She was the voice of India, its enduring soundtrack in long, lonely days; Under moonlit nights on the terrace; on drive through dark and damp roads; Alone on the kitchen radio on a work-filled afternoon; And by the light of a laptop on deadline-challenging evenings. He sang to ease our pain, to fill us with joy, and sometimes to give us courage.
The heart of India beats in your voice, the great music director Naushad once wrote to him. He couldn’t have kept it better.
live update: Lata Mangeshkar passed away at the age of 92; India mourns the death of its Nightingale
For three generations of India, Lata Mangeshkar was what music scholar Pavitra Sundar has called the ideal voice of Indian femininity, forever charming and forever pure, in contrast to husky-voiced women like Noor Jahan and Shamshad Begum, who have called her Sung in front Her rise coincided with India’s independence and the golden years of Indian cinema, her voice becoming the epitome of the fresh-faced Indian woman, and her sister Asha, identified with the more Western woman, usually to the tune of RD Burman’s music. She was dancing ,
The notion of innocence was reinforced in Lata’s personal life. She never married, was always associated with music being in the public eye. Equally devoted to her family, her story became familiar with her poignancy. A 13-year-old girl has to sing to survive after her father, a theater and film producer, who is also her mentor, dies of heart disease. Master Vinayak (later known as the father of actress Nanda), a Marathi film director, takes over the family. Lata moves to Mumbai at the age of 16, begins taking Hindustani classical music lessons from Ustad Aman Ali Khan, plays minor roles in Master Vinayak’s first Hindi-language film Badi Maa (1945), where she also sings a bhajan. sings. After Vinayak’s death, he is helped by Ghulam Haider, who gives him his first big break with the song ‘Dil Mera Toda, Mujhe Kahin Ka Na Chhora’ in Majboor (1948). Then no one is stopping him.
Its consistency and durability is amazing. If she was the voice singing Madhubala’s ‘Aayega Aane Wala’, her breakout song in Mahal (1949), she was also the song of liberation for Waheeda Rehman in ‘Aaj Phir Jeene Ki Tamanna Hai’ in Guide (1965). She embodied Rekha’s sensual longing in ‘Yeh Kahan Aa Gaye Hum’ (Silsila, 1981), she was also the epitome of playfulness in ‘Didi, Tere Devar Deewana’ in Hum Aapke Hain Koun..! (1994). Playback singing in India has not been just about dubbing, it’s about feeling and acting. As Nasreen Munni Kabir writes in Lata Mangeshkar, there is an interesting question to ask: In Her Own Voice (Nyogi Books, 2009), is Lataji singing for the actress or is the actress’s performance determined by her?
Her sister Asha Bhosle’s voice was considered more erotic, but listen to ‘Aaja Piya Tohe Pyaar Doon’, where Asha is romancing one Rajesh Khanna in Parekh’s Bahaon Ke Sapne (1967), or Nanda is seen romancing one on a houseboat. Caught herself dancing in a slinky white nightgown. In ‘Yeh sama, sama hai ye pyar ka’ in Jab Jab Phool Khile (1965). She can inspire us to sing along with Kishore Kumar in ‘Tere Mere Milan Ki Yeh Raina’ in Abhimaan (1973) or sing with Roopkumar Rathod in ‘Tere Liye’ in Veer-Zaara (2004) Huh. She sang with the children of musicians she worked with, she sang bhajans and ghazals, she sang in Marathi and Tamil, she sang at sold-out concerts abroad and at national events at home. She was a national treasure, the Didi of Bollywood, the Nightingale Queen of India, long before she emerged on the stage of the Political Didi.
It’s hard to imagine the working conditions of his early career, studios with no air-conditioning, shifts that sometimes start at 9 a.m. and end the next morning, 20 or 30 takes on an empty stomach for a song at a time , long rehearsals, and no credits at the start. He sang with his heart out, no matter what the world around him was like.
From weekly pictograms to holiday antakshari to weekday commutes, the creeper resonates in your ears from years of listening. ‘Tu Jahan Jahan Chalega, Mera Saaya Saath Hoga’ (Wherever you go, my shadow will follow), he sang for Sadhana in Mera Saaya (1966). Awarded with many awards, the most important being the Bharat Ratna, received by millions, and even more beloved, she is the shadow that always shows us the light. You must be superior to your master, his father once told him.
He has done.
The author is a senior journalist and former editor of India Today magazine. The views expressed in this article are those of the author and do not represent the stand of this publication.
read all breaking news, today’s fresh news And coronavirus news Here.
,