Lata Mangeshkar (Name in Hindi: लता मंगेशकर; born 28th September 1929-6th F… Read Full Bio ↴Lata Mangeshkar (Name in Hindi: लता मंगेशकर; born 28th September 1929-6th February 2022) was an Indian singer and music director. She is one of the best-known and most respected playback singers in India. She has recorded songs in over a thousand Hindi films and has sung songs in over thirty-six regional Indian languages and foreign languages, though primarily in Marathi, Hindi, Bengali and Assamese.
The Dadasaheb Phalke Award was bestowed on her in 1989 by the Government of India. In 2001, in recognition of her contributions to the nation, she was awarded the Bharat Ratna, India's highest civilian honour and is only the second vocalist, after M. S. Subbulakshmi, to receive this honour. France conferred on her its highest civilian award, the Officer of the Legion of Honour, in 2007.
She is the recipient of three National Film Awards, 15 Bengal Film Journalists' Association Awards, four Filmfare Best Female Playback Awards, two Filmfare Special Awards, Filmfare Lifetime Achievement Award and many more. In 1974, she became the first Indian to perform in the Royal Albert Hall.
She has four siblings—Meena Khadikar, Asha Bhosle, Usha Mangeshkar, and Hridaynath Mangeshkar—of whom she is the eldest.
Early life
Lata Mangeshkar was born in 1929, the eldest daughter of Pandit Deenanath Mangeshkar, a Marathi and Konkani musician and his wife Shevanti in Indore (in present-day Madhya Pradesh and then the capital of the princely state of Indore which was part of the Central India Agency in British India). Her father, Pandit Deenanath Mangeshkar, was a classical singer and theatre actor. Her mother, Shevanti (later renamed Shudhamati), a Gujarati woman from Thalner, Bombay Presidency (now in northwest Maharashtra), was Deenanath's second wife; his first wife Narmada, who had died, was Shevanti's older sister.
Lata's paternal grandfather, Ganesh Bhatt Navathe Hardikar (Abhisheki), was a Karhade Brahmin priest who performed the abhishekam of the Shiva lingam at the Mangueshi Temple in Goa, and her paternal grandmother, Yesubai Rane, belonged to the Gomantak Maratha Samaj community of Goa and Lata's maternal grandfather was the Gujarati businessman Seth Haridas Ramdas Lad, a prosperous businessman and landlord of Thalner; and Mangeshkar learnt Gujarati folk songs such as garbas of Pavagadh from her maternal grandmother.
The family's last name used to be Hardikar; Deenanath changed it to Mangeshkar in order to identify his family with his native town of Mangeshi, Goa. Lata was named "Hema" at her birth. Her parents later renamed her Lata after a female character, Latika, in one of her father's plays, BhaawBandhan.
Lata is the eldest child of the family. Meena, Asha, Usha, and Hridaynath, in birth order, are her siblings; all are accomplished singers and musicians.
Lata received her first music lesson from her father. At the age of five, she started to work as an actress in her father's musical plays (Sangeet Natak in Marathi). On her first day of school, she left school because they would not allow her to bring her sister Asha with her, as she would often bring her younger sister with her.
Singing career
Early career in the 1940s
In 1942, when Lata was 13, her father died of heart disease. Master Vinayak (Vinayak Damodar Karnataki), the owner of Navyug Chitrapat movie company and a close friend of the Mangeshkar family, took care of them. He helped Lata get started in a career as a singer and actress.
Lata sang the song "Naachu Yaa Gade, Khelu Saari Mani Haus Bhaari", which was composed by Sadashivrao Nevrekar for Vasant Joglekar's Marathi movie Kiti Hasaal (1942), but the song was dropped from the final cut. Vinayak gave her a small role in Navyug Chitrapat's Marathi movie Pahili Mangalaa-gaur (1942), in which she sang "Natali Chaitraachi Navalaai" which was composed by Dada Chandekar. Her first Hindi song was "Mata Ek Sapoot Ki Duniya Badal De Tu" for the Marathi film Gajaabhaau (1943).
Lata moved to Mumbai in 1945 when Master Vinayak's company moved its headquarters there. She started taking lessons in Hindustani classical music from Ustad Aman Ali Khan of Bhindibazaar Gharana. She sang "Paa Lagoon Kar Jori" for Vasant Joglekar's Hindi-language movie Aap Ki Seva Mein (1946), which was composed by Datta Davjekar. The dance in the film was performed by Rohini Bhate who later became a famous classical dancer. Lata and her sister Asha played minor roles in Vinayak's first Hindi-language movie, Badi Maa (1945). In that movie, Lata also sang a bhajan, "Maata Tere Charnon Mein." She was introduced to music director Vasant Desai during the recording of Vinayak's second Hindi-language movie, Subhadra (1946).
After Vinayak's death in 1948, music director Ghulam Haider mentored her as a singer. He introduced Lata to producer Sashadhar Mukherjee, who was working then on the movie Shaheed (1948), but Mukherjee dismissed Lata's voice as "too thin". An annoyed Haider responded that in coming years producers and directors would "fall at Lata's feet" and "beg her" to sing in their movies. Haider gave Lata her first major break with the song "Dil Mera Toda, Mujhe Kahin Ka Na Chhora"—lyrics by Nazim Panipati—in the movie Majboor (1948), which became her first big breakthrough film hit. In an interview on her 84th birthday, in September 2013, Lata herself declared, "Ghulam Haider is truly my Godfather. He was the first music director who showed complete faith in my talent."
Initially, Lata is said to have imitated the acclaimed singer Noor Jehan, but she later developed her own style of singing. Lyrics of songs in Hindi movies are primarily composed by Urdu poets and contain a higher proportion of Urdu words, including the dialogue. Actor Dilip Kumar once made a mildly disapproving remark about Lata's Maharashtrian accent while singing Hindi/Urdu songs; so for a period of time, Lata took lessons in Urdu from an Urdu teacher named Shafi. In subsequent interviews, Lata has said that Noor Jehan had heard her as a child and had told her to practice a lot. The two stayed in touch with each other for many years to come.
One of her first major hits was "Aayega Aanewaala," a song in the movie Mahal (1949), composed by music director Khemchand Prakash and lip-synced on screen by actress Madhubala.
In the 1950s, Lata sang songs composed by various music directors of the period, including Anil Biswas (in films such as Tarana (1951) and Heer (1956)), Shankar Jaikishan, Naushad Ali, S. D. Burman, Amarnath, Husanlal, and Bhagatram (in films like Bari Behen (1949), Meena Bazaar (1950), Aadhi Raat (1950), Chhoti Bhabi (1950), Afsana (1951), Aansoo (1953), and Adl-e-Jehangir (1955)), C. Ramchandra, Hemant Kumar, Salil Chowdhury, Datta Naik, Khayyam, Ravi, Sajjad Hussain, Roshan, Kalyanji-Anandji, Vasant Desai, Sudhir Phadke, Hansraj Behl, Madan Mohan, and Usha Khanna. She sang "Sri Lanka, Ma Priyadara Jaya Bhumi", a song in Sinhala, for the 1955 Sri Lankan film Seda Sulang. She made her debut in Tamil playback singing with "Vanaradham" in 1956 (Uran Khotala dubbed in Tamil) with the Tamil song "Enthan Kannalan" for Nimmi in the dubbed version composed by Naushad.
Lata sang many raga-based songs for Naushad in movies such as Deedar (1951), Baiju Bawra (1952), Amar (1954), Uran Khatola (1955) and Mother India (1957).[17] Ae Chorre Ki Jaat Badi Bewafa, a duet with G. M. Durrani, was her first song for the composer Naushad. The duo, Shankar-Jaikishan, chose Lata for Barsaat (1949), Aah (1953), Shree 420 (1955) and Chori Chori (1956). Before 1957, composer S. D. Burman chose Lata as the leading female singer for his musical scores in Sazaa (1951), House No. 44 (1955), and Devdas (1955). However a rift developed between Lata and Burman in 1957, and she did not sing his compositions again until 1962.
Lata won a Filmfare Award for Best Female Playback Singer for Salil Chowdhury's composition "Aaja Re Pardesi" from Madhumati (1958). Lata Mangeshkar's association with C. Ramchandra produced songs in movies such as Albela (1951), Shin Shinkai Bublaa Boo (1952), Anarkali (1953), Pehli Jhhalak (1954), Azad (1955), Aasha (1957), and Amardeep (1958).[18] For Madan Mohan, she performed for films like Baagi (1953), Railway Platform (1955), Pocketmaar (1956), Mr. Lambu (1956), Dekh Kabira Roya (1957), Adalat (1958), Jailor (1958), Mohar (1959), and Chacha Zindabad (1959).
1960s
Lata's song "Pyar Kiya To Darna Kya" from Mughal-e-Azam (1960), composed by Naushad and lip-synced by Madhubala, still remains famous. The Hawaiian-themed number "Ajeeb Dastaan Hai Yeh", from Dil Apna Aur Preet Parai (1960), was composed by Shankar-Jaikishan and lip-synced by Meena Kumari.
In 1961, Lata recorded two popular bhajans, "Allah Tero Naam" and "Prabhu Tero Naam", for Burman's assistant, Jaidev. In 1962, she was awarded her second Filmfare Award for the song "Kahin Deep Jale Kahin Dil" from Bees Saal Baad, composed by Hemant Kumar.
