompletion, symptomatic of 'desire unfulfilled' -- on Vyjayanthimala playing the apparition in Madhumati.
"The antaraa here was Lata's own suggestion. 'Pancham se shuru karte hain('We start from pancham), Lata said."
"Lata's integrity as a singer lay in the fact that she never ever suggested a single change of note when I composed for her," observed Salil. "But where it came to doing Aa jaa re pardesee, for the first and last time in my case, Lata made a suggestion - that we start from pancham.
"And it was a great suggestion, too. It made all the difference to the unfolding, on the screen, of Aa jaa re pardesee."
"As a tune, Aa jaa re pardesee, if you must know," added Salil, "has its unfolding origin in that piece of background music, composed by me to go with the sequence in Jagte Raho. In which Raj Kapoor, playing the vagrant, is very thirsty and asks for water."
HOW can we forget the Salilian Bhairav strains of Lata's Jaago Mohan pyaare stunner, accompanying the climax of that very sequence!
By the time Jagte Raho(1956) and Madumati hit the screen, Lata Mangeshkar had peaked as the unputdownable nightingale of the cinema in India.
Salil's Aa jaa re pardesee, in fact, was to win, for Lata Mangeshkar, the Filmfare Best Singer award (no separate honours, then, for female and male performer) -- in the year in which the citation was introduced -- 1958.
In less than a decade after that, the Padma Bhushan had been bestowed upon Lata Mangeshkar at the very young (for those times) age of 39. Today, at 71, Lata is the diva nonpareil.
WERE there, then, no serious challenges to Lata Mangeshkar in her long singing career? There were and there weren't.
In India, Lata just swept away all opposition. Runa Laila -- tele-emerging, blazing vividness, from Pakistan, on her 'packback' to Bangladesh -- did give Lata a fright. But our composers were too scared a tribe, then, to commission a 'foreigner' to mount a challenge to Lata's suzerainty.
Yet there was a happening in Lata's life and times that made a mere teenager a near despair for her. That teenybopper was Nazia Hasan.
AS I was with the Hasans in their suite in Mumbai's Taj Mahal Hotel (facing the Gateway of India), along came a wedding band playing the song that was the rage at the time: Aap jaisa koi meree zindagee mein aaye, to baat ban jaaye, baat ban jaaye.
"Mummy, my song, my song, they're playing my song!" exclaimed, ecstatic, the 13-year-old Nazia, as she rushed to the balcony for a glimpse.
That is how naive Nazia was -- when she made waves all over the subcontinent -- as the Baat Ban Jaaye Girl. In fact, as a daisy-fresh beauty did Nazia come (at the Old Lady of Boribunder) into the editor's cabin at The Illustrated Weekly Of India.
M V Kamath, at the time (1981), was the magazine's editor. And even the sepoys at The Weekly (Manohar and Jaywant among them) insisted upon being in the editor's cabin, as Nazia delighted us with a spot rendition of Aap jaisa koi.
Nazi she was to her friends - but she was no Hitler. So it was no threat at all that Nazia posed to Lata at her zenith.
But facts are facts.
AND the unvarnished truth is that Nazia Hasan's Aap jaisa koi meree zindagee mein aaye stayed put, in the top slot of Ameen Sayani's Binaca Geetmala, for (believe it or not) 14 weeks running!
There was no way even the velvet voice of Lata could scale down Nazia during that spell. Not since Lata herself had occupied an enviable slot in the same Binaca Geetmala for one full year before the film's release, with her Mera salaam le jaa charmer from Naushad's Uran Khatola (1955), had we witnessed a Binaca phenomenon like Nazia.
HOW Nazia Hasan's Aap jaisa koi took shape, in tune with her petite physique, is a story in itself.
Feroz Khan, as the maker-director of Qurbani (1980), and as a family friend, encountered Nazia, suddenly, in London and took an instant fancy for her voice.
The music directors of Qurbani were Kalyanji-Anandji. Without as much as a by-your-leave in the case of that top-selling duo, Feroz Khan got unknown Coorgi Biddu to tune (without any final wording) the song in London.
Next, the spool-tape cassette of the number was quietly sent to lyricist Indivar in Bombay -- with instructions to 'write to tune'!
Indivar was a pastmaster in the art. He came up with words that sat pat on Biddu's tune -- as Aap jaisa koi meree zindagee mein aaye.
Kalyanji-Anandji did not like it but had to lump it, as the song -- swiftly released well before the advent of Qurbani -- proceeded to make unprecedented waves in Ameen Sayani's Binaca Geetmala.
I met Ameen at the time it all happened and asked him about what ranked as the most spectacular Binaca breakthrough, in a long, long time, by a fresher-singer.
Aap jaisa koi had topped the Geetmala four times by then. Ameen (as the one who got Pak stripling Nazia Hasan, as easy on the eye as the ear, to 'hit parade' her talent) said to me:
"It's perhaps not so much a breakthrough as a fluke -- Aap jaisa koi. Either it's a fluke," went on Ameen, "or it's the harbinger of a new trend. Nothing else can explain the fact that a Pak girl, who's totally unknown in India, should achieve such super success."
What Ameen Sayani, for all his seasoning, momentarily forgot is that a popular voice knows no nationality.
Ameen, therefore, was nearer the mark when he went on to wonder if the Aap jaisa koi disco number "is perhaps the first Hindi film song the essence of which is Western, not Indian."
Following the runaway success of the number even before Qurbani's release, Nazia Hasan became a star overnight in London (where she was still schooling).
SHE was invited by the BBC to feature in radio and TV programmes like Naya Jeevan; and being asked out in Birmingham, Southall and other Asian pockets in England "to sing Aap jaisa koi in person".
This Polydor disc, we were then warned, "might have been pressed afresh by an illegal company, in Singapore, and from there found its way to Pakistan, where Nazia has become a household name on its strength".
THE fact that this was the first stereophonic recording to emerge on the Geetmala scene also clearly counted. In fact, the number came to Indivar already trendily orchestrated by Biddu -- with dummy words!
And how Nazia hit the high spots with the Indivar catchline, Aap jaisa koi meree zindagee mein aaye - the punch in the song-lyric lying in: Baat ban jaaye, baat ban jaaye.
Something so patently Western, in form and content, had not been heard on Binaca before.
A parallel was drawn with Priti Sagar's all-time Julie hit, My heart is beating, as scored by Rajesh Roshan. But, then, My heart is beating had made it to the top, in the Geetmala, but twice.
With just one hep disco number, Nazia Hasan had thus overtaken Runa Laila, too, in the Geetmala!
Runa's Kalyanji-Anandji-scored Ek se badhkar ek had finished just twice at the very top in the Geetmala.
Runa had gone one better as she dueted with Bhupendra in Jaidev's Gharaonda in a mood of: Do deewane shehar mein. This one had made it thrice to Binaca Top - ultimately a full '11 Top Notches' behind 14-times number-one: Aap jaisa koi.
WHERE, then, does Lata Mangeshkar come into all this? Well, Lata's film Aasha heart-stealer, picturised on Mohsin Khan's wife-to-be, Reena Roy, Sheesha ho ya dil ho aakhir toot jaata hai, just could not catch up with Nazia's Aap jaisa koi for 14 weeks running, hard as it tried!
The year 1980 in Hindi film music thus belonged to a Pak singer - a slip of a girl who came to India via England to capture subcontinental hearts.
Aap jaisa koi actually set a disco trend that came to be picked up by Usha Iyer, going on Kalpana Iyer, as Hari Om Hari (in Pyaara Dushman).
Feroz Khan's Qurbani came presold on the strength of the spot hit Nazia Hasan had turned out to be. Before that, Qurbani had been just another movie release on the cards -- until Nazia hit the big time.
Nazia's single song-craze ensured that Qurbani came to be proclaimed the box office hit of 1980. As highly disappointing though the vacuous Zeenat Aman might have been viewed to be, ultimately, in the way she enacted the number on the screen.
IN the Binaca Geetmala year's final count, however, Lata's Sheesha ho ya dil ho (from J Om Prakash's Aasha) just about pipped Nazia's Aap jaisa koi at the post.
Laxmikant-Pyarelal, as the composers of Lata's Sheesha ho ya dil ho, held up this happening as the triumph of Tradition over Modernity!
For all that, Hindustani film music was never the same after Nazia, maybe accidentally, invaded it.
Even today, I would like to know, from my dear friend Ameen Sayani, how discreetly he contrived to see that Lata just nosed ahead of Nazia!
I met Nazia and her parents at the same Taj -- after she had become the captive voice in India. Nazia was a year older and lovelier by then.
The Hasans told me that her marriage had been fixed. Was it this marriage that went so tragically wrong?
How keen was Nazia to continue to sing in Indian films! But there was no way either Nazia Hasan or Runa Laila could punch a hole in the wall of the Establishment.
Nazia Hasan, in the circumstances, did something else. She set -- well ahead of its times -- the personal-album trend in India.
"Has the dimension of success you've had with Aap jaisa koi changed you?" was the first query I put to Nazia, as I met up with her in India.
"You have me in front of you as before, sir. Do you see a change?" Nazia asked -- in that husky voice that had fired the imagination of India's eighties' youth.
Until Nazia 'arrived', the pride of place, in Ameen Sayani's Binaca Geetmala, had belonged to Hemlata -- her Aankhiyon ke jharokhon se title-tune having been hailed as the Most Popular Song of The Year 1978.
Of course, Hemlata is Hemlata. Lata is Lata. Nazia is Nazia. It is not a comparison I am attempting -- no way.
I am merely taking timely note of one of the many minor hurdles, encountered by the Melody Queen, in her 53 years at the top.
IS it preposterous to set up a mere 13-year-old against Lata Mangeshkar?
Well, Lata herself never took any challenge, however youthful and distant, anything less than seriously.
After all, Lata Mangeshkar herself had been but 13 years of age when she first sought a career in films. And, by a Pakistani singer, Lata perhaps could remember only one movie number, vying with her innumerable hits, for Binaca Geetmala attention.
My rewind reference is to the latter half of the 1950s, when Pakistan's Iqbal Bano held us spellbound in the Binaca Geetmala -- for weeks on end -- with her resonant rendition of the Qatil Shefai-written solo tuned by Inayat for a film, Qatil.
The solo was: Ulfat kee nayee manzil ko chala, Tu baahen daal ke baahon mein, Dil tod ne waale dekh ke chal/Hum bhee to paden hain raahon mein.
Even this one, from a Pak film (Qatil), could be played by Ameen Sayani, in the Binaca Geetmala, only because its 78-rpm disc had been pressed in India!
THE Nazia disc, by contrast, came to be pressed in London. As a schoolgirl, as Aap jaisa came her way, casually did Nazia Hasan put it over. 'Bowled over' did she have the youth of India with her elfin elegance.
