Lata Mangeshkar

Lata Mangeshkar (Hindi pronunciation: [ləˈt̪aː məŋˈɡeːʃkəɾ] ; born Hema Mangeshkar; 28 September 1929 – 6 February 2022) was an Indian playback singer and occasional music composer. She is considered to be one of the greatest and most influential singers of the Indian subcontinent. Her contribution to the Indian music industry in a career spanning eight decades gained her honorific titles such as the "Queen of Melody" and "Voice of the Millennium".

Mangeshkar recorded songs in over thirty-six Indian languages and a few foreign languages, though primarily in Hindi, Bengali and Marathi.

Known for her discipline, Mangeshkar always recorded her songs barefoot as a mark of respect for the recording studio, which she considered a temple. Despite her perfectionism, she famously never listened to her own songs after their release, stating in interviews that she would only find mistakes in her singing.

She received accolades and honors throughout her career. In 1989, the Dadasaheb Phalke Award was bestowed on her by the Government of India. In 2001, in recognition of her contributions to the nation, she was awarded the Bharat Ratna, becoming only the second singer to receive India's highest civilian honour. In 2009, France made her an officer of the National Order of the Legion of Honour, the country's highest civilian award.

She was the recipient of three National Film Awards, 15 Bengal Film Journalists' Association Awards, four Filmfare Best Female Playback Awards, before declining further ones, two Filmfare Special Awards, the Filmfare Lifetime Achievement Award amongst others. In 1974, she became the first Indian playback singer to perform at the Royal Albert Hall in London, England.

She appeared in the Guinness World Records as the most recorded artist in history before being replaced by her sister, Asha Bhosle.

Early life

Mangeshkar was born on 28 September 1929in Indore (in the present-day Indore district of Madhya Pradesh), then the capital of the princely state of Indore which was part of the Central India Agency in British India.

Her father, Deenanath Mangeshkar was a Marathi and Konkani classical singer and theatre actor. Deenanath's father was Ganesh Bhatt Bhikoba (Bhikambhatt) Navathe Hardikar (Abhisheki), a Karhade Brahmin who served as a priest at the famous Mangeshi Temple in Goa. Deenanath's mother Yesubai was his father's mistress belonging to the Devadasi community of Goa, a matrilineal community of temple artists now known as Gomantak Maratha Samaj. As a Devadasi, Yesubai was a reputed musician. Deenanath's father's surname was Hardikar. Deenanath had taken the surname Mangeshkar, based on the name of his ancestral village, Mangeshi in Goa.

Her mother, Shevanti (later renamed Shudhamati), was a Gujarati woman from Thalner, Bombay Presidency (now in northwest Maharashtra). Shevanti was Deenanath's second wife; his first wife Narmada, who had died before his marriage to Shevanti, was Shevanti's older sister. Her maternal grandfather, Seth Haridas Ramdas Lad, was from Gujarat, a prosperous businessman and landlord of Thalner. She learned Gujarati folk songs such as garbas of Pavagadh from her maternal grandmother.

Lata was named "Hema" at her birth. Her parents later renamed her after a female character, Latika, in one of her father's plays.

She was the eldest child in the family. Meena, Asha, Usha and Hridaynath, in birth order, are her siblings; all are accomplished singers and musicians.

She 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, Mangeshkar left because she was not allowed to bring her sister Asha along with her.

Career

1940s

In 1942, when Mangeshkar 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 her get started in a career as a singer and actress.

She 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). The Bollywood industry was yet to find its feet, so Mangeshkar had to first concentrate on acting, which she did not like, as the lights and people ordering her around made her feel uncomfortable.

She 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).

In 1947, composer Anil Biswas introduced Mangeshkar to actor Dilip Kumar on a local train in Mumbai. Upon learning that Mangeshkar was Maharashtrian, Kumar remarked that the "Urdu of Marathis smells of dal and rice" (dal-bhaat), implying that their native accent would interfere with the correct pronunciation of Urdu lyrics. Mangeshkar was initially offended by the comment and reportedly did not speak to Kumar for thirteen years. However, she later used the critique as motivation to improve her diction, hiring a Maulvi to teach her the nuances of the Urdu language. This pursuit of phonetic perfection became a hallmark of her later career, particularly in her performances of Urdu Ghazals. The two eventually reconciled in August 1970, and Mangeshkar traditionally tied a Rakhi on Kumar's wrist every year thereafter.

After Vinayak's death in 1948, music director Ghulam Haider mentored her as a singer. He introduced her to producer Sashadhar Mukherjee, who was then working on the movie Shaheed (1948), but Mukherjee dismissed her 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 her 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 2013, she declared "Ghulam Haider is truly my Godfather. He was the first music director who showed complete faith in my talent."

Initially, she is said to have imitated the acclaimed singer Noor Jehan, but she later developed her own style of singing. She brought a new signature style of singing to Indian film music, moving away from mehfil-style performances to suit both 'modern' and 'traditional' female protagonists. A soprano range voice with less volume or amplitude, she had enough weight in her voice to give definite shape to the melody of Indian film songs. Although she had limited coloratura skills in her early career, she developed better tone and pitch as she progressed in her playback career. Lyrics of songs in Hindi movies were, in those days, primarily composed by Urdu poets and contained a higher proportion of Urdu words, including the dialogue. In subsequent interviews she said that Noor Jehan 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. This was a defining moment for her, and a catalyst for the recognition of playback singers in India. Before this, playback singers were seen as the vocal equivalent of stuntmen, and remained invisible and uncredited. This song was such a big hit that Radio Goa revealed her identity and she became a star in her own right. This opened the door for other playback singers to achieve recognition.