In early 1962, Lata was given slow poison. A doctor was called. He came with an x-ray machine to examine her and gave her an injection to render her unconscious because she was in pain. For three days, she had a close brush with death. After ten days, she began to recover. The doctor told her that somebody had given her a slow poison. The slow poison incident rendered her very weak. She was bedridden for nearly 3 months. The most surprising thing was that soon after the incident, the cook who used to work at Lata's home, suddenly vanished without taking his wages. The cook had earlier worked with some people from the film industry. Lyricist Majrooh Sultanpuri used to regularly visit Lata at her home daily at 6 pm. Majrooh used to first taste the food and then allow Lata to eat. He used to recite poems and stories to keep Lata in good humour.
On 27 January 1963, against the backdrop of the Sino-Indian War, Lata sang the patriotic song "Aye Mere Watan Ke Logo" (literally, "Oh, People of My Country") in the presence of Jawaharlal Nehru, then the Prime Minister of India. The song, composed by C. Ramchandra and written by Kavi Pradeep, is said to have brought the Prime Minister to tears.
In 1963, Lata returned to collaborate with S. D. Burman. She had sung in R. D. Burman's first film, Chhote Nawab (1961), and later in his films such as Bhoot Bungla (1965), Pati Patni (1966), Baharon ke Sapne (1967), and Abhilasha (1969). She also recorded several popular songs for S. D. Burman, including "Aaj Phir Jeene Ki Tamanna Hai", "Gata Rahe Mera Dil" (duet with Kishore Kumar) and "Piya Tose" from Guide (1965), "Hothon Pe Aisi Baat" from Jewel Thief (1967), and "Kitni Akeli Kitni Tanhaa" from Talash.
During the 1960s, Lata Mangeshkar continued her association with Madan Mohan, which included the songs "Aap Ki Nazron Ne Samjha" from Anpadh (1962), "Lag Jaa Gale" and "Naina Barse Rim Jhim" from Woh Kaun Thi? (1964), "Woh Chup Rahen To" from Jahan Ara (1964), "Tu Jahan Jahan Chalega" from Mera Saaya (1966) and "Teri Aankho Ke Siva" from Chirag (1969), and she had a continuing association with the maestros Shankar Jaikishan, who got her to sing in various genres in the '60s.
The 1960s also witnessed the beginning of Mangeshkar's association with Laxmikant–Pyarelal, the music directors for whom she sang the most popular songs in her career. Starting in 1963, Laxmikant–Pyarelal's association with Lata Mangeshkar grew stronger over the years. Lata Mangeshkar sang over 700 songs for the composer duo over a period of 35 years, many of which became huge hits. She sang for Parasmani (1963), Mr. X in Bombay (1964), Aaye Din Bahar Ke (1966), Milan (1967), Anita (1967), Shagird (1968), Mere Hamdam Mere Dost (1968), Intaquam (1969), Do Raaste (1969) and Jeene Ki Raah, for which she got her third Filmfare Award.
She also sang several playback songs for Marathi films, composed by Marathi music directors including Hridaynath Mangeshkar, Vasant Prabhu, Srinivas Khale, Sudhir Phadke and herself, under the pseudonym Anandghan. During the 1960s and 1970s, she also sang several Bengali songs composed by music directors like Salil Chowdhury and Hemant Kumar.
Lata made her Kannada debut in 1967 for the film Kranthiveera Sangolli Rayanna by recording two songs for the music director Lakshman Berlekar. The song "Bellane Belagayithu" was well received and appreciated.
In the 1960s, Mangeshkar recorded duets with Mukesh, Manna Dey, Mahendra Kapoor, Mohammed Rafi, and Kishore Kumar. For a brief period during the 1960s, she was not on good terms with Mohammed Rafi over the issue of royalty payments to singers. Mangeshkar wanted Rafi to back her in demanding a half-share from the five percent song royalty that the film's producer conceded to select composers.But Rafi took a diametrically opposite view, and believed that a playback singer's claim on the filmmaker ended with the payment of the agreed fee for the song, leading to tensions between the two. After an argument during the recording of the song "Tasveer Teri Dil Mein", from Maya (1961), the two refused to sing with each other.The music director Jaikishan later negotiated a reconciliation between the two.
1970s
In 1972, Meena Kumari's last film, Pakeezah, was released. It featured popular songs including "Chalte Chalte" and "Inhi Logon Ne", sung by Lata Mangeshkar, and composed by Ghulam Mohammed. She recorded many popular songs for S. D. Burman's last films, including "Rangeela Re" from Prem Pujari (1970), "Khilte Hain Gul Yahaan" from Sharmeelee (1971), and "Piya Bina" from Abhimaan (1973) and for Madan Mohan's last films, including Dastak (1970), Heer Raanjha (1970), Dil Ki Rahen (1973), Hindustan Ki Kasam (1973), Hanste Zakhm (1973), Mausam (1975) and Laila Majnu (1976).
Many of Lata Mangeshkar's notable songs in the 1970s were composed by Laxmikant–Pyarelal and Rahul Dev Burman. Many of her songs composed by Laxmikant-Pyarelal in the 1970s were written by the lyricist Anand Bakshi. She also recorded many hit songs with Rahul Dev Burman in the films Amar Prem (1972), Caravan (1971), Kati Patang (1971), and Aandhi (1975). The two are noted for their songs with the lyricists Majrooh Sultanpuri, Anand Bakshi, and Gulzar.
In 1973, she won the National Film Award for Best Female Playback Singer for the song "Beeti Na Bitai" from the film Parichay, composed by R. D. Burman, and written by Gulzar. In 1974, she sang her only Malayalam song "Kadali Chenkadali" for the film Nellu, composed by Salil Chowdhury, and written by Vayalar Ramavarma. In 1975, she again won the National Award, this time for the song "Roothe Roothe Piya" from the film Kora Kagaz, composed by Kalyanji Anandji.
From the 1970s onwards, Lata Mangeshkar has also staged many concerts in India and abroad, including several charity concerts. Her first concert overseas was at the Royal Albert Hall, London, in 1974 and was the first Indian to do so. She also released an album of Mirabai's bhajans, "Chala Vaahi Des", composed by her brother Hridaynath Mangeshkar. Some of the bhajans in the album include "Saanware Rang Ranchi" and "Ud Jaa Re Kaaga". In the early 1970s, she released other non-film albums, such as her collection of Ghalib ghazals, an album of Marathi folk songs (Koli-geete), an album of Ganesh aartis (all composed by her brother Hridaynath) and an album of "abhangs" of Sant Tukaram composed by Shrinivas Khale.
In the 1978 Raj Kapoor-directed Satyam Shivam Sundaram, Lata Mangeshkar sang the main theme song "Satyam Shivam Sundaram," among the chart-toppers of the year. The film's story is inspired by Lata Mangeshkar was revealed by Kapoor's daughter Ritu Nanda in her latest book. The book quotes Kapoor as saying, "I visualised the story of a man falling for a woman with an ordinary countenance but a golden voice and wanted to cast Lata Mangeshkar in the role."
In the late 1970s and early 1980s, she worked with the children of composers she had earlier worked with. Some of these composers included Rahul Dev Burman, son of Sachin Dev Burman, Rajesh Roshan, son of Roshan, Anu Malik, son of Sardar Malik, and Anand-Milind, sons of Chitragupta. She also sang many songs in the Assamese language and developed a very good relationship with the Assamese musician Bhupen Hazarika. She sang many songs under his direction; the song "Dil Hoom Hoom Kare" from Rudaali (1993) made the highest record sales that year.
1980s
From the 1980s onwards, Lata Mangeshkar worked with music directors such as Shiv-Hari in Silsila (1981), Faasle (1985), Vijay (1988), and Chandni (1989) and Ram Laxman in Ustadi Ustad Se (1981), Bezubaan (1982), Woh Jo Hasina (1983), Ye Kesa Farz (1985), and Maine Pyar Kiya (1989). She sang in other movies, such as Karz (1980), Ek Duuje Ke Liye (1981), Silsila (1981), Prem Rog (1982), Hero (1983), Pyar Jhukta Nahin (1985), Ram Teri Ganga Maili (1985), Nagina (1986), and Ram Lakhan (1989). Her song "Zu Zu Zu Yashoda" from Sanjog (1985) was a chartbuster.[40] In the late 1980s, Mangeshkar made a comeback to Tamil films with two back-to-back renditions of composer Ilaiyaraaja's songs "Aaraaro Aaraaro" and "Valai Osai", for the films Anand (1987) and Sathya (1988), respectively.
In the 1980s, the composer duo Laxmikant–Pyarelal had Lata sing their biggest hits—"Sheesha Ho Ya Dil Ho" in Asha (1980), "Tu Kitne Baras Ka" in Karz (1980), "Kitna Aasan Hai" in Dostana (1980), "Hum Ko Bhi Gham" in Aas Paas (1980), "Mere Naseeb Mein" in Naseeb (1980), "Zindagi Ki Na Toote" in Kranti (1981), "Solah Baras Ki" in Ek Duuje Ke Liye (1981), "Ye Galiyan Ye Chaubara" in Prem Rog (1982), "Likhnewale Ne Likh Dale" in Arpan (1983), "Din Maheene Saal" in Avtaar (1983), "Pyar Karnewale" and "Nindiya Se Jagi" in Hero (1983), "Zu Zu Zu Yashoda" in Sanjog (1985), "Zindagi Har Qadam" in Meri Jung (1985), "Baith Mere Paas" in Yaadon Ki Kasam (1985), "Ungli Mein Anghoti" in Ram Avtar (1988) and "O Ramji Tere Lakhan Ne" in Ram Lakhan (1989).