Where else but in a level playing field like films could a mere 13-year-old vie for vocal attention alongside the stupendous Lata Mangeshkar?
The writer is author of Lata Mangeshkar: A Biography;UBSPD; Rs 295
.
When Nazia rattled Lata
Raju Bharatan
ON September 28, 2000, Lata Mangeshkar turns 71. And says she feels as young as those two digits reversed!
Lata Mangeshkar 'Going-on-17' is how ace composer Chitalkar Ramchandra viewed Lata when sweet on her. Lata was 26 when Chitalkar (Maze mohabbat ke aa rahen hain) Ramchandra envisioned her as sweet 16.
"You know what I found most rewarding in the way Lata came over in Aa jaa re pardesee?" Salil (Madhumati) Chowdhury (himself stuck on this supersinger) soliloquised in front of me.
"It was C Ramchandra seeking me out to congratulate me upon the fashioning of Aa jaa re pardesee. He was driving along when this melody fell upon his ears in a way that made him pull up short. 'I got the feeling that a 16-year-old was singing - and singing extra sweetly!' noted C Ramchandra."
"I have, in Aa jaa re pardesee," explained Salil to me, "used the seventh chord as basic melody, the chord of incompletion, symptomatic of 'desire unfulfilled' -- on Vyjayanthimala playing the apparition in Madhumati.
"The antaraa here was Lata's own suggestion. 'Pancham se shuru karte hain('We start from pancham), Lata said."
"Lata's integrity as a singer lay in the fact that she never ever suggested a single change of note when I composed for her," observed Salil. "But where it came to doing Aa jaa re pardesee, for the first and last time in my case, Lata made a suggestion - that we start from pancham.
"And it was a great suggestion, too. It made all the difference to the unfolding, on the screen, of Aa jaa re pardesee."
"As a tune, Aa jaa re pardesee, if you must know," added Salil, "has its unfolding origin in that piece of background music, composed by me to go with the sequence in Jagte Raho. In which Raj Kapoor, playing the vagrant, is very thirsty and asks for water."
HOW can we forget the Salilian Bhairav strains of Lata's Jaago Mohan pyaare stunner, accompanying the climax of that very sequence!
By the time Jagte Raho(1956) and Madumati hit the screen, Lata Mangeshkar had peaked as the unputdownable nightingale of the cinema in India.
Salil's Aa jaa re pardesee, in fact, was to win, for Lata Mangeshkar, the Filmfare Best Singer award (no separate honours, then, for female and male performer) -- in the year in which the citation was introduced -- 1958.
In less than a decade after that, the Padma Bhushan had been bestowed upon Lata Mangeshkar at the very young (for those times) age of 39. Today, at 71, Lata is the diva nonpareil.
WERE there, then, no serious challenges to Lata Mangeshkar in her long singing career? There were and there weren't.
In India, Lata just swept away all opposition. Runa Laila -- tele-emerging, blazing vividness, from Pakistan, on her 'packback' to Bangladesh -- did give Lata a fright. But our composers were too scared a tribe, then, to commission a 'foreigner' to mount a challenge to Lata's suzerainty.
Yet there was a happening in Lata's life and times that made a mere teenager a near despair for her. That teenybopper was Nazia Hasan.
AS I was with the Hasans in their suite in Mumbai's Taj Mahal Hotel (facing the Gateway of India), along came a wedding band playing the song that was the rage at the time: Aap jaisa koi meree zindagee mein aaye, to baat ban jaaye, baat ban jaaye.
"Mummy, my song, my song, they're playing my song!" exclaimed, ecstatic, the 13-year-old Nazia, as she rushed to the balcony for a glimpse.
That is how naive Nazia was -- when she made waves all over the subcontinent -- as the Baat Ban Jaaye Girl. In fact, as a daisy-fresh beauty did Nazia come (at the Old Lady of Boribunder) into the editor's cabin at The Illustrated Weekly Of India.
M V Kamath, at the time (1981), was the magazine's editor. And even the sepoys at The Weekly (Manohar and Jaywant among them) insisted upon being in the editor's cabin, as Nazia delighted us with a spot rendition of Aap jaisa koi.
Nazi she was to her friends - but she was no Hitler. So it was no threat at all that Nazia posed to Lata at her zenith.
But facts are facts.
AND the unvarnished truth is that Nazia Hasan's Aap jaisa koi meree zindagee mein aaye stayed put, in the top slot of Ameen Sayani's Binaca Geetmala, for (believe it or not) 14 weeks running!
There was no way even the velvet voice of Lata could scale down Nazia during that spell. Not since Lata herself had occupied an enviable slot in the same Binaca Geetmala for one full year before the film's release, with her Mera salaam le jaa charmer from Naushad's Uran Khatola (1955), had we witnessed a Binaca phenomenon like Nazia.
HOW Nazia Hasan's Aap jaisa koi took shape, in tune with her petite physique, is a story in itself.
Feroz Khan, as the maker-director of Qurbani (1980), and as a family friend, encountered Nazia, suddenly, in London and took an instant fancy for her voice.
The music directors of Qurbani were Kalyanji-Anandji. Without as much as a by-your-leave in the case of that top-selling duo, Feroz Khan got unknown Coorgi Biddu to tune (without any final wording) the song in London.
Next, the spool-tape cassette of the number was quietly sent to lyricist Indivar in Bombay -- with instructions to 'write to tune'!
Indivar was a pastmaster in the art. He came up with words that sat pat on Biddu's tune -- as Aap jaisa koi meree zindagee mein aaye.
Kalyanji-Anandji did not like it but had to lump it, as the song -- swiftly released well before the advent of Qurbani -- proceeded to make unprecedented waves in Ameen Sayani's Binaca Geetmala.
I met Ameen at the time it all happened and asked him about what ranked as the most spectacular Binaca breakthrough, in a long, long time, by a fresher-singer.
Aap jaisa koi had topped the Geetmala four times by then. Ameen (as the one who got Pak stripling Nazia Hasan, as easy on the eye as the ear, to 'hit parade' her talent) said to me:
"It's perhaps not so much a breakthrough as a fluke -- Aap jaisa koi. Either it's a fluke," went on Ameen, "or it's the harbinger of a new trend. Nothing else can explain the fact that a Pak girl, who's totally unknown in India, should achieve such super success."
What Ameen Sayani, for all his seasoning, momentarily forgot is that a popular voice knows no nationality.
Ameen, therefore, was nearer the mark when he went on to wonder if the Aap jaisa koi disco number "is perhaps the first Hindi film song the essence of which is Western, not Indian."
Following the runaway success of the number even before Qurbani's release, Nazia Hasan became a star overnight in London (where she was still schooling).
SHE was invited by the BBC to feature in radio and TV programmes like Naya Jeevan; and being asked out in Birmingham, Southall and other Asian pockets in England "to sing Aap jaisa koi in person".
This Polydor disc, we were then warned, "might have been pressed afresh by an illegal company, in Singapore, and from there found its way to Pakistan, where Nazia has become a household name on its strength".
THE fact that this was the first stereophonic recording to emerge on the Geetmala scene also clearly counted. In fact, the number came to Indivar already trendily orchestrated by Biddu -- with dummy words!
And how Nazia hit the high spots with the Indivar catchline, Aap jaisa koi meree zindagee mein aaye - the punch in the song-lyric lying in: Baat ban jaaye, baat ban jaaye.
Something so patently Western, in form and content, had not been heard on Binaca before.
A parallel was drawn with Priti Sagar's all-time Julie hit, My heart is beating, as scored by Rajesh Roshan. But, then, My heart is beating had made it to the top, in the Geetmala, but twice.
With just one hep disco number, Nazia Hasan had thus overtaken Runa Laila, too, in the Geetmala!
Runa's Kalyanji-Anandji-scored Ek se badhkar ek had finished just twice at the very top in the Geetmala.
Runa had gone one better as she dueted with Bhupendra in Jaidev's Gharaonda in a mood of: Do deewane shehar mein. This one had made it thrice to Binaca Top - ultimately a full '11 Top Notches' behind 14-times number-one: Aap jaisa koi.
WHERE, then, does Lata Mangeshkar come into all this? Well, Lata's film Aasha heart-stealer, picturised on Mohsin Khan's wife-to-be, Reena Roy, Sheesha ho ya dil ho aakhir toot jaata hai, just could not catch up with Nazia's Aap jaisa koi for 14 weeks running, hard as it tried!
The year 1980 in Hindi film music thus belonged to a Pak singer - a slip of a girl who came to India via England to capture subcontinental hearts.
Aap jaisa koi actually set a disco trend that came to be picked up by Usha Iyer, going on Kalpana Iyer, as Hari Om Hari (in Pyaara Dushman).
Feroz Khan's Qurbani came presold on the strength of the spot hit Nazia Hasan had turned out to be. Before that, Qurbani had been just another movie release on the cards -- until Nazia hit the big time.
Nazia's single song-craze ensured that Qurbani came to be proclaimed the box office hit of 1980. As highly disappointing though the vacuous Zeenat Aman might have been viewed to be, ultimately, in the way she enacted the number on the screen.
IN the Binaca Geetmala year's final count, however, Lata's Sheesha ho ya dil ho (from J Om Prakash's Aasha) just about pipped Nazia's Aap jaisa koi at the post.
Laxmikant-Pyarelal, as the composers of Lata's Sheesha ho ya dil ho, held up this happening as the triumph of Tradition over Modernity!
For all that, Hindustani film music was never the same after Nazia, maybe accidentally, invaded it.
Even today, I would like to know, from my dear friend Ameen Sayani, how discreetly he contrived to see that Lata just nosed ahead of Nazia!
I met Nazia and her parents at the same Taj -- after she had become the captive voice in India. Nazia was a year older and lovelier by then.
The Hasans told me that her marriage had been fixed. Was it this marriage that went so tragically wrong?
How keen was Nazia to continue to sing in Indian films! But there was no way either Nazia Hasan or Runa Laila could punch a hole in the wall of the Establishment.
Nazia Hasan, in the circumstances, did something else. She set -- well ahead of its times -- the personal-album trend in India.
"Has the dimension of success you've had with Aap jaisa koi changed you?" was the first query I put to Nazia, as I met up with her in India.
"You have me in front of you as before, sir. Do you see a change?" Nazia asked -- in that husky voice that had fired the imagination of India's eighties' youth.
Until Nazia 'arrived', the pride of place, in Ameen Sayani's Binaca Geetmala, had belonged to Hemlata -- her Aankhiyon ke jharokhon se title-tune having been hailed as the Most Popular Song of The Year 1978.
Of course, Hemlata is Hemlata. Lata is Lata. Nazia is Nazia. It is not a comparison I am attempting -- no way.
I am merely taking timely note of one of the many minor hurdles, encountered by the Melody Queen, in her 53 years at the top.
IS it preposterous to set up a mere 13-year-old against Lata Mangeshkar?
