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Lata Mangeshkar, the ageless voice of India, passes away at 92

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Lata Mangeshkar, India’s most loved singer who had once moved Pandit Jawaharlal Nehru to tears, leaves behind a teary-eyed nation of admirers who grew up listening to her immutable voice give wings to the words of poets and the screen careers of legions of heroines.

India’s Melody Queen, who also composed music for Marathi films and was a producer as well, and had the distinction of being conferred with the highest civilian honours of India and France, passed away on Sunday morning at the Breach Candy Hospital in Mumbai, where she had been admitted because of Covid-related complications on January 11.

Lata Didi, as she was known among her family and followers, was 92 and is survived by her siblings — playback singer and composer Meena Khadilkar, popular singer and restaurateur Asha Bhosale, singer Usha Mangeshkar, and music director Hridayanath Mangeshkar.

She never married, but was close to the late Raj Singh Dungarpur, the aristocratic former cricketer and President of the Board of Control for Cricket in India (BCCI) from 1996 to 1999.

One of India’s most loved voices, Lata Mangeshkar was the recipient of three National Film Awards, seven Filmfare awards, and of course, the Dadasaheb Phalke Award in 1989. She was conferred the Bharat Ratna in 2001, becoming the second singer after M.S. Subbulakshmi to be so honoured, and the French awarded her the Officer of the Legion of Honour.

In 1974, Lata Mangeshkar became the first Indian to perform at the Royal Albert Hall, London. She had indeed come a long, long way since the time when the first song that she recorded for a film — ‘Kiti Hasaal’ in 1942 — was dropped in the final cut.

Born in what was then the princely state of Indore on September 28, 1929, to the classical singer, Marathi theatre actor and writer of musical plays Deenanath Mangeshkar and his wife Shevanti (Shudhamati), Lata Mangeshkar was originally named Hema by her parents, but they later changed it to Lata after the character Latika from one of her father’s musical plays.

Lata Mangeshkar’s association with the performing arts began when she was five and started appearing in her father’s musical plays, and it continued even after her father’s premature death in 1942, thanks to his good friend, the actor and director Master Vinayak (Vinayak Damodar Karnataki), who took the family under his wings.

It was Master Vinayak who took Lata Mangeshkar to Mumbai, paved her way into the world of Marathi cinema, got her to take Hindustani classical music lessons from Ustad Aman Ali Khan of the Bhendi Bazaar Gharana, and introduced her to Vasant Desai, V. Shantaram’s favourite music composer.

But it was not until Master Vinayak’s death in 1948 that the struggling singer-actor found the person whom she considered to be her “godfather” — the music composer Ghulam Haider, who gave Lata Mangeshkar her first big break with the song ‘Dil Mera Toda, Mujhe Kahin Ka Na Chhora’ in the movie ‘Majboor’ (1948). It was her first big break.

Haider took his protege to Shashadhar Mukherjee, the Filmistan boss now better known as Kajol and Rani Mukherjee’s grandfather, for his film, ‘Shaheed’ (1948), but he turned her down because he found her voice to be “too thin”.

Lata Mangeshkar proved him oh-so wrong just a year later when her song ‘Aayega Aanewaala’, filmed on the gorgeous Madhubala in Kamal Amrohi’s debut directorial, ‘Mahal’ (1949), became an ageless hit.

And in one of life’s delicious ironies, Mukherjee’s grand-daughter lip-synced the ‘Dilwale Dulhania Le Jayenge’ song, ‘Mere Khwabon Mein’, which was sung by none other than Lata Mangeshkar, as well as the other numbers picturised on her and Shah Rukh Khan.

Since ‘Mahal’, Lata Mangeshkar was courted by just about every music director of note — from Anil Biswas to S.D. Burman (and his son Rahul Dev, whose first and last song she sang), Naushad (who had asked her to sing like the then reigning nightingale, Noorjehan), Madan Mohan, Shankar-Jaikishan, Laxmikant-Pyarelal (for whom she’s said to have sung 700 songs in 35 years), and Kalyanji-Anandji.