Some Rahul Dev Burman compositions for Lata in these years include "Aaja Sar-e-Bazaar" in Alibaba Aur 40 Chor (1980), "Bindiya Tarase" in Phir Wohi Raat (1981), "Thodi Si Zameen" in Sitara (1981), "Kya Yahi Pyar Hai" in Rocky (1981), "Dekho Maine Dekha" in Love Story (1981), "Tune O Rangeele" in Kudrat (1981), "Jaane Kaise Kab" in Shakti (1982), "Jab Hum Jawan Honge" in Betaab (1983), which became instantly popular, "Humein Aur Jeene" in Agar Tum Na Hote (1983), "Tujhse Naraaz Nahin" in Masoom (1983), "Kahin Na Ja" and "Jeevan Ke Din" in Bade Dil Wala (1983), "Jaane Kya Baat" in Sunny (1984), "Bhuri Bhuri Aankhon" in Arjun (1985), "Sagar Kinare" in Sagar (1985), "Din Pyar Ke Aayenge" in Savere Wali Gaadi (1986). "Kya Bhala Hai Kya", "Khamosh Sa Afsana" and "Seeli Hawa Chhoo" in Libaas (1988). Rajesh Roshan's collaboration with Dev Anand in Lootmaar and Man Pasand resulted in songs such as "Paas Ho Tum Magar Qareeb" and "Sumansudha Rajni Chandha" respectively. Lata had duets with Rafi such as "Mujhe Chhoo Rahi Hain" in Swayamwar (1980), "Kabhi Kabhi Bezubaan" in Johnny I Love You (1982), "Tujh Sang Preet" in Kaamchor (1982), "Angrezi Mein Khete Hai" in Khud-Daar (1982), "Ankhiyo Hi Ankhiyo Mein" in Nishaan (1983), "Dushman Na Kare" in Aakhir Kyon? (1985) and "Wada Na Tod" in Dil Tujhko Diya (1987), later featured in the soundtrack of the 2004 film Eternal Sunshine of the Spotless Mind.
Bappi Lahiri composed some songs for Lata, such as "Dooriyan Sab Mita Do" in Saboot (1980), "Baithe Baithe Aaj Aayi" in Patita (1980), "Jaane Kyun Mujhe" in Agreement (1980), "Thoda Resham Lagta Hai" in Jyoti (1981), "Dard Ki Ragini" in Pyaas (1982), and "Naino Mein Sapna" (duet with Kishore Kumar) in Himmatwala (1983).
Mohammed Zahur Khayyam continued to work with Lata Mangeshkar during the 80s and composed songs such as "Hazaar Rahein Mud" (duet with Kishore Kumar) in Thodisi Bewafai (1980), "Simti Huyi" from Chambal Ki Kasam (1980), "Na Jane Kya Hua" in Dard (1981), "Chandni Raat Mein" in Dil-e-Nadaan (1982), "Dikhayi Diye" in Bazaar (1982), "Chand Ke Paas" in Dil-e-Nadaan (1982), "Bhar Lein Tumhe" and "Aaja Nindiya Aaja" from Lorie (1984) and "Kiran Kiran Mein Shokhiyan" in Ek Naya Rishta (1988).
During the 80s, Lata sang hits such as "Sun Sahiba Sun" in Ram Teri Ganga Maili (1985) for Ravindra Jain, "Chand Apna Safar" in Shama (1981), "Shayad Meri Shaadi" and "Zindagi Pyar Ka" in Souten (1983), "Hum Bhool Gaye Re" in Souten Ki Beti (1989) for Usha Khanna. Hridaynath Mangeshkar had "Kale Kale Gehre Saye" in Chakra (1981), "Ye Ankhen Dekh Kar", and "Kuchh Log Mohabbat Ko" in Dhanwan (1981), "Mujhe Tum Yaad Karna" in Mashaal (1984), Assamese song "Jonakore Rati" (1986) with music and lyrics by Dr. Bhupen Hazarika, "Jaane Do Mujhe" in Shahenshah (1989) for Amar-Utpal, "Sajan Mera Us Paar" in Ganga Jamuna Saraswati (1988) and "Mere Pyar Ki Umar" in Waaris (1989) for Uttam Jagdish.
In June 1985, the United Way of Greater Toronto invited Lata Mangeshkar to perform at Maple Leaf Gardens. At the request of Anne Murray, Lata sang her song "You Needed Me". 12,000 attended the concert, which raised $150,000 for the charity.
1990s
During the 1990s, she recorded with music directors including Anand-Milind, Nadeem-Shravan, Jatin Lalit, Dilip Sen-Sameer Sen, Uttam Singh, Anu Malik, Aadesh Shrivastava and A. R. Rahman. She recorded some non-film songs, including ghazals with Jagjit Singh. She has also sung with Kumar Sanu, Amit Kumar, S. P. Balasubrahmanyam, Udit Narayan, Hariharan, Suresh Wadkar, Mohammed Aziz, Abhijeet Bhattacharya, Roop Kumar Rathod, Vinod Rathod, Gurdas Maan and Sonu Nigam.
In 1990, Mangeshkar launched her own production house for Hindi movies which produced the Gulzar-directed movie Lekin.... She won her third National Film Award for Best Female Playback Singer for her rendition of the song "Yaara Sili Sili" from the film, which was composed by her brother Hridaynath.
Mangeshkar has sung for almost all the Yash Chopra films and films from his production house Yash Raj Films at that time, including Chandni (1989), Lamhe (1991), Darr (1993), Yeh Dillagi (1994), Dilwale Dulhania Le Jayenge (1995), Dil To Pagal Hai (1997) and later in Mohabbatein (2000), Mujhse Dosti Karoge! (2002) and Veer-Zaara (2004).
During 1990, Mangeshkar records with Raamlaxman in Patthar Ke Phool (1991), 100 Days (1991), Mehboob Mere Mehboob (1992), Saatwan Aasman (1992), I Love You (1992), Dil Ki Baazi (1993), Antim Nyay (1993), The Melody of Love (1993), The Law (1994), Hum Aapke Hain Koun..! (1994), Megha (1996), Lav Kush (1997), Manchala (1999), and Dulhan Banoo Main Teri (1999).
A. R. Rahman recorded a few songs with Mangeshkar during this period, including "Jiya Jale" in Dil Se.., "Khamoshiyan Gungunane Lagin" in One 2 Ka 4, "Ek Tu Hi Bharosa" in Pukar, "Pyaara Sa Gaon" in Zubeidaa, "So Gaye Hain" in Zubeidaa, "Lukka Chuppi" in Rang De Basanti, "O Paalanhaare" in Lagaan and Laadli in Raunaq. She made an on-screen appearance in the film Pukar singing "Ek Tu Hi Bharosa."
In 1994, Lata Mangeshkar released Shraddanjali - My Tribute to the Immortals. The special feature of the album is that Lata offers her tributes to immortal singers of the time by rendering a few of their songs in her own voice. There are songs of K. L. Saigal, Mohammed Rafi, Hemant Kumar, Mukesh, Punkaj Mallick, Kishore Kumar, Geeta Dutt, Zohrabai, Amirbai, Parul Ghosh and Kanan Devi.
Mangeshkar sang both Rahul Dev Burman's first and last songs. In 1994, she sang his last song; "Kuch Na Kaho" for Rahul Dev Burman in 1942: A Love Story.
In 1999, Lata Eau de Parfum, a perfume brand named after her, was launched. She was also awarded Zee Cine Award for Lifetime Achievement the same year In 1999, Mangeshkar was nominated as a member of Rajya Sabha. However, she did not attend Rajya Sabha sessions regularly, inviting criticism from several members of the House, including the Deputy Chairperson Najma Heptullah, Pranab Mukherjee and Shabana Azmi. She stated the reason for her absence as ill-health; it was also reported that she had not taken a salary, allowance or a house in Delhi for being a Member of Parliament
2000s
In 2001, Lata Mangeshkar was awarded the Bharat Ratna, India's highest civilian honour.
In the same year, she established the Master Deenanath Mangeshkar Hospital in Pune, managed by the Lata Mangeshkar Medical Foundation (founded by the Mangeshkar family in October 1989). In 2005, she designed a jewellery collection called Swaranjali, which was crafted by Adora, an Indian diamond export company. Five pieces from the collection raised £105,000 at a Christie's auction, and a part of the money was donated for the 2005 Kashmir earthquake relief.[58] Also in 2001, she recorded her first Hindi song with the composer Ilaiyaraaja, for the film Lajja; she had earlier recorded Tamil and Telugu songs composed by Ilaiyaraaja.
Lata Mangeshkar's song "Wada Na Tod" was included in the film Eternal Sunshine of the Spotless Mind (2004) and in its soundtrack.
On 21 June 2007, she released the album Saadgi, featuring eight ghazal-like songs written by Javed Akhtar and composed by Mayuresh Pai.
2010s
On 12 April 2011, Mangeshkar released the album Sarhadein: Music Beyond Boundaries, which contains the duet "Tera Milna Bahut Acha Lage" by Mangeshkar and Mehdi Hassan (written by Pakistan's Farhad Shahzad). The album features Usha Mangeshkar, Suresh Wadkar, Hariharan, Sonu Nigam, Rekha Bhardwaj and another Pakistani singer, Ghulam Ali, with compositions by Mayuresh Pai and others.