Well, Lata herself never took any challenge, however youthful and distant, anything less than seriously.
After all, Lata Mangeshkar herself had been but 13 years of age when she first sought a career in films. And, by a Pakistani singer, Lata perhaps could remember only one movie number, vying with her innumerable hits, for Binaca Geetmala attention.
My rewind reference is to the latter half of the 1950s, when Pakistan's Iqbal Bano held us spellbound in the Binaca Geetmala -- for weeks on end -- with her resonant rendition of the Qatil Shefai-written solo tuned by Inayat for a film, Qatil.
The solo was: Ulfat kee nayee manzil ko chala, Tu baahen daal ke baahon mein, Dil tod ne waale dekh ke chal/Hum bhee to paden hain raahon mein.
Even this one, from a Pak film (Qatil), could be played by Ameen Sayani, in the Binaca Geetmala, only because its 78-rpm disc had been pressed in India!
THE Nazia disc, by contrast, came to be pressed in London. As a schoolgirl, as Aap jaisa came her way, casually did Nazia Hasan put it over. 'Bowled over' did she have the youth of India with her elfin elegance.
Where else but in a level playing field like films could a mere 13-year-old vie for vocal attention alongside the stupendous Lata Mangeshkar?
The writer is author of Lata Mangeshkar: A Biography;UBSPD; Rs 295
.
Former Member
A follow up to the above article:
Millions of Asians around the world struck with disbelief mourned when they heard the news that Nazia had succumbed to her illness. Nazia passed away on August 13th 2000 in a London hospital leaving behind a three year old son.
The Government of Pakistan has conferred upon Nazia Hassan the highest civil award Pride of Performance. The award was presented to Mrs. Muniza Basir, mother of Nazia Hassan by the President of Pakistan General Pervez Musharraf Sahib in an official ceremony held at Islamabad on 23rd March 2002.
Was she a threat to Lataji?
.
Millions of Asians around the world struck with disbelief mourned when they heard the news that Nazia had succumbed to her illness. Nazia passed away on August 13th 2000 in a London hospital leaving behind a three year old son.
The Government of Pakistan has conferred upon Nazia Hassan the highest civil award Pride of Performance. The award was presented to Mrs. Muniza Basir, mother of Nazia Hassan by the President of Pakistan General Pervez Musharraf Sahib in an official ceremony held at Islamabad on 23rd March 2002.
Was she a threat to Lataji?
.
Former Member
LATA MANGESHKAR: MAJESTICAL VOICE, UNFORGETTABLE MELODIES:
WE NEXT MOVE TO THE EIGHTIES AND FOCUS OUR LENS ON LATAJI PERFORMANCES:
The Eighties will not be as fulfilling as the Sixties and Seventies but surely there are some memorable tunes, of which we shall present:
.
WE NEXT MOVE TO THE EIGHTIES AND FOCUS OUR LENS ON LATAJI PERFORMANCES:
The Eighties will not be as fulfilling as the Sixties and Seventies but surely there are some memorable tunes, of which we shall present:
.
Former Member
LATA MANGESHKAR: MAJESTICAL VOICE, UNFORGETTABLE MELODIES:
During the eighties, Mangeshkar cut down her workload to concentrate on her work abroad. She still had huge industry hits in the movies: Dil to Paagal Hai (1997), Maachis (1997), Hum Aapke Hain Kaun (1994), and Dil Se (1998). She has been the voice of actresses forty years younger than her. Even though no young new artist has been able to match her talents, some say that Mangeshkar has monopolized the field for too long. Even still, producers of the industry still find this legend and ask her to sing their new songs. She has become an Indian Institution! She has created over 30,000 solo, duet, and chorus-backed songs recorded in twenty Indian languages between the years of 1948 to 1987, and that number has probably reached over 30,000 + today!
.
During the eighties, Mangeshkar cut down her workload to concentrate on her work abroad. She still had huge industry hits in the movies: Dil to Paagal Hai (1997), Maachis (1997), Hum Aapke Hain Kaun (1994), and Dil Se (1998). She has been the voice of actresses forty years younger than her. Even though no young new artist has been able to match her talents, some say that Mangeshkar has monopolized the field for too long. Even still, producers of the industry still find this legend and ask her to sing their new songs. She has become an Indian Institution! She has created over 30,000 solo, duet, and chorus-backed songs recorded in twenty Indian languages between the years of 1948 to 1987, and that number has probably reached over 30,000 + today!
.
Mitwah (Guest)
Kabhi kushi kabhi gham
http://www.gayaki.com/cgi-bin/player.cgi?id=Kabhi-Khush...hi-Khushi-Kabhi-Gham
http://www.gayaki.com/cgi-bin/player.cgi?id=Kabhi-Khush...hi-Khushi-Kabhi-Gham
Former Member
quote:Originally posted by Mitwah:
Kabhi kushi kabhi gham
http://www.gayaki.com/cgi-bin/player.cgi?id=Kabhi-Khush...hi-Khushi-Kabhi-Gham
One for your song book Mitwabhai:
Lata 1980: Movie Abdullah:
Om Jai Jagdish:
.
T_P (Guest)
ASJ you have to get Lynn to come back to GNI to help you. 
Mitwah (Guest)
quote:Originally posted by asj:quote:Originally posted by Mitwah:
Kabhi kushi kabhi gham
http://www.gayaki.com/cgi-bin/player.cgi?id=Kabhi-Khush...hi-Khushi-Kabhi-Gham
One for your song book Mitwabhai:
Lata 1980: Movie Abdullah:
Om Jai Jagdish:
.
Appreciated very much. I thought this was traditional for aarti yet I see Anand Bakshi being credited for the lyrics.
Former Member
AMITABH, LATAJI, YASH CHOPRA, DILIP KUMAR
LEGENDS IN THEIR OWN RIGHTS:
Former Member
quote:Originally posted by Mitwah:quote:Originally posted by asj:quote:Originally posted by Mitwah:
Kabhi kushi kabhi gham
http://www.gayaki.com/cgi-bin/player.cgi?id=Kabhi-Khush...hi-Khushi-Kabhi-Gham
One for your song book Mitwabhai:
Lata 1980: Movie Abdullah:
Om Jai Jagdish:
.
Appreciated very much. I thought this was traditional for aarti yet I see Anand Bakshi being credited for the lyrics.
Bakshi did the lyrics in the Film Abdullah: a couple songs, but we know that the traditional Aarti song was there for ages, was a mistake by Music link to include Bakshi as Lyricist. Maybe the song was there and they used it for this Movie, personally I think it would have been more apporpiately in a Rgligiuos Epic:
.
Former Member
quote:Originally posted by T_P:
ASJ you have to get Lynn to come back to GNI to help you.
I hope she does, in a couple of days, really do need her input, hope someone convey message: send out an SOS:
.
Former Member
LATA MANGESHKAR: MAJESTICAL VOICE, UNFORGETTABLE MELODIES:
WE NEXT MOVE TO THE EIGHTIES AND FOCUS OUR LENS ON LATAJI PERFORMANCES:
The Eighties will not be as fulfilling as the Sixties and Seventies but surely there are some memorable tunes, of which we shall present:
Indeed the performances of Lata Mangeshkar in the Eighties were although not what one would expect however there were still popular song being dished out, some of those song were:-
(1) Hum Bane Tum Bane Ek Duje..................(Ek Duje Ke Liye 1981)
(2) Mere Naseeb Main...........................(Naseeb 1981)
(3) Tera Saath Hai To..........................(Pyaasa Saawan 1981)
(4) Neela Aasman So Gaya.......................(Silsila 1981)
(5) Na Jaane Kya Hua...........................(Dard 1981)
(6) Mara Thumka................................(Kranti 1981)
(7) Tune Oh Rangeela Jaisa.....................(Kudrat 1981)
(8) Agar Tum Na Hote...........................(Agar Tum Na Hote 1983)
(9) Pardes Jake Pardesia.......................(Arpan 1983)
(10)Ay Dilay Nadaan............................(Razia Sultan 1983)
(11)Jab Hum Jawaan Honge.......................(Betaab 1983)
(12)Dil Deewan Bin Sajna Ke....................(Maine Pyar Kiya 1989)
(13)Kabootar Ja Ja Ja Kabootar.................(Maine Pyar Kiya 1989)
(14)Mere Hathon May Nau Nau....................(Chandni 1989)
The number of songs for Latji especially for the latter part of this decade, that is the Eighties; were dismal but we should understand that she wanted to give breaks to the new comers of whom Alka Yagnik, Hemlata, Sadhana Sargam, Anuradha Paudwal, and Kavita Krishnamurthy all bebefitted a lot during Lata's
absence.
We will now need to look at the 90's:
.
WE NEXT MOVE TO THE EIGHTIES AND FOCUS OUR LENS ON LATAJI PERFORMANCES:
The Eighties will not be as fulfilling as the Sixties and Seventies but surely there are some memorable tunes, of which we shall present:
Indeed the performances of Lata Mangeshkar in the Eighties were although not what one would expect however there were still popular song being dished out, some of those song were:-
(1) Hum Bane Tum Bane Ek Duje..................(Ek Duje Ke Liye 1981)
(2) Mere Naseeb Main...........................(Naseeb 1981)
(3) Tera Saath Hai To..........................(Pyaasa Saawan 1981)
(4) Neela Aasman So Gaya.......................(Silsila 1981)
(5) Na Jaane Kya Hua...........................(Dard 1981)
(6) Mara Thumka................................(Kranti 1981)
(7) Tune Oh Rangeela Jaisa.....................(Kudrat 1981)
(8) Agar Tum Na Hote...........................(Agar Tum Na Hote 1983)
(9) Pardes Jake Pardesia.......................(Arpan 1983)
(10)Ay Dilay Nadaan............................(Razia Sultan 1983)
(11)Jab Hum Jawaan Honge.......................(Betaab 1983)
(12)Dil Deewan Bin Sajna Ke....................(Maine Pyar Kiya 1989)
(13)Kabootar Ja Ja Ja Kabootar.................(Maine Pyar Kiya 1989)
(14)Mere Hathon May Nau Nau....................(Chandni 1989)
The number of songs for Latji especially for the latter part of this decade, that is the Eighties; were dismal but we should understand that she wanted to give breaks to the new comers of whom Alka Yagnik, Hemlata, Sadhana Sargam, Anuradha Paudwal, and Kavita Krishnamurthy all bebefitted a lot during Lata's
absence.
We will now need to look at the 90's:
.
Former Member
LATA MANGESHKAR: MAJESTICAL VOICE, UNFORGETTABLE MELODIES:
1990'S:
In 1990, Lata launched her own production house. Her first (and the only) movie as a producer Lekin -- flopped, but the music (composed by her brother, Hridaynath) was well-appreciated. The song Yaara seeli seeli, written by Gulzar, is considered to be one of the best songs that Lata has ever sung.
