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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

Saif Ali Khan stabbing case: Actor met rickshaw driver in hospital ahead of getting discharged

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Mumbai, Jan 22: A day after Saif Ali Khan was discharged, pictures of the auto-rickshaw driver Bhajan Singh Rana posing with the Bollywood star in the hospital before he left for home started to do the rounds on social media.

Rickshaw driver Bhajan Singh Rana was the one who took Saif to Lilavati hospital on January 16 after the Bollywood star was stabbed multiple times during a robbery attempt in his house in wee hours.

Before leaving the hospital for home, Saif personally called the rickshaw driver to meet him at the hospital.

In one image, the auto-rickshaw driver is sitting next to Saif on the hospital bed as they smile at the camera. Saif’s bruised hand is on Bhajan Singh Rana’s shoulder. In another photograph, the duo are standing and smiling at the lens.

The 54-year-old star, who is married to Bollywood actress Kareena Kapoor Khan, thanked the rickshaw driver and told him to feel free to ask for help whenever he needed.

Saif along with his veteran-actress mother Sharmila Tagore, expressed their gratitude towards Bhajan Singh Rana.

As per sources, Saif praised the rickshaw driver for his work and said: “Keep helping others like this. And as for the fare that day, don’t worry, it will be taken care of.”

He jokingly added: “If you ever need help in life, remember me.”

When Bhajan Singh Rana was asked how he reached the hospital, as all the media personnel were present, he told Media: “I entered the hospital wearing a mask.”

The auto rickshaw driver said that he had first got a call from Saif’s personal assistant.

He said that he “ just prayed” that the actor gets well.

“I took a few selfies with him. I took a few photos with him.”

The driver recalled the night, when Saif was stabbed and said that the actor asked him to drive slowly as it was a “little painful.”

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Feroz Abbas calls performing ‘Pyar Kiya To Darna Kya’ at Taj Mahal ‘a tribute’

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Mumbai, Jan 22: Feroz Abbas Khan is currently busy with ‘Mughal-e-Azam: The Musical’. As part of the musical, the iconic love song “Pyar Kiya Toh Darna Kya” from the movie “Mughal-e-Azam” was staged at the Taj Mahal on 14th Jan 2025 this year.

“Mughal-e-Azam: The Musical” will take place till 23rd February, 2025. It will mark the end of the Delhi run for this epic masterpiece. Before performing in Delhi, the musical is expected to be performed in Mumbai at NMACC till 26th January 2025.

Talking about the emotional experience, Feroz Abbas Khan revealed, “We wanted to celebrate the enduring legacy of love by performing ‘Pyar Kiya To Darna Kya’ in front of the Taj Mahal. Incidentally, Shakeel Badayuni who wrote this definitive love anthem also praised the Taj for being a monument to love in another famous song. In a way, our performance was a tribute to Shakeel saab, to Naushad ji who tuned both the songs, to the Taj and to love that transcends all barriers.”

He further added, “While distilling K Asif’s timeless epic into a stage production, we did not anticipate the momentous journey it would go on to undertake across the globe. The fact that we are now all set to stage our 300th performance in Delhi has an enormous personal significance for all of us.”

Meanwhile, producer Deepesh Salgia was quoted saying, “Shapoorji Pallonji has been associated with the magnificence of ‘Mughal-e-Azam’ for over 75 years in its cinematic as well as musical form. Be it the luxurious production canvas or the marketing campaign, we have always worked towards setting new benchmarks. In the same spirit, the performance at the Taj is our tribute to the concluding season of the musical in Delhi.”

The musical features more than 550 exquisite costumes, breathtaking sets, live singing, and stunning Kathak choreography.

Directed by Feroz Abbas Khan, ‘Mughal-E-Azam: The Musical’ has been produced by Deepesh Salgia, under the assistance of Shapoorji Pallonji.

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Saif Ali Khan case: Mumbai Police find clues from crime scene

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Mumbai, Jan 22: The Mumbai Police have recovered a piece of cloth from actor Safi Ali Khan’s apartment which belongs to accused Shariful Islam Shehzad Mohammad, the Bangladeshi national arrested in the attack case.

Sources said the Bandra police recovered cloth from Khan’s house, which the accused used to cover his face. The cloth fell from his face in Saif’s son Jahangir’s room during the scuffle.

The cloth can be seen in the CCTV footage when Shehzad is climbing up the stairs before committing the crime. The police have sent the cloth and hair samples for DNA testing to the forensic department.

Earlier, the officials said that Shehzad had entered the actor’s building, Satguru Sharan, in the Bandra area by scaling its compound wall and found the security guards sleeping.

Sources said that both the security guards in the building were sleeping when the attacker entered it by crossing over the boundary wall.

The sources further said that as Shehzad found both the security guards sleeping, he entered the building from the main entrance where no CCTV camera exists. The accused removed his shoes and kept them in his bag to avoid making any noise. He also switched off his phone.

The police on Tuesday recreated the crime scene with the accused at the building. Police took the accused wherever he went after fleeing from Saif Ali Khan’s house. Shehzad was taken to the garden near the Satguru Sharan building and then to the National College Bus Stop where he was said to have stopped and stayed for a while after committing the crime. During the probe, the police took Shehzad to the Bandra Railway Station from where he had fled. Police are trying to find out how he reached the station.

The police were trying to record the chain of events starting from Shehzad’s entry to the building to his fleeing before being arrested.

Saif Ali Khan was stabbed six times by Shehzad inside his apartment in the early hours of January 16. The actor underwent emergency surgery at the Lilavati Hospital and was discharged on Tuesday. Three days after the attack, the police arrested the accused from neighbouring Thane city.

A court in Mumbai on Sunday remanded the accused in five-day police custody.

Shehzad, a native of Jhalokathi district in Bangladesh was residing in Mumbai for over five months. He had been working odd jobs and was associated with a housekeeping agency, the police have said.

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