After 14 years, Mangeshkar recorded a song for composer Nadeem-Shravan; "Kaise Piya Se" for Bewafaa (2005). After "Kitne Ajeeb Rishte Hain Yahan Par" for Page 3 (2005) and "Daata Sun Le" for Jail (2009), Shamir Tandon once again recorded a song with Mangeshkar; "Tere Hasne Sai Mujheko" for the film Satrangee Parachute (2011). After a hiatus, Mangeshkar came back to playback singing and recorded at her own studio the song "Jeena kya hai, jaana maine" for Dunno Y2...Life Is A Moment (2015), the sequel to Kapil Sharma's queer love story Dunno Y... Na Jaane Kyun.
On 28 November 2012, Mangeshkar launched her own music label, LM Music, with an album of bhajans, Swami Samarth Maha Mantra, composed by Mayuresh Pai. She sang with her younger sister Usha on the album. In 2014, she recorded a Bengali album, Shurodhwani, including poetry by Salil Chowdhury, also composed by Pai.[citation needed] On 30 March 2019, Mangeshkar released the song "Saugandh Mujhe Is Mitti Ki", composed by Mayuresh Pai, as a tribute to the Indian army and nation.
Bengali Career
Mangeshkar has sung 185 songs in Bengali, making her debut in 1956 with the hit song "Prem Ekbari Esechilo Nirobe", composed by Hemant Kumar. The same year, she recorded "Rongila Banshite", composed by Bhupen Hazarika, which was also a hit. In the late 1950s, she recorded a string of hits such as "Jaare Ude Jare Pakhi", "Na Jeona", and "Ogo Aar Kichu To Noy", all composed by Salil Chowdhury, and which were respectively adapted into Hindi as "Ja Re Ud Ja Re Panchi" and "Tasveer Tere Dil Mein" in Maya, and "O Sajna" in Parakh. In 1960, she recorded "Akash Pradip Jole", a smash hit even today. Later in the 1960s, she sang hits like "Ekbar Biday De Ma Ghure Ashi," "Saat Bhai Champa," "Ke Pratham Kache Esechi," "Nijhum Sandhyay," "Chanchal Mon Anmona," "Asharh Srabon," "Bolchi Tomar Kaney," and "Aaj Mon Cheyeche" by composers like Sudhin Dasgupta, Hemant Kumar, and Chowdhury.
Awards & Recognition
Lata Mangeshkar has won several awards and honours, including the Bharat Ratna, India's highest civilian award, Padma Bhushan (1969), Padma Vibhushan (1999), Zee Cine Award for Lifetime Achievements (1999), Dadasaheb Phalke Award (1989), Maharashtra Bhushan Award (1997),[80] NTR National Award (1999), Bharat Ratna (2001), Legion of Honour (2007), ANR National Award (2009), three National Film Awards and 15 Bengal Film Journalists' Association Awards. She has also won four Filmfare Best Female Playback Awards. In 1969, she made the unusual gesture of giving up the Filmfare Best Female Playback Award in order to promote fresh talent. She was later awarded the Filmfare Lifetime Achievement Award in 1993 and Filmfare Special Awards in 1994 and 2004.
In 1984, the State Government of Madhya Pradesh instituted the Lata Mangeshkar Award in honour of Lata Mangeshkar. The State Government of Maharashtra also instituted a Lata Mangeshkar Award in 1992.
In 2009, Mangeshkar was awarded the title of Officer of the French Legion of Honour, France's highest order. In 2012, Mangeshkar was ranked number 10 in Outlook India's poll of the Greatest Indian.
Ustad Bade Ghulam Ali Khan said kambakht, kabhi besuri na hoti ("[she] is never off-key"). Dilip Kumar once commented, Lata Mangeshkar ki awaaz kudrat ki takhleek ka ek karishma hain, meaning "Lata Mangeshkar's voice is a miracle from God".
Mangeshkar is also a recipient of honorary doctorates from the Sangeet Natak Akademi in 1989, Indira Kala Sangeet Vishwavidyalaya, Khairagarh, and Shivaji University in Kolhapur.
The Dadasaheb Phalke Award was bestowed on her in 1989 by the Government of India. In 2001, in recognition of her contributions to the nation, she was awarded the Bharat Ratna, India's highest civilian honour and is only the second vocalist, after M. S. Subbulakshmi, to receive this honour. France conferred on her its highest civilian award, the Officer of the Legion of Honour, in 2007.
She is the recipient of three National Film Awards, 15 Bengal Film Journalists' Association Awards, four Filmfare Best Female Playback Awards, two Filmfare Special Awards, Filmfare Lifetime Achievement Award and many more. In 1974, she became the first Indian to perform in the Royal Albert Hall.
She has four siblings—Meena Khadikar, Asha Bhosle, Usha Mangeshkar, and Hridaynath Mangeshkar—of whom she is the eldest.
Early life
Lata Mangeshkar was born in 1929, the eldest daughter of Pandit Deenanath Mangeshkar, a Marathi and Konkani musician and his wife Shevanti in Indore (in present-day Madhya Pradesh and then the capital of the princely state of Indore which was part of the Central India Agency in British India). Her father, Pandit Deenanath Mangeshkar, was a classical singer and theatre actor. Her mother, Shevanti (later renamed Shudhamati), a Gujarati woman from Thalner, Bombay Presidency (now in northwest Maharashtra), was Deenanath's second wife; his first wife Narmada, who had died, was Shevanti's older sister.
Lata's paternal grandfather, Ganesh Bhatt Navathe Hardikar (Abhisheki), was a Karhade Brahmin priest who performed the abhishekam of the Shiva lingam at the Mangueshi Temple in Goa, and her paternal grandmother, Yesubai Rane, belonged to the Gomantak Maratha Samaj community of Goa and Lata's maternal grandfather was the Gujarati businessman Seth Haridas Ramdas Lad, a prosperous businessman and landlord of Thalner; and Mangeshkar learnt Gujarati folk songs such as garbas of Pavagadh from her maternal grandmother.
The family's last name used to be Hardikar; Deenanath changed it to Mangeshkar in order to identify his family with his native town of Mangeshi, Goa. Lata was named "Hema" at her birth. Her parents later renamed her Lata after a female character, Latika, in one of her father's plays, BhaawBandhan.
Lata is the eldest child of the family. Meena, Asha, Usha, and Hridaynath, in birth order, are her siblings; all are accomplished singers and musicians.
Lata received her first music lesson from her father. At the age of five, she started to work as an actress in her father's musical plays (Sangeet Natak in Marathi). On her first day of school, she left school because they would not allow her to bring her sister Asha with her, as she would often bring her younger sister with her.
Singing career
Early career in the 1940s
In 1942, when Lata was 13, her father died of heart disease. Master Vinayak (Vinayak Damodar Karnataki), the owner of Navyug Chitrapat movie company and a close friend of the Mangeshkar family, took care of them. He helped Lata get started in a career as a singer and actress.
Lata sang the song "Naachu Yaa Gade, Khelu Saari Mani Haus Bhaari", which was composed by Sadashivrao Nevrekar for Vasant Joglekar's Marathi movie Kiti Hasaal (1942), but the song was dropped from the final cut. Vinayak gave her a small role in Navyug Chitrapat's Marathi movie Pahili Mangalaa-gaur (1942), in which she sang "Natali Chaitraachi Navalaai" which was composed by Dada Chandekar. Her first Hindi song was "Mata Ek Sapoot Ki Duniya Badal De Tu" for the Marathi film Gajaabhaau (1943).
Lata moved to Mumbai in 1945 when Master Vinayak's company moved its headquarters there. She started taking lessons in Hindustani classical music from Ustad Aman Ali Khan of Bhindibazaar Gharana. She sang "Paa Lagoon Kar Jori" for Vasant Joglekar's Hindi-language movie Aap Ki Seva Mein (1946), which was composed by Datta Davjekar. The dance in the film was performed by Rohini Bhate who later became a famous classical dancer. Lata and her sister Asha played minor roles in Vinayak's first Hindi-language movie, Badi Maa (1945). In that movie, Lata also sang a bhajan, "Maata Tere Charnon Mein." She was introduced to music director Vasant Desai during the recording of Vinayak's second Hindi-language movie, Subhadra (1946).
After Vinayak's death in 1948, music director Ghulam Haider mentored her as a singer. He introduced Lata to producer Sashadhar Mukherjee, who was working then on the movie Shaheed (1948), but Mukherjee dismissed Lata's voice as "too thin". An annoyed Haider responded that in coming years producers and directors would "fall at Lata's feet" and "beg her" to sing in their movies. Haider gave Lata her first major break with the song "Dil Mera Toda, Mujhe Kahin Ka Na Chhora"—lyrics by Nazim Panipati—in the movie Majboor (1948), which became her first big breakthrough film hit. In an interview on her 84th birthday, in September 2013, Lata herself declared, "Ghulam Haider is truly my Godfather. He was the first music director who showed complete faith in my talent."
Initially, Lata is said to have imitated the acclaimed singer Noor Jehan, but she later developed her own style of singing. Lyrics of songs in Hindi movies are primarily composed by Urdu poets and contain a higher proportion of Urdu words, including the dialogue. Actor Dilip Kumar once made a mildly disapproving remark about Lata's Maharashtrian accent while singing Hindi/Urdu songs; so for a period of time, Lata took lessons in Urdu from an Urdu teacher named Shafi. In subsequent interviews, Lata has said that Noor Jehan had heard her as a child and had told her to practice a lot. The two stayed in touch with each other for many years to come.