In 1990s, Lata also recorded many non-film songs, including ghazals with Jagjit Singh. One such ghazal is Dhuan banake fiza mein, recorded in 1992. The songs that Lata recorded for Ramlaxman in the Rajashri Productions film Hum Aapke Hain Kaun were hits. Lata also sang for all of the Yash Chopra films, including Dil To Pagal Hai.
A. R. Rahman has recorded a number of songs with Lata, including Jiya Jale (from Dil Se, danced by Preity Zinta) and Khamoshiyan Gungunane Lagin(from One Two ka Four).
.
1990'S:
In 1990, Lata launched her own production house. Her first (and the only) movie as a producer Lekin -- flopped, but the music (composed by her brother, Hridaynath) was well-appreciated. The song Yaara seeli seeli, written by Gulzar, is considered to be one of the best songs that Lata has ever sung.
In 1990s, Lata also recorded many non-film songs, including ghazals with Jagjit Singh. One such ghazal is Dhuan banake fiza mein, recorded in 1992. The songs that Lata recorded for Ramlaxman in the Rajashri Productions film Hum Aapke Hain Kaun were hits. Lata also sang for all of the Yash Chopra films, including Dil To Pagal Hai.
A. R. Rahman has recorded a number of songs with Lata, including Jiya Jale (from Dil Se, danced by Preity Zinta) and Khamoshiyan Gungunane Lagin(from One Two ka Four).
.
Former Member
LATA MANGESHKAR: MAJESTICAL VOICE, UNFORGETTABLE MELODIES:
BOOKS ON LATA MANGESHKAR
In Search Of Lata Mangeshkar
By Harish Bhimani
HaperCollins Publishers India
Harish Bhimani, basically a voice-over artist & orator, he has been compering Lataji's live concerts both in India and abroad for more than two decades. He pens his experiences with Lataji, understanding her from his perspective, some anecdotes about various experiences and incidents in her life that Lataji had narrated to him herself and neatly integrates them in the book. He simply takes the reader on a guided tour In Search Of Lata Mangeshkar.
Lata Mangeshkar - A Biography,
by Raju Bharatan
Is mixture various stories that this professional film journalist had put together. The author claims, his work is basically analytical, at the same time, critical in those areas where, logically no punches should be pulled. The book gives an insight into the life of Lataji, from the perspective that is typical of Bollywood.
.
BOOKS ON LATA MANGESHKAR
In Search Of Lata Mangeshkar
By Harish Bhimani
HaperCollins Publishers India
Harish Bhimani, basically a voice-over artist & orator, he has been compering Lataji's live concerts both in India and abroad for more than two decades. He pens his experiences with Lataji, understanding her from his perspective, some anecdotes about various experiences and incidents in her life that Lataji had narrated to him herself and neatly integrates them in the book. He simply takes the reader on a guided tour In Search Of Lata Mangeshkar.
Lata Mangeshkar - A Biography,
by Raju Bharatan
Is mixture various stories that this professional film journalist had put together. The author claims, his work is basically analytical, at the same time, critical in those areas where, logically no punches should be pulled. The book gives an insight into the life of Lataji, from the perspective that is typical of Bollywood.
.
Former Member
LATA MANGESHKAR: MAJESTICAL VOICE, UNFORGETTABLE MELODIES:
Merrill Lynch honours Lata Mangeshkar!
Melody queen Lata Mangeshkar has been conferred the 'life time achievement award' by Merrill Lynch Investment Managers and Adora, India's second largest diamond exporter, in recognition of her outstanding achievement in fields of art, culture and music.
76-Year-old Mangeshkar was in London in connection with Christie's auction of diamond jewellery created by her and crafted by Adora, which fetched 1,05,000 pounds.
Part of the auction money would be donated for the relief of earthquake victims in Pakistan-occupied Kashmir and Jammu and Kashmir and children's charity 'Pratham', she said.
Receiving the silver inlaid trophy from Adora chief M Suresh, Mangeshkar said it was the responsibility of everyone to help alleviate suffering of quake victims and she had volunteered to do whatever she can in that connection.
Mangeshkar, winner of India's highest civilian award 'Bharat Ratna' and 'Dada Saheb Phalke' award for her contribution to the Indian cinema, said it would be good for people of India and Pakistan if relations between the two countries were normalised.
"I feel that will happen but I can't say when it will happen. But right now the victims of earthquake were in dire need of help and assistance and one and all should help them."
The fund-raising auction at the Langham hotel was attended among others by Lord Swraj Paul, NRI industrialist and British ambassador for overseas business, Joginder Sanger, NRI hotelier and vice chairman of the Bharatiya Vidya Bhavan, and several other leading NRI industrialists.
Mangeshkar, the Supreme voice of popular Indian music who is the most recorded artist in the world, said 'swaranjali', the diamond jewellery designed by her, was reflection of her love for jewellery.
She said her father Dinanath Mangeshkar, himself a reputed singer, had given her a lot of diamond jewellery and she thought of bringing out new designs of diamond jewellery based on her own collections.
"I showed the designs, colour combinations and distinct jewellery line to Adora and they have brought out the new designs with my signature," she said, describing it as a fascinating story.
Each of the five jewellery pieces auctioned were embossed with Lata Mangeshkar's signature. The rose, a definite showstopper, which has 598 diamonds weighing 4.77 carats and gold weighing 27.876 grams fetched 30,000 pounds, while a diamond and ruby eternity set, with laser engraved with her signature went for 26,000 pounds.
A diamond suite, an enchanting piece of jewellery with unique blend of marquise-cut, pear-shaped diamonds weighing 19.63 carats in the necklace and 11.61 carats in the earrings, was sold for 28,000 pounds. A diamond and emerald suite went for 19,000 pounds while a diamond and blue topaz pendant fetched 2,600 pounds.
On the sidelines of the awards ceremony, Mangeshkar said she planned to build another hospital adjacent to the 450-bed Dinanath Memorial Hospital, she had built in memory of her father in Pune.
She recalled that the hospital, built in the record time of 18 months, was inaugurated by the then Prime Minister Atal Behari Vajpayee in 2002.
.
Merrill Lynch honours Lata Mangeshkar!
Melody queen Lata Mangeshkar has been conferred the 'life time achievement award' by Merrill Lynch Investment Managers and Adora, India's second largest diamond exporter, in recognition of her outstanding achievement in fields of art, culture and music.
76-Year-old Mangeshkar was in London in connection with Christie's auction of diamond jewellery created by her and crafted by Adora, which fetched 1,05,000 pounds.
Part of the auction money would be donated for the relief of earthquake victims in Pakistan-occupied Kashmir and Jammu and Kashmir and children's charity 'Pratham', she said.
Receiving the silver inlaid trophy from Adora chief M Suresh, Mangeshkar said it was the responsibility of everyone to help alleviate suffering of quake victims and she had volunteered to do whatever she can in that connection.
Mangeshkar, winner of India's highest civilian award 'Bharat Ratna' and 'Dada Saheb Phalke' award for her contribution to the Indian cinema, said it would be good for people of India and Pakistan if relations between the two countries were normalised.
"I feel that will happen but I can't say when it will happen. But right now the victims of earthquake were in dire need of help and assistance and one and all should help them."
The fund-raising auction at the Langham hotel was attended among others by Lord Swraj Paul, NRI industrialist and British ambassador for overseas business, Joginder Sanger, NRI hotelier and vice chairman of the Bharatiya Vidya Bhavan, and several other leading NRI industrialists.
Mangeshkar, the Supreme voice of popular Indian music who is the most recorded artist in the world, said 'swaranjali', the diamond jewellery designed by her, was reflection of her love for jewellery.
She said her father Dinanath Mangeshkar, himself a reputed singer, had given her a lot of diamond jewellery and she thought of bringing out new designs of diamond jewellery based on her own collections.
"I showed the designs, colour combinations and distinct jewellery line to Adora and they have brought out the new designs with my signature," she said, describing it as a fascinating story.
Each of the five jewellery pieces auctioned were embossed with Lata Mangeshkar's signature. The rose, a definite showstopper, which has 598 diamonds weighing 4.77 carats and gold weighing 27.876 grams fetched 30,000 pounds, while a diamond and ruby eternity set, with laser engraved with her signature went for 26,000 pounds.
A diamond suite, an enchanting piece of jewellery with unique blend of marquise-cut, pear-shaped diamonds weighing 19.63 carats in the necklace and 11.61 carats in the earrings, was sold for 28,000 pounds. A diamond and emerald suite went for 19,000 pounds while a diamond and blue topaz pendant fetched 2,600 pounds.
On the sidelines of the awards ceremony, Mangeshkar said she planned to build another hospital adjacent to the 450-bed Dinanath Memorial Hospital, she had built in memory of her father in Pune.
She recalled that the hospital, built in the record time of 18 months, was inaugurated by the then Prime Minister Atal Behari Vajpayee in 2002.
.
Former Member
quote:Part of the auction money would be donated for the relief of earthquake victims in Pakistan-occupied Kashmir and Jammu and Kashmir and children's charity 'Pratham', she said.
Noble gesture from Lata Mangeshkar, but then again she always supports charitable projects.
.
Former Member
LATA MANGESHKAR: MAJESTICAL VOICE, UNFORGETTABLE MELODIES
Lataji:
"I remember Aji rooth kar ab kahan jayiyega in Arzoo. What a high pitch that was! My ears reddened when I sang it. But I stubbornly sang at that impossible scale, refusing to admit defeat to any range. I would get very angry, and sing at any range, without complaining.
I used to have arguments with Jaikishan. I would ask him, 'Kya baat hai, aap meri pareeksha le rahe hain? Maine aap ka kya bigada hai jo aap mera kaan laal kar rahe hain? (What's the matter? Why are you testing me? What have i done that you should trouble me so?)'
Actually, Ehsaan tera hoga was only meant to be sung by Rafi. But the film's hero, Shammi Kapoor, suddenly decided that the heroine should sing it as well. It was picturised with Rafi's voice on Saira Banu and later dubbed by me. So I had to sing it in the same sur as Rafi. The same was done with Jiya ho jiya kuch bol do (Jab Pyar Kissi Se Hota Hai).
I shared a great friendship with Shankar-Jaikishan"
.
Lataji:
"I remember Aji rooth kar ab kahan jayiyega in Arzoo. What a high pitch that was! My ears reddened when I sang it. But I stubbornly sang at that impossible scale, refusing to admit defeat to any range. I would get very angry, and sing at any range, without complaining.
I used to have arguments with Jaikishan. I would ask him, 'Kya baat hai, aap meri pareeksha le rahe hain? Maine aap ka kya bigada hai jo aap mera kaan laal kar rahe hain? (What's the matter? Why are you testing me? What have i done that you should trouble me so?)'