And she worked with every contemporary composer of note — from Anand-Milind, sons of Chitragupt, with whom she had also worked, and Anu Malik, Sardar Malik’s son, to Ilaiyaraaja and A.R. Rahman. It is said she worked with music directors from 13 states in her star-studded career.

After Noorjehan moved to Pakistan, Lata Mangeshkar became the go-to playback singer for every film producer and music composer. She did not disappoint them.

Lata Mangeshkar lent her voice to an endless succession of chart-topping numbers in Hindi cinema, from ‘Allah Tero Naam’ and ‘Rangeela Re’ to the ‘Satyam Shivam Sundaram’ title track, to ‘Lukka Chuppi’ in ‘Rang De Basanti’, apart from songs in Marathi (she also composed the music for several Marathi films in her ‘Anandghan’ avatar), Bengali, Tamil, Kannada, Malayalam, and Sinhala.

In 1974, the Guinness Book of Records listed Lata Mangeshkar as the most recorded artiste in human history, stating that she had recorded “not less than 25,000 solo, duet and chorus-backed songs in 20 Indian languages” between 1948 and 1974. The claim was contested by her long-time rival, Mohammad Rafi, who claimed to have sung around 28,000 songs.

After Rafi’s death, the Guinness Book in its 1984 edition listed Lata Mangeshkar in its entry for ‘Most Recordings’, but it also recorded Rafi’s claim. Later editions of the Guinness Book said Lata Mangeshkar had sung no less than 30,000 songs from 1948 to 1987.

For 73 years, from 1943 to 2015, when she recorded her last song for a film (the Indo-Norwegian production, ‘Dunno Y2…Life Is A Moment’, which was all about gay love), Lata Mangeshkar commanded a fan following and an inimitable reputation with not many parallels in the Indian performing arts.

The late Yash Chopra, who was one of Lata Mangeshkar’s favourite directors, said in an article he had penned for BBC.com on the occasion of the singer’s 75th birthday (not longer after she had sung the famous ‘Veer Zaara’ song, ‘Tere Liye Hum Hain Jiye’, with Roop Kumar Rathod): “I see God’s blessing in her voice.” We are blessed to have that voice live with us forever.

Bollywood

Subhash Ghai shares how Aamir Khan brought dignity to Hindi cinema with his film ‘Sitaare Zameen Par’

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Mumbai, July 4: Veteran filmmaker Subhash Ghai took to social media to shower praise on Aamir Khan for his continued efforts to elevate the stature of Hindi cinema.

Lauding his decision to release ‘Sitaare Zameen Par’ in theatres and hold off on its OTT release for six months, Ghai called it a move that brings “dignity to Hindi cinema.” In his heartfelt note, the director expressed his happiness at how exhibitors across the country honoured Aamir as a “brave filmmaker” for supporting the big-screen experience and showing deep respect for theatrical business.

Sharing a photo featuring Aamir Khan, Subhash Ghai wrote on Instagram, “Dear Aamir. You have done it again to bring dignity to Hindi cinema with your heartwarming film in cinema halls n pledging not to show it on small screen for six months. M glad that all India exhibitors honoured you as a brave film maker yesterday for respecting the business of big screens theatres too. Congratulations n blessings. @muktaa2cinemas @pvrcinemas_official @inoxmovies @cinepolismx @zeecinema @muktaartsltd.”

The makers of the Aamir Khan starrer have decided not to release the film on OTT platforms. The Multiplex Association of India had applauded the move, and Aamir Khan Productions later expressed their gratitude for the support. Sharing MAI’s statement on their official Instagram account, the production house wrote in the caption, “Grateful for the overwhelming love and support MAI (red heart emoji).”

In the statement, Kamal Gianchandani, who served as the President of MAI, had said, “Aamir Khan has always been a filmmaker who puts the audience first. His decision to bring Sitaare Zameen Par exclusively to cinemas is a significant show of confidence in theatres and the shared magic of the moviegoing experience. Indian exhibitors thank Aamir Khan for standing by theatres. As we continue to welcome audiences with renewed energy and world-class films, Sitaare Zammen Par will remain a shining example of cinema’s resilience and its irreplaceable magic.”