One of her first major hits was "Aayega Aanewaala," a song in the movie Mahal (1949), composed by music director Khemchand Prakash and lip-synced on screen by actress Madhubala.
In the 1950s, Lata sang songs composed by various music directors of the period, including Anil Biswas (in films such as Tarana (1951) and Heer (1956)), Shankar Jaikishan, Naushad Ali, S. D. Burman, Amarnath, Husanlal, and Bhagatram (in films like Bari Behen (1949), Meena Bazaar (1950), Aadhi Raat (1950), Chhoti Bhabi (1950), Afsana (1951), Aansoo (1953), and Adl-e-Jehangir (1955)), C. Ramchandra, Hemant Kumar, Salil Chowdhury, Datta Naik, Khayyam, Ravi, Sajjad Hussain, Roshan, Kalyanji-Anandji, Vasant Desai, Sudhir Phadke, Hansraj Behl, Madan Mohan, and Usha Khanna. She sang "Sri Lanka, Ma Priyadara Jaya Bhumi", a song in Sinhala, for the 1955 Sri Lankan film Seda Sulang. She made her debut in Tamil playback singing with "Vanaradham" in 1956 (Uran Khotala dubbed in Tamil) with the Tamil song "Enthan Kannalan" for Nimmi in the dubbed version composed by Naushad.
Lata sang many raga-based songs for Naushad in movies such as Deedar (1951), Baiju Bawra (1952), Amar (1954), Uran Khatola (1955) and Mother India (1957).[17] Ae Chorre Ki Jaat Badi Bewafa, a duet with G. M. Durrani, was her first song for the composer Naushad. The duo, Shankar-Jaikishan, chose Lata for Barsaat (1949), Aah (1953), Shree 420 (1955) and Chori Chori (1956). Before 1957, composer S. D. Burman chose Lata as the leading female singer for his musical scores in Sazaa (1951), House No. 44 (1955), and Devdas (1955). However a rift developed between Lata and Burman in 1957, and she did not sing his compositions again until 1962.
Lata won a Filmfare Award for Best Female Playback Singer for Salil Chowdhury's composition "Aaja Re Pardesi" from Madhumati (1958). Lata Mangeshkar's association with C. Ramchandra produced songs in movies such as Albela (1951), Shin Shinkai Bublaa Boo (1952), Anarkali (1953), Pehli Jhhalak (1954), Azad (1955), Aasha (1957), and Amardeep (1958).[18] For Madan Mohan, she performed for films like Baagi (1953), Railway Platform (1955), Pocketmaar (1956), Mr. Lambu (1956), Dekh Kabira Roya (1957), Adalat (1958), Jailor (1958), Mohar (1959), and Chacha Zindabad (1959).
1960s
Lata's song "Pyar Kiya To Darna Kya" from Mughal-e-Azam (1960), composed by Naushad and lip-synced by Madhubala, still remains famous. The Hawaiian-themed number "Ajeeb Dastaan Hai Yeh", from Dil Apna Aur Preet Parai (1960), was composed by Shankar-Jaikishan and lip-synced by Meena Kumari.
In 1961, Lata recorded two popular bhajans, "Allah Tero Naam" and "Prabhu Tero Naam", for Burman's assistant, Jaidev. In 1962, she was awarded her second Filmfare Award for the song "Kahin Deep Jale Kahin Dil" from Bees Saal Baad, composed by Hemant Kumar.
In early 1962, Lata was given slow poison. A doctor was called. He came with an x-ray machine to examine her and gave her an injection to render her unconscious because she was in pain. For three days, she had a close brush with death. After ten days, she began to recover. The doctor told her that somebody had given her a slow poison. The slow poison incident rendered her very weak. She was bedridden for nearly 3 months. The most surprising thing was that soon after the incident, the cook who used to work at Lata's home, suddenly vanished without taking his wages. The cook had earlier worked with some people from the film industry. Lyricist Majrooh Sultanpuri used to regularly visit Lata at her home daily at 6 pm. Majrooh used to first taste the food and then allow Lata to eat. He used to recite poems and stories to keep Lata in good humour.
On 27 January 1963, against the backdrop of the Sino-Indian War, Lata sang the patriotic song "Aye Mere Watan Ke Logo" (literally, "Oh, People of My Country") in the presence of Jawaharlal Nehru, then the Prime Minister of India. The song, composed by C. Ramchandra and written by Kavi Pradeep, is said to have brought the Prime Minister to tears.
In 1963, Lata returned to collaborate with S. D. Burman. She had sung in R. D. Burman's first film, Chhote Nawab (1961), and later in his films such as Bhoot Bungla (1965), Pati Patni (1966), Baharon ke Sapne (1967), and Abhilasha (1969). She also recorded several popular songs for S. D. Burman, including "Aaj Phir Jeene Ki Tamanna Hai", "Gata Rahe Mera Dil" (duet with Kishore Kumar) and "Piya Tose" from Guide (1965), "Hothon Pe Aisi Baat" from Jewel Thief (1967), and "Kitni Akeli Kitni Tanhaa" from Talash.
During the 1960s, Lata Mangeshkar continued her association with Madan Mohan, which included the songs "Aap Ki Nazron Ne Samjha" from Anpadh (1962), "Lag Jaa Gale" and "Naina Barse Rim Jhim" from Woh Kaun Thi? (1964), "Woh Chup Rahen To" from Jahan Ara (1964), "Tu Jahan Jahan Chalega" from Mera Saaya (1966) and "Teri Aankho Ke Siva" from Chirag (1969), and she had a continuing association with the maestros Shankar Jaikishan, who got her to sing in various genres in the '60s.
The 1960s also witnessed the beginning of Mangeshkar's association with Laxmikant–Pyarelal, the music directors for whom she sang the most popular songs in her career. Starting in 1963, Laxmikant–Pyarelal's association with Lata Mangeshkar grew stronger over the years. Lata Mangeshkar sang over 700 songs for the composer duo over a period of 35 years, many of which became huge hits. She sang for Parasmani (1963), Mr. X in Bombay (1964), Aaye Din Bahar Ke (1966), Milan (1967), Anita (1967), Shagird (1968), Mere Hamdam Mere Dost (1968), Intaquam (1969), Do Raaste (1969) and Jeene Ki Raah, for which she got her third Filmfare Award.
She also sang several playback songs for Marathi films, composed by Marathi music directors including Hridaynath Mangeshkar, Vasant Prabhu, Srinivas Khale, Sudhir Phadke and herself, under the pseudonym Anandghan. During the 1960s and 1970s, she also sang several Bengali songs composed by music directors like Salil Chowdhury and Hemant Kumar.
Lata made her Kannada debut in 1967 for the film Kranthiveera Sangolli Rayanna by recording two songs for the music director Lakshman Berlekar. The song "Bellane Belagayithu" was well received and appreciated.
In the 1960s, Mangeshkar recorded duets with Mukesh, Manna Dey, Mahendra Kapoor, Mohammed Rafi, and Kishore Kumar. For a brief period during the 1960s, she was not on good terms with Mohammed Rafi over the issue of royalty payments to singers. Mangeshkar wanted Rafi to back her in demanding a half-share from the five percent song royalty that the film's producer conceded to select composers.But Rafi took a diametrically opposite view, and believed that a playback singer's claim on the filmmaker ended with the payment of the agreed fee for the song, leading to tensions between the two. After an argument during the recording of the song "Tasveer Teri Dil Mein", from Maya (1961), the two refused to sing with each other.The music director Jaikishan later negotiated a reconciliation between the two.
1970s
In 1972, Meena Kumari's last film, Pakeezah, was released. It featured popular songs including "Chalte Chalte" and "Inhi Logon Ne", sung by Lata Mangeshkar, and composed by Ghulam Mohammed. She recorded many popular songs for S. D. Burman's last films, including "Rangeela Re" from Prem Pujari (1970), "Khilte Hain Gul Yahaan" from Sharmeelee (1971), and "Piya Bina" from Abhimaan (1973) and for Madan Mohan's last films, including Dastak (1970), Heer Raanjha (1970), Dil Ki Rahen (1973), Hindustan Ki Kasam (1973), Hanste Zakhm (1973), Mausam (1975) and Laila Majnu (1976).
Many of Lata Mangeshkar's notable songs in the 1970s were composed by Laxmikant–Pyarelal and Rahul Dev Burman. Many of her songs composed by Laxmikant-Pyarelal in the 1970s were written by the lyricist Anand Bakshi. She also recorded many hit songs with Rahul Dev Burman in the films Amar Prem (1972), Caravan (1971), Kati Patang (1971), and Aandhi (1975). The two are noted for their songs with the lyricists Majrooh Sultanpuri, Anand Bakshi, and Gulzar.
In 1973, she won the National Film Award for Best Female Playback Singer for the song "Beeti Na Bitai" from the film Parichay, composed by R. D. Burman, and written by Gulzar. In 1974, she sang her only Malayalam song "Kadali Chenkadali" for the film Nellu, composed by Salil Chowdhury, and written by Vayalar Ramavarma. In 1975, she again won the National Award, this time for the song "Roothe Roothe Piya" from the film Kora Kagaz, composed by Kalyanji Anandji.