Actually, Ehsaan tera hoga was only meant to be sung by Rafi. But the film's hero, Shammi Kapoor, suddenly decided that the heroine should sing it as well. It was picturised with Rafi's voice on Saira Banu and later dubbed by me. So I had to sing it in the same sur as Rafi. The same was done with Jiya ho jiya kuch bol do (Jab Pyar Kissi Se Hota Hai).
I shared a great friendship with Shankar-Jaikishan"
.
Mitwah (Guest)
Former Member
quote:Originally posted by Mitwah:
Ae mere dil e nadaan (1962)
http://www.dishant.com/jukebox.php?songid=41449
Must have this one for our 62 hits.
#20 in our 1960-64 List: Surely a beautiful song.
.
Mitwah (Guest)
Former Member
[QUOTE]Originally posted by asj:
LATA MANGESHKAR: MAJESTICAL VOICE, UNFORGETTABLE MELODIES:
1990'S:
In 1990, Lata launched her own production house. Her first (and the only) movie as a producer Lekin -- flopped, but the music (composed by her brother, Hridaynath) was well-appreciated. The song Yaara seeli seeli, written by Gulzar, is considered to be one of the best songs that Lata has ever sung.
In 1990s, Lata also recorded many non-film songs, including ghazals with Jagjit Singh. One such ghazal is Dhuan banake fiza mein, recorded in 1992. The songs that Lata recorded for Ramlaxman in the Rajashri Productions film Hum Aapke Hain Kaun were hits. Lata also sang for all of the Yash Chopra films, including Dil To Pagal Hai.
A. R. Rahman has recorded a number of songs with Lata, including Jiya Jale (from Dil Se, danced by Preity Zinta) and Khamoshiyan Gungunane Lagin(from One Two ka Four).
Surprise, surprise surprise searching for a hit song in the 90's is like looking for a needle in a haystack, hits by Lataji was almost non existant apart for a few that I think was not worthwile to list.
There was a noticeable hoarseness in her voice, she was not the Lata in voice as years gone by.
Artiiste that grab her position were Anuradha Paudwal, Alka Yagnik, Sadhana Sargam, Hema Sardesai, Kavita Krishnamurthy, and Alisha Chinai.
Lata in her own words says she wanted to give new comers a break
Was this the end of Lata Mangeshkar?
Will discuss more later:
.
,
LATA MANGESHKAR: MAJESTICAL VOICE, UNFORGETTABLE MELODIES:
1990'S:
In 1990, Lata launched her own production house. Her first (and the only) movie as a producer Lekin -- flopped, but the music (composed by her brother, Hridaynath) was well-appreciated. The song Yaara seeli seeli, written by Gulzar, is considered to be one of the best songs that Lata has ever sung.
In 1990s, Lata also recorded many non-film songs, including ghazals with Jagjit Singh. One such ghazal is Dhuan banake fiza mein, recorded in 1992. The songs that Lata recorded for Ramlaxman in the Rajashri Productions film Hum Aapke Hain Kaun were hits. Lata also sang for all of the Yash Chopra films, including Dil To Pagal Hai.
A. R. Rahman has recorded a number of songs with Lata, including Jiya Jale (from Dil Se, danced by Preity Zinta) and Khamoshiyan Gungunane Lagin(from One Two ka Four).
Surprise, surprise surprise searching for a hit song in the 90's is like looking for a needle in a haystack, hits by Lataji was almost non existant apart for a few that I think was not worthwile to list.
There was a noticeable hoarseness in her voice, she was not the Lata in voice as years gone by.
Artiiste that grab her position were Anuradha Paudwal, Alka Yagnik, Sadhana Sargam, Hema Sardesai, Kavita Krishnamurthy, and Alisha Chinai.
Lata in her own words says she wanted to give new comers a break
Was this the end of Lata Mangeshkar?
Will discuss more later:
.
,
Former Member
LATA MANGESHKAR: MAJESTICAL VOICE, UNFORGETTABLE MELODIES:
2000s
Lata has continued to perform in later years. She sings some of her old songs on the Mujhse Dosti Karoge soundtrack, alongwith two new numbers Jaane dil mein kab se hai tu (with Sonu Nigam) and Andekhi anjaani si(with Udit Narayan). A more recent example is in the film Veer Zaara - Tere Liye with Roopkumar Rathod, with songs composed by late Madan Mohan. She has also sung a few songs for movies like Page 3, Bewafaa, Lucky - No Time For Love and Rang De Basanti.
.
2000s
Lata has continued to perform in later years. She sings some of her old songs on the Mujhse Dosti Karoge soundtrack, alongwith two new numbers Jaane dil mein kab se hai tu (with Sonu Nigam) and Andekhi anjaani si(with Udit Narayan). A more recent example is in the film Veer Zaara - Tere Liye with Roopkumar Rathod, with songs composed by late Madan Mohan. She has also sung a few songs for movies like Page 3, Bewafaa, Lucky - No Time For Love and Rang De Basanti.
.
Former Member
LATA MANGESHKAR: MAJESTICAL VOICE, UNFORGETTABLE MELODIES:
Personal Life
Lata owns a flat in London. She and her sister Asha Bhosale can be often found vacationing in London.
Lata has received four Filmfare Awards, the Platinum Disc of EMI London and many other awards. Noor Jehan, whom Lata allegedly imitated in her early years as a singer, once said "people say Lataji considers me as a phenomenon. I would say that's her humility. Lataji is Lataji. No singer like her has ever been born."
In 2002, a controversy developed because soul music artist Truth Hurts sampled Lata's singing without crediting her or paying royalties in the single "Addictive". That same year, Ghalib Shiraz Dhalla wrote a novel about a gay Indian-American man called "Ode to Lata" in honor of the performer
Other controversy of earlier years related to the phenomenon of Suman Kalyanpur who sang like Lata with her voice nearly identical with Lata's and who was favoured to sing by an anti-Lata camp comprising music composers and producers.
.
Personal Life
Lata owns a flat in London. She and her sister Asha Bhosale can be often found vacationing in London.
Lata has received four Filmfare Awards, the Platinum Disc of EMI London and many other awards. Noor Jehan, whom Lata allegedly imitated in her early years as a singer, once said "people say Lataji considers me as a phenomenon. I would say that's her humility. Lataji is Lataji. No singer like her has ever been born."
In 2002, a controversy developed because soul music artist Truth Hurts sampled Lata's singing without crediting her or paying royalties in the single "Addictive". That same year, Ghalib Shiraz Dhalla wrote a novel about a gay Indian-American man called "Ode to Lata" in honor of the performer
Other controversy of earlier years related to the phenomenon of Suman Kalyanpur who sang like Lata with her voice nearly identical with Lata's and who was favoured to sing by an anti-Lata camp comprising music composers and producers.
.
Former Member
LATA MANGESHKAR: MAJESTICAL VOICE, UNFORGETTABLE MELODIES:
Addictive" is a 2002 single recorded by Truth Hurts for Dr. Dre's Aftermath label. One of the label's few R&B hits, "Addictive" features a guest rap from old school hip hop legend Rakim, and is based around a Hindi music sample, which eventually brought on a $500 million lawsuit against Aftermath.
Steve "Static" Garrett wrote the song's lyrics, and the record was produced by DJ Quik. Quik sampled for its instrumental track a Hindi-song he heard on television early one morning. The sample turned out to be "Thoda Resham Lagta Hai", a 20-year old song by Indian singer Lata Mangeshkar, which Aftermath neglected to clear the rights to. Copyright holders Saregama India, Ltd. issued a cease-and-desist order, which went unheeded. On September 12, 2002, Saregama filing a $500 million dollar lawsuit against Aftermath and parent company Universal Music Group, and filed an injunction to prevent further performances or broadcasts of "Addictive" [1].
Incidentally, "Addictive" was not the first hip hop or R&B song to use Indian or East Asian music; record producer Timbaland had been using Bhangra elements in his tracks for two years prior.
This song is still in recurrent rotation on many top-40, rhythmic, and urban stations. It is also known for spending 10 weeks at the top of American Top 40 (and also being the biggest dropper (from #6 to #32) in American Top 40 history).
A remix has also been made, produced by Dr. Dre featuring an additional verse by Rakim.
* In 2003 the song was certified gold by SNEP, France.
.
Addictive" is a 2002 single recorded by Truth Hurts for Dr. Dre's Aftermath label. One of the label's few R&B hits, "Addictive" features a guest rap from old school hip hop legend Rakim, and is based around a Hindi music sample, which eventually brought on a $500 million lawsuit against Aftermath.
Steve "Static" Garrett wrote the song's lyrics, and the record was produced by DJ Quik. Quik sampled for its instrumental track a Hindi-song he heard on television early one morning. The sample turned out to be "Thoda Resham Lagta Hai", a 20-year old song by Indian singer Lata Mangeshkar, which Aftermath neglected to clear the rights to. Copyright holders Saregama India, Ltd. issued a cease-and-desist order, which went unheeded. On September 12, 2002, Saregama filing a $500 million dollar lawsuit against Aftermath and parent company Universal Music Group, and filed an injunction to prevent further performances or broadcasts of "Addictive" [1].
Incidentally, "Addictive" was not the first hip hop or R&B song to use Indian or East Asian music; record producer Timbaland had been using Bhangra elements in his tracks for two years prior.
This song is still in recurrent rotation on many top-40, rhythmic, and urban stations. It is also known for spending 10 weeks at the top of American Top 40 (and also being the biggest dropper (from #6 to #32) in American Top 40 history).
A remix has also been made, produced by Dr. Dre featuring an additional verse by Rakim.
* In 2003 the song was certified gold by SNEP, France.
.
Former Member
LATA MANGESHKAR: MAJESTICAL VOICE, UNFORGETTABLE MELODIES
Sister's Rivalry:
Asha B:
Rivalry with Lata Mangeshkar
Asha's sibling rivalry with her sister Lata Mangeshkar is often talked about, in spite of their insistence that these are just tales. As young children, they were very close. As a child, Lata used to carry Asha all the time. They were so inseparable that when Lata went to school she would take Asha with her, but one day the teacher protested and said that they cannot have two students on one fee. Lata refused to return to school without Asha and quit her studies[7].
Lata considered Asha's act of eloping with her lover as irresponsible, leaving her alone to sing and earn for the family. This led to tensions among them. Asha herself accepted in an interview[7] "â "It was a love marriage and Lata didi (elder sister) did not speak to me for a long time. She disapproved of the alliance." It is a well-known fact that at one time, their relationship was very adversarial and there have been periods of non-communication.
In her initial days in the industry, Asha always played second fiddle to her elder sister. Some say that Lata had once said something criticising Asha's relationship with O P Nayyar. This widened the rift between the two sisters and O P Nayyar also decided that he would never work with Lata. O.P. Nayyar had once revealed "â "Asha and Lata staying in opposite flats at Bombay's Pedder Road, shared a common maidservant. Now this maidservant had merely to come and tell the younger sister that Lata had just recorded something wonderful for Asha to lose her vocal poise. Such was her Lata phobia that it took me some months to convince Asha that she had a voice individualistic enough to evolve a singing style all of her own." [6] Asha once said that she has worked for years to create a voice and a style that was different from her Lata, so that she could carve her own niche and not be banished to live her shadow[7].