“Sitaare Zameen Par,” which also stars Genelia D’Souza, was a sequel to the 2007 hit film “Taare Zameen Par.” Directed by RS Prasanna, the sports drama hit theatres on June 20.

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Ranvir Shorey criticizes MNS workers for assaulting a Gujarati shopkeeper for not speaking Marathi

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Mumbai, July 3: Bollywood actor Ranvir Shorey took to social media to strongly condemn the actions of MNS workers who allegedly assaulted a Gujarati shopkeeper for not speaking Marathi.

Expressing his outrage, the actor called the incident shameful and unacceptable. He also tagged Maharashtra Chief Minister Devendra Fadnavis in his post. The ‘Ek Tha Tiger’ actor took to his X handle to post a video that captured members of the Maharashtra Navnirman Sena (MNS) allegedly attacking a restaurant owner in Mumbai’s Mira Road area over his inability to speak Marathi. Expressing his anger, Shorey described the incident as “disturbing” and voiced serious concerns about the current state of law and order in Maharashtra.

The actor tweeted, “This is sickening. Monsters on the loose, looking for attention and political relevance. Where’s L&O, @CMOMaharashtra @Dev_Fadnavis ?.” Ranvir also hit back at trolls in the comments section of his post, giving a sharp and fitting response to those who tried to criticise him. One user asked the actor, “Since how many years you now live in Maharashtra? How much effort have you taken to learn Marathi?”

In his reply, Ranvir Shorey said, “First, I’m not answerable to a hateful anonymous troll like you for any of these questions. Second, you’re really dumb if you think beating people up will make them learn and speak a language. And finally, if you do want to bring attention to the issue, there are more positive & constructive ways to bring about change, or even protest for political mileage, instead of beating hapless citizens who’re just trying to make a living!”

A video that went viral on social media showed a group of men visiting a shop to buy food. The situation turned violent when they allegedly attacked the shop owner for not speaking in Marathi. The men were seen wearing scarves associated with Raj Thackeray’s Maharashtra Navnirman Sena (MNS).

The incident took place in Bhayander, located in Maharashtra’s Thane district. It occurred shortly after the state government rolled back its decision to enforce a three-language policy, which had sparked criticism from the opposition.

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Singer Rochak Kohli shares how AI is empowering musicians

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Mumbai, July 3: Singer and composer Rochak Kohli, who is best known for his song, “Pani Da Rang,” believes that artificial intelligence is not a threat to musicians but a powerful tool that can enhance creativity.

In an exclusive interview with media, the singer shared his thoughts on the evolving role of AI in music. Kohli said he regularly uses AI for generating musical ideas, exploring new instruments, and staying updated with global trends. Rochak even admitted to creating videos using AI for his independent channel, adding that he sees it as a helpful resource rather than something to fear.

“I see AI as a tool—nothing more, nothing less. I use it quite a bit myself. Whether it’s for musical ideas, discovering new instruments, or global trends, it’s very useful. I’ve even made videos using AI on my independent channel. Rather than a threat, I think AI is empowering musicians.”

When asked about the growing remix trend in today’s music industry and whether he prefers original compositions or finds them risky, the singer shared, “Original compositions bring true satisfaction. When there’s a demand for a remix, we carefully consider the song, the reason behind it, and whether it adds value. Nowadays, people don’t accept remixes the way they did a decade ago, and I think that’s a positive shift—original music is finally getting its due.”

Talking about his new album, “Aap jaisa Koi,” Rochak stated, “I’ve composed two songs in this album—Jab Tu Sajan and Dhuaan Dhuaan, which is an intense track. The sequence of songs was a deliberate choice. We used a part of Jab Tu Sajan as a bridge into Dhuaan Dhuaan to ensure the emotional flow remained seamless and cohesive for the listener.”

Rochak Kohli added, “After a long time, I had the opportunity to work on a project where music played a pivotal role. Our first song, Jab Tu Sajan, was shot in a very unique style. It felt really good to see music being given its due importance again.”

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