From the 1970s onwards, Lata Mangeshkar has also staged many concerts in India and abroad, including several charity concerts. Her first concert overseas was at the Royal Albert Hall, London, in 1974 and was the first Indian to do so. She also released an album of Mirabai's bhajans, "Chala Vaahi Des", composed by her brother Hridaynath Mangeshkar. Some of the bhajans in the album include "Saanware Rang Ranchi" and "Ud Jaa Re Kaaga". In the early 1970s, she released other non-film albums, such as her collection of Ghalib ghazals, an album of Marathi folk songs (Koli-geete), an album of Ganesh aartis (all composed by her brother Hridaynath) and an album of "abhangs" of Sant Tukaram composed by Shrinivas Khale.
In the 1978 Raj Kapoor-directed Satyam Shivam Sundaram, Lata Mangeshkar sang the main theme song "Satyam Shivam Sundaram," among the chart-toppers of the year. The film's story is inspired by Lata Mangeshkar was revealed by Kapoor's daughter Ritu Nanda in her latest book. The book quotes Kapoor as saying, "I visualised the story of a man falling for a woman with an ordinary countenance but a golden voice and wanted to cast Lata Mangeshkar in the role."
In the late 1970s and early 1980s, she worked with the children of composers she had earlier worked with. Some of these composers included Rahul Dev Burman, son of Sachin Dev Burman, Rajesh Roshan, son of Roshan, Anu Malik, son of Sardar Malik, and Anand-Milind, sons of Chitragupta. She also sang many songs in the Assamese language and developed a very good relationship with the Assamese musician Bhupen Hazarika. She sang many songs under his direction; the song "Dil Hoom Hoom Kare" from Rudaali (1993) made the highest record sales that year.
1980s
From the 1980s onwards, Lata Mangeshkar worked with music directors such as Shiv-Hari in Silsila (1981), Faasle (1985), Vijay (1988), and Chandni (1989) and Ram Laxman in Ustadi Ustad Se (1981), Bezubaan (1982), Woh Jo Hasina (1983), Ye Kesa Farz (1985), and Maine Pyar Kiya (1989). She sang in other movies, such as Karz (1980), Ek Duuje Ke Liye (1981), Silsila (1981), Prem Rog (1982), Hero (1983), Pyar Jhukta Nahin (1985), Ram Teri Ganga Maili (1985), Nagina (1986), and Ram Lakhan (1989). Her song "Zu Zu Zu Yashoda" from Sanjog (1985) was a chartbuster.[40] In the late 1980s, Mangeshkar made a comeback to Tamil films with two back-to-back renditions of composer Ilaiyaraaja's songs "Aaraaro Aaraaro" and "Valai Osai", for the films Anand (1987) and Sathya (1988), respectively.
In the 1980s, the composer duo Laxmikant–Pyarelal had Lata sing their biggest hits—"Sheesha Ho Ya Dil Ho" in Asha (1980), "Tu Kitne Baras Ka" in Karz (1980), "Kitna Aasan Hai" in Dostana (1980), "Hum Ko Bhi Gham" in Aas Paas (1980), "Mere Naseeb Mein" in Naseeb (1980), "Zindagi Ki Na Toote" in Kranti (1981), "Solah Baras Ki" in Ek Duuje Ke Liye (1981), "Ye Galiyan Ye Chaubara" in Prem Rog (1982), "Likhnewale Ne Likh Dale" in Arpan (1983), "Din Maheene Saal" in Avtaar (1983), "Pyar Karnewale" and "Nindiya Se Jagi" in Hero (1983), "Zu Zu Zu Yashoda" in Sanjog (1985), "Zindagi Har Qadam" in Meri Jung (1985), "Baith Mere Paas" in Yaadon Ki Kasam (1985), "Ungli Mein Anghoti" in Ram Avtar (1988) and "O Ramji Tere Lakhan Ne" in Ram Lakhan (1989).
Some Rahul Dev Burman compositions for Lata in these years include "Aaja Sar-e-Bazaar" in Alibaba Aur 40 Chor (1980), "Bindiya Tarase" in Phir Wohi Raat (1981), "Thodi Si Zameen" in Sitara (1981), "Kya Yahi Pyar Hai" in Rocky (1981), "Dekho Maine Dekha" in Love Story (1981), "Tune O Rangeele" in Kudrat (1981), "Jaane Kaise Kab" in Shakti (1982), "Jab Hum Jawan Honge" in Betaab (1983), which became instantly popular, "Humein Aur Jeene" in Agar Tum Na Hote (1983), "Tujhse Naraaz Nahin" in Masoom (1983), "Kahin Na Ja" and "Jeevan Ke Din" in Bade Dil Wala (1983), "Jaane Kya Baat" in Sunny (1984), "Bhuri Bhuri Aankhon" in Arjun (1985), "Sagar Kinare" in Sagar (1985), "Din Pyar Ke Aayenge" in Savere Wali Gaadi (1986). "Kya Bhala Hai Kya", "Khamosh Sa Afsana" and "Seeli Hawa Chhoo" in Libaas (1988). Rajesh Roshan's collaboration with Dev Anand in Lootmaar and Man Pasand resulted in songs such as "Paas Ho Tum Magar Qareeb" and "Sumansudha Rajni Chandha" respectively. Lata had duets with Rafi such as "Mujhe Chhoo Rahi Hain" in Swayamwar (1980), "Kabhi Kabhi Bezubaan" in Johnny I Love You (1982), "Tujh Sang Preet" in Kaamchor (1982), "Angrezi Mein Khete Hai" in Khud-Daar (1982), "Ankhiyo Hi Ankhiyo Mein" in Nishaan (1983), "Dushman Na Kare" in Aakhir Kyon? (1985) and "Wada Na Tod" in Dil Tujhko Diya (1987), later featured in the soundtrack of the 2004 film Eternal Sunshine of the Spotless Mind.
Bappi Lahiri composed some songs for Lata, such as "Dooriyan Sab Mita Do" in Saboot (1980), "Baithe Baithe Aaj Aayi" in Patita (1980), "Jaane Kyun Mujhe" in Agreement (1980), "Thoda Resham Lagta Hai" in Jyoti (1981), "Dard Ki Ragini" in Pyaas (1982), and "Naino Mein Sapna" (duet with Kishore Kumar) in Himmatwala (1983).
Mohammed Zahur Khayyam continued to work with Lata Mangeshkar during the 80s and composed songs such as "Hazaar Rahein Mud" (duet with Kishore Kumar) in Thodisi Bewafai (1980), "Simti Huyi" from Chambal Ki Kasam (1980), "Na Jane Kya Hua" in Dard (1981), "Chandni Raat Mein" in Dil-e-Nadaan (1982), "Dikhayi Diye" in Bazaar (1982), "Chand Ke Paas" in Dil-e-Nadaan (1982), "Bhar Lein Tumhe" and "Aaja Nindiya Aaja" from Lorie (1984) and "Kiran Kiran Mein Shokhiyan" in Ek Naya Rishta (1988).
During the 80s, Lata sang hits such as "Sun Sahiba Sun" in Ram Teri Ganga Maili (1985) for Ravindra Jain, "Chand Apna Safar" in Shama (1981), "Shayad Meri Shaadi" and "Zindagi Pyar Ka" in Souten (1983), "Hum Bhool Gaye Re" in Souten Ki Beti (1989) for Usha Khanna. Hridaynath Mangeshkar had "Kale Kale Gehre Saye" in Chakra (1981), "Ye Ankhen Dekh Kar", and "Kuchh Log Mohabbat Ko" in Dhanwan (1981), "Mujhe Tum Yaad Karna" in Mashaal (1984), Assamese song "Jonakore Rati" (1986) with music and lyrics by Dr. Bhupen Hazarika, "Jaane Do Mujhe" in Shahenshah (1989) for Amar-Utpal, "Sajan Mera Us Paar" in Ganga Jamuna Saraswati (1988) and "Mere Pyar Ki Umar" in Waaris (1989) for Uttam Jagdish.
In June 1985, the United Way of Greater Toronto invited Lata Mangeshkar to perform at Maple Leaf Gardens. At the request of Anne Murray, Lata sang her song "You Needed Me". 12,000 attended the concert, which raised $150,000 for the charity.
1990s
During the 1990s, she recorded with music directors including Anand-Milind, Nadeem-Shravan, Jatin Lalit, Dilip Sen-Sameer Sen, Uttam Singh, Anu Malik, Aadesh Shrivastava and A. R. Rahman. She recorded some non-film songs, including ghazals with Jagjit Singh. She has also sung with Kumar Sanu, Amit Kumar, S. P. Balasubrahmanyam, Udit Narayan, Hariharan, Suresh Wadkar, Mohammed Aziz, Abhijeet Bhattacharya, Roop Kumar Rathod, Vinod Rathod, Gurdas Maan and Sonu Nigam.
In 1990, Mangeshkar launched her own production house for Hindi movies which produced the Gulzar-directed movie Lekin.... She won her third National Film Award for Best Female Playback Singer for her rendition of the song "Yaara Sili Sili" from the film, which was composed by her brother Hridaynath.
Mangeshkar has sung for almost all the Yash Chopra films and films from his production house Yash Raj Films at that time, including Chandni (1989), Lamhe (1991), Darr (1993), Yeh Dillagi (1994), Dilwale Dulhania Le Jayenge (1995), Dil To Pagal Hai (1997) and later in Mohabbatein (2000), Mujhse Dosti Karoge! (2002) and Veer-Zaara (2004).