Asha and Lata have sung many songs together. Their first duet was for the film Daman (1951). [6]. Some of these include Man Bhawan Ke Ghar aye (Chori Chori, 1956), Sun ri sun papiha bole (Miss Mary, 1957), O chaand jahaan woh jaaye (Sharada, 1957), Mere Mehboob Mein Kya Nahi (Mere Mehboob, 1963), Ai kash kisi deewane ko (Aaye Din Bahar Ke, 1966), Main Chali Main Chali (Padosan, 1968), Chhap tilak sab (Main Tulsi Tere Aangan Ki, 1978), and Man kyun behka (Utsav, 1984). While singing, Lata used to hold her notebook in her right hand, while Asha held her notebook in her left hand. This meant Lata had her face away from Asha, making it difficult for them to "anticipate" each other[7].
The movie "Saaz", was supposedly based on Lata and Asha's rivalry. Asha said about the movie "â "To have two women in long plaits, take a couple of incidents and exaggerate them into a 3-hour film is such a waste of time."[7] In last few years, Asha and Lata have often been seen in public, enjoying each other's company. In an interview with Times of India, Asha once said - "I remember, sometimes both of us would be at a function and some industry types would ignore me and interact only with her, as if to prove their loyalty. Later, didi (elder sister) and I would have a good laugh!"
The famous Bollywood lyricist-filmmaker Gulzar once said â "Asha was like Neil Armstrong's companion in the space rocket that touched the moon. After Lataji touched down on the moon, Ashaji could only be the second one to get there."
.
Sister's Rivalry:
Asha B:
Rivalry with Lata Mangeshkar
Asha's sibling rivalry with her sister Lata Mangeshkar is often talked about, in spite of their insistence that these are just tales. As young children, they were very close. As a child, Lata used to carry Asha all the time. They were so inseparable that when Lata went to school she would take Asha with her, but one day the teacher protested and said that they cannot have two students on one fee. Lata refused to return to school without Asha and quit her studies[7].
Lata considered Asha's act of eloping with her lover as irresponsible, leaving her alone to sing and earn for the family. This led to tensions among them. Asha herself accepted in an interview[7] "â "It was a love marriage and Lata didi (elder sister) did not speak to me for a long time. She disapproved of the alliance." It is a well-known fact that at one time, their relationship was very adversarial and there have been periods of non-communication.
In her initial days in the industry, Asha always played second fiddle to her elder sister. Some say that Lata had once said something criticising Asha's relationship with O P Nayyar. This widened the rift between the two sisters and O P Nayyar also decided that he would never work with Lata. O.P. Nayyar had once revealed "â "Asha and Lata staying in opposite flats at Bombay's Pedder Road, shared a common maidservant. Now this maidservant had merely to come and tell the younger sister that Lata had just recorded something wonderful for Asha to lose her vocal poise. Such was her Lata phobia that it took me some months to convince Asha that she had a voice individualistic enough to evolve a singing style all of her own." [6] Asha once said that she has worked for years to create a voice and a style that was different from her Lata, so that she could carve her own niche and not be banished to live her shadow[7].
Asha and Lata have sung many songs together. Their first duet was for the film Daman (1951). [6]. Some of these include Man Bhawan Ke Ghar aye (Chori Chori, 1956), Sun ri sun papiha bole (Miss Mary, 1957), O chaand jahaan woh jaaye (Sharada, 1957), Mere Mehboob Mein Kya Nahi (Mere Mehboob, 1963), Ai kash kisi deewane ko (Aaye Din Bahar Ke, 1966), Main Chali Main Chali (Padosan, 1968), Chhap tilak sab (Main Tulsi Tere Aangan Ki, 1978), and Man kyun behka (Utsav, 1984). While singing, Lata used to hold her notebook in her right hand, while Asha held her notebook in her left hand. This meant Lata had her face away from Asha, making it difficult for them to "anticipate" each other[7].
The movie "Saaz", was supposedly based on Lata and Asha's rivalry. Asha said about the movie "â "To have two women in long plaits, take a couple of incidents and exaggerate them into a 3-hour film is such a waste of time."[7] In last few years, Asha and Lata have often been seen in public, enjoying each other's company. In an interview with Times of India, Asha once said - "I remember, sometimes both of us would be at a function and some industry types would ignore me and interact only with her, as if to prove their loyalty. Later, didi (elder sister) and I would have a good laugh!"
The famous Bollywood lyricist-filmmaker Gulzar once said â "Asha was like Neil Armstrong's companion in the space rocket that touched the moon. After Lataji touched down on the moon, Ashaji could only be the second one to get there."
.
Former Member
LATA MANGESHKAR: MAJESTICAL VOICE, UNFORGETTABLE MELODIES:
LATA MANGESHKAR AWARDS AND RECOGNITION
1969 - Padma Bhushan
1974 - Recorded in the Guinness Book of World Records for having sung the maximum number of songs in the world
1980 - Presented key of the city of Georgetown, Guyana, South America
1980 - Honorary Citizenship of The Republic of Suriname, South America
1985 - June 9, declared as Asia Day in honour of her arrival in Toronto, Canada
1987 - Honorary Citizenship of USA in Houston, Texas
1989 - Dada Saheb Phalke Award
1990 - Honorary Doctorate (Literature) By University of Pune, India
1990 - Raja-Lakshmi Award by Sri Raja-Lakshmi Foundation, Chennai
1996 - Videocon Screen Lifetime Achievement Award
1997 - Rajiv Gandhi Award
1998 - Lux Zee Cine Lifetime Achievement Award
1999 - NTR Award
1999 - Padma Vibhushan
2000 - Lifetime Achievement Award by IIFA in London
2000 - Jeevan Gaurav Puraskar by the Chaturang Pratishthan
2001 - Bharat Ratna
2001 - Noorjehan Award (First Reciepient)
2001 - Maharashtra Ratna (First Reciepient)
2002 - Felicitation By CII (For Contribution to Music & the Film Industry)
2002 - Hakim Khan Sur Award (For National Integration by Maharana Mewar Foundation)
2002 - Asha Bhosle Award (First Reciepient)
Swar Bharati award given by Shankaracharya of Sankeshwar
The only Asian to have received the Platinum Disc of EMI London
Conferred the title of Asthaan Sangeet Vidwaan Sarloo (translation: Court Musician of the Shrine), Tirupathi.
Member of the Rajya Sabha
Awarded Doctor of Literature by
Shivaji University, India
Kolhapur University, India
Pune University, India
[Khairagarh Music University], India
Hyderabad University, India
New York University, India.
Apart from the above, Lata has received about 250 trophies and 150 gold discs.
[edit] Filmfare Awards
The Filmfare Awards for playback singing first started in 1958. In 1956, the song 'Rasik Balma' from the film Chori Chori won the Best Song Filmfare Award. Lata refused to sing it live in protest of absence of a Playback Singer category. The category was finally introduced in 1958. Though, Male & Female Awards where started later on.
Lata Mangeshkar monopolized the best female playback singer award from 1958 to 1966. In 1969, Lata made the unusual gesture of giving up Filmfare awards in order to promote fresh talent.
1958 - Aaja Re Pardesi from Madhumati
1962 - Kahi Deep Jale Kahi Dil from Bees Saal Baad
1965 - Tumhi Mere Mandir Tumhi Meri Pooja from Khandan
1969 - Aap Mujhe Achhe Lagne Lage from Jeene Ki Raah
1993 - Filmfare Lifetime Achievement Award
1993 - Filmfare felicitated by the Maharashra Government for completion of 50 years.
1994 - Filmfare Special Award for Didi Tera Devar Deewana from Hum Aapke Hai Kaun
[edit] National Awards
1972 - Best Female Playback Singer for Parichay
1975 - Best Female Playback Singer for Kora Kaagaz
1990 - Best Female Playback Singer for Lekin
[edit] Maharashtra State Award
1966 - Best Playback Singer for Sadhi Mansa (Marathi)
1967 - Best Playback Singer for Jait Re Jait
[edit] Bengal Film Journalist's Association Award
All Best Female Playback Singer
1964 - for Woh Kaun Thi
1967 - for Milan
1968 - for Raja Aur Rank
1969 - for Saraswati Chandra
1970 - for Do Raaste
1971 - for [Tere Mere Sapne]]
1973 - for Marjina Abdulla (Bengali)
1973 - for Abhimaan
1975 - for Kora Kagaz.
1981 - for [Ek Duje Ke Liye]]
1983 - A Portrait Of Lataji
1985 - for Ram Teri Ganga Maili:.
.
LATA MANGESHKAR AWARDS AND RECOGNITION
1969 - Padma Bhushan
1974 - Recorded in the Guinness Book of World Records for having sung the maximum number of songs in the world
1980 - Presented key of the city of Georgetown, Guyana, South America
1980 - Honorary Citizenship of The Republic of Suriname, South America
1985 - June 9, declared as Asia Day in honour of her arrival in Toronto, Canada
1987 - Honorary Citizenship of USA in Houston, Texas
1989 - Dada Saheb Phalke Award
1990 - Honorary Doctorate (Literature) By University of Pune, India
1990 - Raja-Lakshmi Award by Sri Raja-Lakshmi Foundation, Chennai
1996 - Videocon Screen Lifetime Achievement Award
1997 - Rajiv Gandhi Award
1998 - Lux Zee Cine Lifetime Achievement Award
1999 - NTR Award
1999 - Padma Vibhushan
2000 - Lifetime Achievement Award by IIFA in London
2000 - Jeevan Gaurav Puraskar by the Chaturang Pratishthan
2001 - Bharat Ratna
2001 - Noorjehan Award (First Reciepient)
2001 - Maharashtra Ratna (First Reciepient)
2002 - Felicitation By CII (For Contribution to Music & the Film Industry)
2002 - Hakim Khan Sur Award (For National Integration by Maharana Mewar Foundation)
2002 - Asha Bhosle Award (First Reciepient)
Swar Bharati award given by Shankaracharya of Sankeshwar
The only Asian to have received the Platinum Disc of EMI London
Conferred the title of Asthaan Sangeet Vidwaan Sarloo (translation: Court Musician of the Shrine), Tirupathi.
Member of the Rajya Sabha
Awarded Doctor of Literature by
Shivaji University, India
Kolhapur University, India
Pune University, India
[Khairagarh Music University], India
Hyderabad University, India
New York University, India.
Apart from the above, Lata has received about 250 trophies and 150 gold discs.