During 1990, Mangeshkar records with Raamlaxman in Patthar Ke Phool (1991), 100 Days (1991), Mehboob Mere Mehboob (1992), Saatwan Aasman (1992), I Love You (1992), Dil Ki Baazi (1993), Antim Nyay (1993), The Melody of Love (1993), The Law (1994), Hum Aapke Hain Koun..! (1994), Megha (1996), Lav Kush (1997), Manchala (1999), and Dulhan Banoo Main Teri (1999).
A. R. Rahman recorded a few songs with Mangeshkar during this period, including "Jiya Jale" in Dil Se.., "Khamoshiyan Gungunane Lagin" in One 2 Ka 4, "Ek Tu Hi Bharosa" in Pukar, "Pyaara Sa Gaon" in Zubeidaa, "So Gaye Hain" in Zubeidaa, "Lukka Chuppi" in Rang De Basanti, "O Paalanhaare" in Lagaan and Laadli in Raunaq. She made an on-screen appearance in the film Pukar singing "Ek Tu Hi Bharosa."
In 1994, Lata Mangeshkar released Shraddanjali - My Tribute to the Immortals. The special feature of the album is that Lata offers her tributes to immortal singers of the time by rendering a few of their songs in her own voice. There are songs of K. L. Saigal, Mohammed Rafi, Hemant Kumar, Mukesh, Punkaj Mallick, Kishore Kumar, Geeta Dutt, Zohrabai, Amirbai, Parul Ghosh and Kanan Devi.
Mangeshkar sang both Rahul Dev Burman's first and last songs. In 1994, she sang his last song; "Kuch Na Kaho" for Rahul Dev Burman in 1942: A Love Story.
In 1999, Lata Eau de Parfum, a perfume brand named after her, was launched. She was also awarded Zee Cine Award for Lifetime Achievement the same year In 1999, Mangeshkar was nominated as a member of Rajya Sabha. However, she did not attend Rajya Sabha sessions regularly, inviting criticism from several members of the House, including the Deputy Chairperson Najma Heptullah, Pranab Mukherjee and Shabana Azmi. She stated the reason for her absence as ill-health; it was also reported that she had not taken a salary, allowance or a house in Delhi for being a Member of Parliament
2000s
In 2001, Lata Mangeshkar was awarded the Bharat Ratna, India's highest civilian honour.
In the same year, she established the Master Deenanath Mangeshkar Hospital in Pune, managed by the Lata Mangeshkar Medical Foundation (founded by the Mangeshkar family in October 1989). In 2005, she designed a jewellery collection called Swaranjali, which was crafted by Adora, an Indian diamond export company. Five pieces from the collection raised £105,000 at a Christie's auction, and a part of the money was donated for the 2005 Kashmir earthquake relief.[58] Also in 2001, she recorded her first Hindi song with the composer Ilaiyaraaja, for the film Lajja; she had earlier recorded Tamil and Telugu songs composed by Ilaiyaraaja.
Lata Mangeshkar's song "Wada Na Tod" was included in the film Eternal Sunshine of the Spotless Mind (2004) and in its soundtrack.
On 21 June 2007, she released the album Saadgi, featuring eight ghazal-like songs written by Javed Akhtar and composed by Mayuresh Pai.
2010s
On 12 April 2011, Mangeshkar released the album Sarhadein: Music Beyond Boundaries, which contains the duet "Tera Milna Bahut Acha Lage" by Mangeshkar and Mehdi Hassan (written by Pakistan's Farhad Shahzad). The album features Usha Mangeshkar, Suresh Wadkar, Hariharan, Sonu Nigam, Rekha Bhardwaj and another Pakistani singer, Ghulam Ali, with compositions by Mayuresh Pai and others.
After 14 years, Mangeshkar recorded a song for composer Nadeem-Shravan; "Kaise Piya Se" for Bewafaa (2005). After "Kitne Ajeeb Rishte Hain Yahan Par" for Page 3 (2005) and "Daata Sun Le" for Jail (2009), Shamir Tandon once again recorded a song with Mangeshkar; "Tere Hasne Sai Mujheko" for the film Satrangee Parachute (2011). After a hiatus, Mangeshkar came back to playback singing and recorded at her own studio the song "Jeena kya hai, jaana maine" for Dunno Y2...Life Is A Moment (2015), the sequel to Kapil Sharma's queer love story Dunno Y... Na Jaane Kyun.
On 28 November 2012, Mangeshkar launched her own music label, LM Music, with an album of bhajans, Swami Samarth Maha Mantra, composed by Mayuresh Pai. She sang with her younger sister Usha on the album. In 2014, she recorded a Bengali album, Shurodhwani, including poetry by Salil Chowdhury, also composed by Pai.[citation needed] On 30 March 2019, Mangeshkar released the song "Saugandh Mujhe Is Mitti Ki", composed by Mayuresh Pai, as a tribute to the Indian army and nation.
Bengali Career
Mangeshkar has sung 185 songs in Bengali, making her debut in 1956 with the hit song "Prem Ekbari Esechilo Nirobe", composed by Hemant Kumar. The same year, she recorded "Rongila Banshite", composed by Bhupen Hazarika, which was also a hit. In the late 1950s, she recorded a string of hits such as "Jaare Ude Jare Pakhi", "Na Jeona", and "Ogo Aar Kichu To Noy", all composed by Salil Chowdhury, and which were respectively adapted into Hindi as "Ja Re Ud Ja Re Panchi" and "Tasveer Tere Dil Mein" in Maya, and "O Sajna" in Parakh. In 1960, she recorded "Akash Pradip Jole", a smash hit even today. Later in the 1960s, she sang hits like "Ekbar Biday De Ma Ghure Ashi," "Saat Bhai Champa," "Ke Pratham Kache Esechi," "Nijhum Sandhyay," "Chanchal Mon Anmona," "Asharh Srabon," "Bolchi Tomar Kaney," and "Aaj Mon Cheyeche" by composers like Sudhin Dasgupta, Hemant Kumar, and Chowdhury.
Awards & Recognition
Lata Mangeshkar has won several awards and honours, including the Bharat Ratna, India's highest civilian award, Padma Bhushan (1969), Padma Vibhushan (1999), Zee Cine Award for Lifetime Achievements (1999), Dadasaheb Phalke Award (1989), Maharashtra Bhushan Award (1997),[80] NTR National Award (1999), Bharat Ratna (2001), Legion of Honour (2007), ANR National Award (2009), three National Film Awards and 15 Bengal Film Journalists' Association Awards. She has also won four Filmfare Best Female Playback Awards. In 1969, she made the unusual gesture of giving up the Filmfare Best Female Playback Award in order to promote fresh talent. She was later awarded the Filmfare Lifetime Achievement Award in 1993 and Filmfare Special Awards in 1994 and 2004.
In 1984, the State Government of Madhya Pradesh instituted the Lata Mangeshkar Award in honour of Lata Mangeshkar. The State Government of Maharashtra also instituted a Lata Mangeshkar Award in 1992.
In 2009, Mangeshkar was awarded the title of Officer of the French Legion of Honour, France's highest order. In 2012, Mangeshkar was ranked number 10 in Outlook India's poll of the Greatest Indian.
Ustad Bade Ghulam Ali Khan said kambakht, kabhi besuri na hoti ("[she] is never off-key"). Dilip Kumar once commented, Lata Mangeshkar ki awaaz kudrat ki takhleek ka ek karishma hain, meaning "Lata Mangeshkar's voice is a miracle from God".
Mangeshkar is also a recipient of honorary doctorates from the Sangeet Natak Akademi in 1989, Indira Kala Sangeet Vishwavidyalaya, Khairagarh, and Shivaji University in Kolhapur.
Aaina woh Rehta Hai
Lata Mangeshkar Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
आइना वही रहता है, चेहरे बदल जाते हैं
आइना वही रहता है, चेहरे बदल जाते हैं
आइना वही रहता है, चेहरे बदल जाते हैं
आँखों में रुकते नहीं जो आँसू निकल जाते हैं
आइना वही रहता है, चेहरे बदल जाते हैं
पहली मुलाकात की, तौबा वो पहली नज़र
पहली मुलाकात की, तौबा वो पहली नज़रक्या हो गया, कब हुआ, होती नहीं कुछ खबर
कितना भी दिल को संभालूँ, अरमां मचल जाते हैं
आइना वही रहता है, चेहरे बदल जाते हैं
आइना वही रहता है, चेहरे बदल जाते हैं
गुलशन में फूलों के साथ खिलते हैं दिल में गुलाब
गुलशन में फूलों के साथ खिलते हैं दिल में गुलाब
होता है जब प्यार तो लगता है पानी शराब
दो घूँट पीते ही लेकिन ये होंठ जल जाते हैं
आइना वही रहता है, चेहरे बदल जाते हैं
आइना वही रहता है, चेहरे बदल जाते हैं
आ आ आ आ आ आ
बेखबर, बेकदर प्यार सच है अगर
देखना एक दिन रोएगा मेरे बिन
राह में छोड़ कर, मेरा दिल तोड़ कर
मुझको तड़पाया क्यों, तू भी तड़पेगा यूँ
याद रख बेवफा, ये मेरी बद्दुआ
तूने जिसके लिए मुझको धोखे दिए
वो तेरी दिलरुबा लेगी बदला मेरा
मैं ये ग़म हुमानशी, भूल सकती नहीं
वो इरादे तेरे, झूठे वादे तेरे
वो इरादे तेरे, झूठे वादे तेरे
जब याद आते हैं दिल पर बस तीर चल जाते हैं
आइना वही रहता है, चेहरे बदल जाते हैं
आँखों में रुकते नहीं जो आँसू निकल जाते हैं
आइना वही रहता है, चेहरे बदल जाते हैं
आइना वही रहता है, चेहरे बदल जाते हैं
आइना वही रहता है, चेहरे बदल जाते हैं
आँखों में रुकते नहीं जो आँसू निकल जाते हैं
आइना वही रहता है, चेहरे बदल जाते हैं
पहली मुलाकात की, तौबा वो पहली नज़र
पहली मुलाकात की, तौबा वो पहली नज़रक्या हो गया, कब हुआ, होती नहीं कुछ खबर
कितना भी दिल को संभालूँ, अरमां मचल जाते हैं
आइना वही रहता है, चेहरे बदल जाते हैं
आइना वही रहता है, चेहरे बदल जाते हैं
गुलशन में फूलों के साथ खिलते हैं दिल में गुलाब
गुलशन में फूलों के साथ खिलते हैं दिल में गुलाब
होता है जब प्यार तो लगता है पानी शराब
दो घूँट पीते ही लेकिन ये होंठ जल जाते हैं
आइना वही रहता है, चेहरे बदल जाते हैं
आइना वही रहता है, चेहरे बदल जाते हैं
आ आ आ आ आ आ
बेखबर, बेकदर प्यार सच है अगर
देखना एक दिन रोएगा मेरे बिन
राह में छोड़ कर, मेरा दिल तोड़ कर
मुझको तड़पाया क्यों, तू भी तड़पेगा यूँ
याद रख बेवफा, ये मेरी बद्दुआ
तूने जिसके लिए मुझको धोखे दिए
वो तेरी दिलरुबा लेगी बदला मेरा
मैं ये ग़म हुमानशी, भूल सकती नहीं
वो इरादे तेरे, झूठे वादे तेरे
वो इरादे तेरे, झूठे वादे तेरे
जब याद आते हैं दिल पर बस तीर चल जाते हैं
आइना वही रहता है, चेहरे बदल जाते हैं
आँखों में रुकते नहीं जो आँसू निकल जाते हैं
आइना वही रहता है, चेहरे बदल जाते हैं
The song "Aaina Woh Rehta Hai," performed by the legendary Lata Mangeshkar, presents a compelling exploration of the themes of love, change, and the enduring sense of self. The recurring line, "आइना वही रहता है, चेहरे बदल जाते हैं" (The mirror remains the same; faces change), sets the tone for a reflective journey through the complexities of relationships and emotions. The lyrics suggest a poignant realization that while external appearances and relationships may evolve, the essence of one’s self—or the 'mirror' representing inner truth—remains unchanged. This contrast points to the transient nature of love, mirroring the impermanence of human experiences. As the singer reflects on the inevitability of change, there’s a deep sense of nostalgia intertwined with wisdom; we may encounter different faces in our lives, but our core identity, influenced by these experiences, remains constant.
The second stanza introduces a sense of vulnerability associated with love, especially during the initial stages of a relationship. The mention of the "पहली मुलाकात" (first meeting) and "पहली नज़र" (first glance) evokes the magic and intensity of first love, which can often feel overwhelming. The singer's struggle to grasp what has transpired—"क्या हो गया, कब हुआ" (What has happened, when did it happen)—conveys the confusion and surprise that accompany newfound feelings. There’s an exploration of emotional turmoil as the singer grapples with her feelings, wanting to control her heart yet feeling it "अरमां मचल जाते हैं" (desires become agitated). This grappling reflects the idea that, despite our attempts to maintain composure in love, we often find ourselves swept away by the tide of emotions, which can be both exhilarating and frightening.
The following stanza uses rich imagery to illustrate the beauty and complexity of love. "गुलशन में फूलों के साथ खिलते हैं दिल में गुलाब" (In the garden, alongside flowers, hearts bloom with roses) symbolizes the blossoming of love and happiness. Yet, this beauty carries its own bittersweetness; the metaphoric comparison of water to wine captures how intoxicating love can be. However, it also foreshadows the pain that can accompany such joy, as the line "दो घूँट पीते ही लेकिन ये होंठ जल जाते हैं" (Just two sips in, but these lips burn) signifies the inevitable dichotomy of love—its pleasure coupled with potential tears and heartache. This highlights how love, while beautiful, often leads to sorrow when expectations give way to reality, reinforcing the idea that change is an inherent aspect of love and relationships.
In the final stanza, the song takes a more confrontational turn, addressing the theme of betrayal and heartbreak. The lines evoke feelings of anger and pain towards a lover who has caused distress. The singer warns that the betrayer will ultimately suffer the consequences of their actions, emphasizing a sense of resilience despite the hurt. The phrase "तेरे दिलरुबा लेगी बदला मेरा" (your beloved will take my revenge) signifies a karmic retribution, suggesting that wrongdoings in love come back to haunt those who inflict pain. Despite the overwhelming sorrow captured in previous verses, there is a hopeful assertion of self-worth and the recognition that, while love can bring joy, it also demands accountability and respect. The evocative ending of the song reinforces the emotional journey, illustrating the complex layers of love, betrayal, and the bittersweet nature of human connections, ultimately circling back to the notion that our true selves, the 'mirror', remains unblemished amid the chaos of changing faces.
Line by Line Meaning
आइना वही रहता है, चेहरे बदल जाते हैं
The mirror remains constant, while the faces around it change, reflecting the idea that true essence and reality endure, even as appearances fluctuate.
आँखों में रुकते नहीं जो आँसू निकल जाते हैं
Tears that cannot be held back flow from the eyes, symbolizing the emotional turmoil that cannot be concealed, despite what one portrays outwardly.
पहली मुलाकात की, तौबा वो पहली नज़र
The profound impact of a first meeting and that unforgettable first glance, marking the moment of initial attraction that leaves a lasting impression.
क्या हो गया, कब हुआ, होती नहीं कुछ खबर
What has happened, and when did it happen, for one loses track of time and events, overwhelmed by the sudden rush of feelings without clarity.
कितना भी दिल को संभालूँ, अरमां मचल जाते हैं
No matter how much I try to control my heart, desires and yearnings surge uncontrollably, revealing the struggle between reason and emotion.
गुलशन में फूलों के साथ खिलते हैं दिल में गुलाब
In the garden of love, with blooming flowers, the heart blossoms like a rose, representing the beauty and tenderness of love in full bloom.
होता है जब प्यार तो लगता है पानी शराब
When love occurs, it feels intoxicating like wine, illustrating the enchanting and euphoric essence of love that alters perception.
दो घूँट पीते ही लेकिन ये होंठ जल जाते हैं
Yet, after just a couple of sips, these lips get scorched, indicating the fleeting pleasure of love that can also bring pain and longing.
बेखबर, बेकदर प्यार सच है अगर
Oblivious to the cost, true love exists without concern, suggesting that genuine feelings often come without the burden of consequences.
देखना एक दिन रोएगा मेरे बिन
One day you will regret and weep in my absence, emphasizing the inevitability of loss and the emotional fallout that betrayal brings.
राह में छोड़ कर, मेरा दिल तोड़ कर
Leaving me behind, breaking my heart, highlights the pain of abandonment and the scars left by someone who turns away.
मुझको तड़पाया क्यों, तू भी तड़पेगा यूँ
Why have you made me suffer? You too will suffer in return, portraying the cyclical nature of heartache in relationships.
याद रख बेवफा, ये मेरी बद्दुआ
Remember, unfaithful one, this is my curse, signaling the anguish that comes from betrayal and the desire for justice.
तूने जिसके लिए मुझको धोखे दिए
For whom you gave me falsehoods and deceit, pointing to the sacrifice made for someone unworthy, wrapped in pain and disillusionment.
वो तेरी दिलरुबा लेगी बदला मेरा
That beloved of yours will take revenge for me, expressing the idea that karma will catch up with those who betray.
मैं ये ग़म हुमानशी, भूल सकती नहीं
This human sorrow, I cannot forget, underscoring the lasting impressions of emotional pain that reside deep within.
वो इरादे तेरे, झूठे वादे तेरे
Those promises of yours, made with hollow intentions, reminding us that words can often be empty, leading to deeper wounds.
जब याद आते हैं दिल पर बस तीर चल जाते हैं
When memories surface, arrows pierce the heart, illustrating the sharp, piercing pain that nostalgia and remembrance can evoke.
Lyrics © Universal Music Publishing Group
Written by: ANAND BAKSHI, R. D. BURMAN
Lyrics Licensed & Provided by LyricFind
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@pcmsolutions4421
Indore ki wo sham ham nahi bhul sakta😢❤
@anitawakeley7346
Absolutely mind-blowing song Lata Mangeshkar Godgifted voice ❤
@gangarampradhan1707
Men bhagyaban hun ki Lata Didi me jamane me Maine Janam liya.
@monikarathore4787
Kitna pyara song aur her word akdam sahin h
@trikamrathod6755
W....o....w.... Lata di ..... mind blowing perform
@a.t.mshahidalam9014
unique gift from almighty....Lata ji , unparallel
@MurshidAhmad-nr9pc
Great lata ji
@rahulsharma-nk7qt
Just listen to the tabla excellent beats and beautiful composition by RD Burman.
@naveedahmed8213
Nice sweet heear touching song. Sung by great lata Didi. Jeo Didi.
@alpeshprajapati1973
Awesome ❤❤❤