[edit] Filmfare Awards
The Filmfare Awards for playback singing first started in 1958. In 1956, the song 'Rasik Balma' from the film Chori Chori won the Best Song Filmfare Award. Lata refused to sing it live in protest of absence of a Playback Singer category. The category was finally introduced in 1958. Though, Male & Female Awards where started later on.
Lata Mangeshkar monopolized the best female playback singer award from 1958 to 1966. In 1969, Lata made the unusual gesture of giving up Filmfare awards in order to promote fresh talent.
1958 - Aaja Re Pardesi from Madhumati
1962 - Kahi Deep Jale Kahi Dil from Bees Saal Baad
1965 - Tumhi Mere Mandir Tumhi Meri Pooja from Khandan
1969 - Aap Mujhe Achhe Lagne Lage from Jeene Ki Raah
1993 - Filmfare Lifetime Achievement Award
1993 - Filmfare felicitated by the Maharashra Government for completion of 50 years.
1994 - Filmfare Special Award for Didi Tera Devar Deewana from Hum Aapke Hai Kaun
[edit] National Awards
1972 - Best Female Playback Singer for Parichay
1975 - Best Female Playback Singer for Kora Kaagaz
1990 - Best Female Playback Singer for Lekin
[edit] Maharashtra State Award
1966 - Best Playback Singer for Sadhi Mansa (Marathi)
1967 - Best Playback Singer for Jait Re Jait
[edit] Bengal Film Journalist's Association Award
All Best Female Playback Singer
1964 - for Woh Kaun Thi
1967 - for Milan
1968 - for Raja Aur Rank
1969 - for Saraswati Chandra
1970 - for Do Raaste
1971 - for [Tere Mere Sapne]]
1973 - for Marjina Abdulla (Bengali)
1973 - for Abhimaan
1975 - for Kora Kagaz.
1981 - for [Ek Duje Ke Liye]]
1983 - A Portrait Of Lataji
1985 - for Ram Teri Ganga Maili:.
.
Former Member
LATA MANGESHKAR: MAJESTICAL VOICE, UNFORGETTABLE MELODIES:
Lata Mangeshkar Award:
The Lata Mangeshkar award is a national-level award was instituted by the state Government of Madya Pradesh in 1984. The award consists of a certificate of merit and a cash award of 1,00,000 Rupees. Till date this award has been conferred on such giants of music field like
Naushad (1984),
Kishore Kumar (1985)
Jaidev (1986)
Manna Dey (1987)
Khayyam (1988)
Asha Bhosle (1989)
Bhupen Hazarika (2000)
Mahendra Kapoor (2002)
Sandhya Mukherjee (2003)
Music director O. P. Nayyar was also selected to be the recipient of the Award. He declined to accept it on the grounds that he would have preferred to accept an award named after a music director. He believed that a music director teaches a singer the nuances of music and not the other way around.
Lata Mangeshkar Award was also instituted by Maharashtra Government in 1992. The first recipient of this award was Manik Verma for her outstanding contribution in singing.
.
Lata Mangeshkar Award:
The Lata Mangeshkar award is a national-level award was instituted by the state Government of Madya Pradesh in 1984. The award consists of a certificate of merit and a cash award of 1,00,000 Rupees. Till date this award has been conferred on such giants of music field like
Naushad (1984),
Kishore Kumar (1985)
Jaidev (1986)
Manna Dey (1987)
Khayyam (1988)
Asha Bhosle (1989)
Bhupen Hazarika (2000)
Mahendra Kapoor (2002)
Sandhya Mukherjee (2003)
Music director O. P. Nayyar was also selected to be the recipient of the Award. He declined to accept it on the grounds that he would have preferred to accept an award named after a music director. He believed that a music director teaches a singer the nuances of music and not the other way around.
Lata Mangeshkar Award was also instituted by Maharashtra Government in 1992. The first recipient of this award was Manik Verma for her outstanding contribution in singing.
.
Former Member
LATA MANGESHKAR: MAJESTICAL VOICE, UNFORGETTABLE MELODIES
SHOTGUN SINHA, DILIP KUMAR, LATAJI AND MUSIC GREAT NAUSHAD:
.
SHOTGUN SINHA, DILIP KUMAR, LATAJI AND MUSIC GREAT NAUSHAD:
.
Former Member
LATA MANGESHKAR: MAJESTICAL VOICE, UNFORGETTABLE MELODIES:
WHO IS THIS GUY? IS HE SINGING A DUET WITH LATA:
.
WHO IS THIS GUY? IS HE SINGING A DUET WITH LATA:
.
Joan (Guest)
This is either an award ceremony or Hritik singing/providing dialogue for one of his movies.quote:WHO IS THIS GUY? IS HE SINGING A DUET WITH LATA:
Mitwah (Guest)
It's so hard to find these oldies.
Bachpan ki mohobat
http://ww.smashits.com/associates/realplayer/rmplayer_j...ki_mohabbat.rm,35491
Bachpan ki mohobat
http://ww.smashits.com/associates/realplayer/rmplayer_j...ki_mohabbat.rm,35491
Former Member
LATA MANGESHKAR: MAJESTICAL VOICE, UNFORGETTABLE MELODIES
After Lata's birth, only in few years Dinanath earned so much through the Naatak Mandli that he bought an 11-12-room mansion in Saangli. He also bought a buggy with four horses. In Goa, near his village Mangeshi when Dinanath was turning out as a successful child artist, his whole family opposed him because he came from a pujari parivaar (priest family). Since generations their Brahmin family was serving God Mangesh in their village and any other profession was considered undignified. Dinanath was opposed so he left the village and went to Indore and married a daughter of big Gujarati family. He was a dignified person. Since his own family rejected him, he gave up his Brahmin surname and took up Mangeshkar as surname after his hometown Mangesh.
Dinanath had a heart of king but his addiction alcohol became the reason for his downfall. When Lata was 6 yrs old, she got smallpox. After a while, she was fine but the scars from smallpox remained on Lata's face. On the other hand, Dinanath's Naatak Mandli went into great debt. He couldn't pay the artists, father made the 7-yr old Lata work on stage. Lata's first role was of Naarad.
.
After Lata's birth, only in few years Dinanath earned so much through the Naatak Mandli that he bought an 11-12-room mansion in Saangli. He also bought a buggy with four horses. In Goa, near his village Mangeshi when Dinanath was turning out as a successful child artist, his whole family opposed him because he came from a pujari parivaar (priest family). Since generations their Brahmin family was serving God Mangesh in their village and any other profession was considered undignified. Dinanath was opposed so he left the village and went to Indore and married a daughter of big Gujarati family. He was a dignified person. Since his own family rejected him, he gave up his Brahmin surname and took up Mangeshkar as surname after his hometown Mangesh.
Dinanath had a heart of king but his addiction alcohol became the reason for his downfall. When Lata was 6 yrs old, she got smallpox. After a while, she was fine but the scars from smallpox remained on Lata's face. On the other hand, Dinanath's Naatak Mandli went into great debt. He couldn't pay the artists, father made the 7-yr old Lata work on stage. Lata's first role was of Naarad.
.
Former Member
LATA MANGESHKAR: MAJESTICAL VOICE, UNFORGETTABLE MELODIES
After that Lata got an opportunity to sing for the first time in a Marathi play "Raj Baahule Vaachaa"Â. Some said this girl would be able to act well but won't be able to sing well.
Lata was more matured now. But the clouds of misfortune were even thicker now. When Lata turned 13, the financers who would invest lakhs of rupees in Naatak Mandli, started to stay away now. Dinanath had to give up the 11-room mansion and the whole family had to move to a chawl. Father Dinanath expired at the age of 42. Everything drowned in alcohol. Artists also stole the vessels/utensils from home. Mangeshar family was now starving to death. There were only four people to carry the bier of Dinanath at his funeral.
Only at an age of 13, Lata's shoulders had to carry the responsibility of the entire family. Three younger sisters Meena, Asha and Usha and one handicapped brother Hridaynath and Mother â Lata was responsible for all of them now. Before he died, father had called Lata and said, "I wished for a son before you were born. But now you are no less than a son. I trust that you will take care of the family after I die."Â
.
After that Lata got an opportunity to sing for the first time in a Marathi play "Raj Baahule Vaachaa"Â. Some said this girl would be able to act well but won't be able to sing well.
Lata was more matured now. But the clouds of misfortune were even thicker now. When Lata turned 13, the financers who would invest lakhs of rupees in Naatak Mandli, started to stay away now. Dinanath had to give up the 11-room mansion and the whole family had to move to a chawl. Father Dinanath expired at the age of 42. Everything drowned in alcohol. Artists also stole the vessels/utensils from home. Mangeshar family was now starving to death. There were only four people to carry the bier of Dinanath at his funeral.
Only at an age of 13, Lata's shoulders had to carry the responsibility of the entire family. Three younger sisters Meena, Asha and Usha and one handicapped brother Hridaynath and Mother â Lata was responsible for all of them now. Before he died, father had called Lata and said, "I wished for a son before you were born. But now you are no less than a son. I trust that you will take care of the family after I die."Â
.
Former Member
LATA MANGESHKAR: MAJESTICAL VOICE, UNFORGETTABLE MELODIES:
Lata made it a goal of her life to fulfill wish of her father. At that time, there was nothing left in the house. The family had become very poor. The question was from where to bring the food for dinner. In this kind of extreme difficulty Lata retained her self-respect. Once, hoping to get help from her relatives, she went to her hometown Mangesh but the answer she got from there was "we are priests from a dignified family with whom your relations have broke."Â That day Lata swore that "even when my good times come, I will never step in my hometown again"Â Lata also told her siblings, "if anyone gives us anything out of mercy, don't accept it."Â
Instead of asking relatives, a maid who used to work for them brought food from some other home because the family was hungry since two days. But Lata refused to take that saying, "if we accept this gesture then we will never get out of these bad times."Â
Her honor kept on testing Lata again and again. For Lata her self-respect was the treasure from her father. Lata had remembered an incident from her father's life. Once the king of Indore had invited Dinanath's mandli (group) to perform at the palace. When the group reached at the palace, they found out that the king had left for hunt since it was a bright night. The performance was postponed till the next day. Master Dinanath, without caring for king's anger, caring for his self-respect, left Indore with his naatak mandli (group).
.
Lata made it a goal of her life to fulfill wish of her father. At that time, there was nothing left in the house. The family had become very poor. The question was from where to bring the food for dinner. In this kind of extreme difficulty Lata retained her self-respect. Once, hoping to get help from her relatives, she went to her hometown Mangesh but the answer she got from there was "we are priests from a dignified family with whom your relations have broke."Â That day Lata swore that "even when my good times come, I will never step in my hometown again"Â Lata also told her siblings, "if anyone gives us anything out of mercy, don't accept it."Â
Instead of asking relatives, a maid who used to work for them brought food from some other home because the family was hungry since two days. But Lata refused to take that saying, "if we accept this gesture then we will never get out of these bad times."Â
Her honor kept on testing Lata again and again. For Lata her self-respect was the treasure from her father. Lata had remembered an incident from her father's life. Once the king of Indore had invited Dinanath's mandli (group) to perform at the palace. When the group reached at the palace, they found out that the king had left for hunt since it was a bright night. The performance was postponed till the next day. Master Dinanath, without caring for king's anger, caring for his self-respect, left Indore with his naatak mandli (group).
.
Former Member
LATA MANGESHKAR: MAJESTICAL VOICE, UNFORGETTABLE MELODIES
Lata had her respectful mother's example in front of her too. When in their bad days, because of the alcohol addiction Dinanath was sick in bed, one of his friends came to meet Dinanath and started to tease him, "Look at your health and mine. Alcohol has ruined your life."Â Dinanath's wife Shivaanti didn't like these words. Furiously she screamed, "Who are you to challenge my husband? First face me."Â That man had no choice but to apologize to Lata's mother after seeing her chandi-like (very angry) looks. Lata recalled this incident.
But in this selfish and unpredictable world, some angel comes about and helps. Mangeshkar family had to survive without asking for help from anyone. Then their angel came into their lives â Master Vinayak. In the good old days of father Dinanath, he was one of their acquaintances. Master Vinayak started his life on stage but now had entered the film world. He would play the main character in all the films he made. After knowing about the hard times Dinanath Mangeshkar's family had been through, he called Lata. Master Vinayak made Lata sing one song for a Marathi film "kini ha saal"Â (Bina Hasogi). After listening to the song, people once again said, "this girl has no good voice."Â People thought of Lata's voice as of a sick girl. But very few people knew about the bitter truth that when that song of Lata was being recorded, she had been hungry since last two days. Lata was a 13-yr old skinny, weak girl.
Lata's first song was never taken into a film. On the other hand, it was also the fact that this way, Master Vinayak was trying to help Lata's family. Even when the song was not used in the film, Master Vinayak paid 50 rupees to Lata as salary. Lata's only concern was to keep the family alive at that time.
The same year, means in 1942, Master Vinayak gave a role to Lata in his Marathi film "Pahili Mangalagaur"Â. In this film, she played the younger sister of the main film heroine Snehprabha Pradhan. In addition to this, God knows why but Master Vinayak gave yet another opportunity to Lata for playback singing. After getting negative response from the audience, Master Vinayak had recognized the hidden talents of Lata. In this film, people didn't like Lata's song but her acting was praised. The admiration helped Lata act in eight films from 1942 to 1948.
These films saved Lata's family from starvation. This was a big thing. She was indebted to Master Vinayak. She could never forget that favor.
In 1944, Master Vinayak introduced Lata to the world of Hindi films as an actress. Before that her work was only limited to Marathi films made in Poona and Kolhapur. Now she got a Hindi film that was named "Badi Maa"Â. Noor Jehan was the heroine of this film. In Master Vinayak's film unit, the monthly salary of a permanent artist was Rs. 80. While shooting for "Badi Maa"Â Noor Jehan, who was a singer and an actress of those times, also saw Lata as a potential successful singer. Once at leisure, after having Lata sing a song, Noor Jehan told director Vinayak, "Meri baat note kar leejiye. Iss ki yeh alag tarike ki aawaaz ek din poori duniya se apna loha manvaayegi"Â.
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Lata had her respectful mother's example in front of her too. When in their bad days, because of the alcohol addiction Dinanath was sick in bed, one of his friends came to meet Dinanath and started to tease him, "Look at your health and mine. Alcohol has ruined your life."Â Dinanath's wife Shivaanti didn't like these words. Furiously she screamed, "Who are you to challenge my husband? First face me."Â That man had no choice but to apologize to Lata's mother after seeing her chandi-like (very angry) looks. Lata recalled this incident.
But in this selfish and unpredictable world, some angel comes about and helps. Mangeshkar family had to survive without asking for help from anyone. Then their angel came into their lives â Master Vinayak. In the good old days of father Dinanath, he was one of their acquaintances. Master Vinayak started his life on stage but now had entered the film world. He would play the main character in all the films he made. After knowing about the hard times Dinanath Mangeshkar's family had been through, he called Lata. Master Vinayak made Lata sing one song for a Marathi film "kini ha saal"Â (Bina Hasogi). After listening to the song, people once again said, "this girl has no good voice."Â People thought of Lata's voice as of a sick girl. But very few people knew about the bitter truth that when that song of Lata was being recorded, she had been hungry since last two days. Lata was a 13-yr old skinny, weak girl.
Lata's first song was never taken into a film. On the other hand, it was also the fact that this way, Master Vinayak was trying to help Lata's family. Even when the song was not used in the film, Master Vinayak paid 50 rupees to Lata as salary. Lata's only concern was to keep the family alive at that time.
The same year, means in 1942, Master Vinayak gave a role to Lata in his Marathi film "Pahili Mangalagaur"Â. In this film, she played the younger sister of the main film heroine Snehprabha Pradhan. In addition to this, God knows why but Master Vinayak gave yet another opportunity to Lata for playback singing. After getting negative response from the audience, Master Vinayak had recognized the hidden talents of Lata. In this film, people didn't like Lata's song but her acting was praised. The admiration helped Lata act in eight films from 1942 to 1948.
These films saved Lata's family from starvation. This was a big thing. She was indebted to Master Vinayak. She could never forget that favor.
In 1944, Master Vinayak introduced Lata to the world of Hindi films as an actress. Before that her work was only limited to Marathi films made in Poona and Kolhapur. Now she got a Hindi film that was named "Badi Maa"Â. Noor Jehan was the heroine of this film. In Master Vinayak's film unit, the monthly salary of a permanent artist was Rs. 80. While shooting for "Badi Maa"Â Noor Jehan, who was a singer and an actress of those times, also saw Lata as a potential successful singer. Once at leisure, after having Lata sing a song, Noor Jehan told director Vinayak, "Meri baat note kar leejiye. Iss ki yeh alag tarike ki aawaaz ek din poori duniya se apna loha manvaayegi"Â.
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Former Member
LATA MANGESHKAR: MAJESTICAL VOICE, UNFORGETTABLE MELODIES
Along with Master Vinayak, Noor Jehan also adored Lata's voice. Noor Jehan was on top at that time and hearing her words brought tears to Lata's eyes. The fact was that those times were of singers who sang from throat and people were not ready to accept Lata's voice with high tone. Lata's confidence had started to come down because of continuous negative responses from audience but after Noor Jehan's few words of praise, Lata became grateful to Noor Jehan for entire life. After years Noor Jehan moved to Pakistan but the relations between Lata and Noor Jehan lasted. Some silly/unwise people kept on talking ill of them that why is Indian Lata keeping relations with Pakistani Noor Jehan? But they didn't know that Lata's nature was such that she would never forget a verbal favor by someone that helped increase her confidence. Relations are bound by no boundaries.
But Lata still had to stumble more in life. Master Vinayak came as God for Lata Mangeshkar's family. But the problems didn't end yet. In 1949, Lata's darkness filled life started to show silver lining. Only then Master Vinayak expired. At the age of 18, Lata's bank balance was Rs. 14. Right after the death of Master Vinayak, his film unit that was staying at a guesthouse was kicked out from there, along with Lata.
Lata came back on road once again.
Lata and Master Vinayak had father-daughter-like relations even then some of the jealous people had talked ill about them. Lata has said nothing in her defense.
Instead of returning to Poona or Kolhapur, Lata now decided to stay in Mumbai. She called her siblings to Mumbai. She bought a room in a Mumbai chawl. There was a temple right next to this chawl. In the peaceful environment near temple Lata stated her studies of music. She also included her four siblings in this education. There was only one tanpura that the five of them used.
Lata knew some people now because of her father's connections with Master Vinayak and Master Vinayak's connections with those people. Among them were Producer-director Vasant Jogalekar and music master Amaan Ali Khan. Vasant Jogalekar had Lata playback sing one song of film "Aap Ki Seva Mein"Â. Lata got paid 400 rupees. In those times, that was quite a big amount. But even then people were not ready to accept Lata's high-toned voice. Some suggested her to act in comedy roles and some suggested her to sing in chorus but Lata refused saying she will never sing in chorus. Whatever she was earning, she spent it on her music education. To be able to sing in Hindi films pronunciations of Urdu words were important. She joined tuitions to learn Urdu pronunciations.
On one side there were people who disliked Lata's high-toned voice and at the same time there were now people ready to defend her. One of them was musician Ghulam Haider.
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Along with Master Vinayak, Noor Jehan also adored Lata's voice. Noor Jehan was on top at that time and hearing her words brought tears to Lata's eyes. The fact was that those times were of singers who sang from throat and people were not ready to accept Lata's voice with high tone. Lata's confidence had started to come down because of continuous negative responses from audience but after Noor Jehan's few words of praise, Lata became grateful to Noor Jehan for entire life. After years Noor Jehan moved to Pakistan but the relations between Lata and Noor Jehan lasted. Some silly/unwise people kept on talking ill of them that why is Indian Lata keeping relations with Pakistani Noor Jehan? But they didn't know that Lata's nature was such that she would never forget a verbal favor by someone that helped increase her confidence. Relations are bound by no boundaries.
But Lata still had to stumble more in life. Master Vinayak came as God for Lata Mangeshkar's family. But the problems didn't end yet. In 1949, Lata's darkness filled life started to show silver lining. Only then Master Vinayak expired. At the age of 18, Lata's bank balance was Rs. 14. Right after the death of Master Vinayak, his film unit that was staying at a guesthouse was kicked out from there, along with Lata.
Lata came back on road once again.
Lata and Master Vinayak had father-daughter-like relations even then some of the jealous people had talked ill about them. Lata has said nothing in her defense.
Instead of returning to Poona or Kolhapur, Lata now decided to stay in Mumbai. She called her siblings to Mumbai. She bought a room in a Mumbai chawl. There was a temple right next to this chawl. In the peaceful environment near temple Lata stated her studies of music. She also included her four siblings in this education. There was only one tanpura that the five of them used.
Lata knew some people now because of her father's connections with Master Vinayak and Master Vinayak's connections with those people. Among them were Producer-director Vasant Jogalekar and music master Amaan Ali Khan. Vasant Jogalekar had Lata playback sing one song of film "Aap Ki Seva Mein"Â. Lata got paid 400 rupees. In those times, that was quite a big amount. But even then people were not ready to accept Lata's high-toned voice. Some suggested her to act in comedy roles and some suggested her to sing in chorus but Lata refused saying she will never sing in chorus. Whatever she was earning, she spent it on her music education. To be able to sing in Hindi films pronunciations of Urdu words were important. She joined tuitions to learn Urdu pronunciations.
On one side there were people who disliked Lata's high-toned voice and at the same time there were now people ready to defend her. One of them was musician Ghulam Haider.
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