Lata Mangeshkar (Hindi pronunciation:[ləˈt̪aːməŋˈɡeːʃkəɾ]ⓘ; bornHema Mangeshkar; 28 September 1929 – 6 February 2022)[9] was an Indianplayback singer and occasionalmusic composer. She is considered to be one of the greatest and most influential singers of theIndian subcontinent.[10][11][12][13] 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".[14]
Mangeshkar recorded songs in over thirty-six Indian languages and a few foreign languages, though primarily inHindi,Bengali andMarathi.[14][15] She received several accolades and honors throughout her career. In 1989, theDadasaheb Phalke Award was bestowed on her by theGovernment of India.[16] In 2001, in recognition of her contributions to the nation, she was awarded theBharat Ratna, becoming only the second singer to receive India's highest civilian honour.[17] In 2009, France made her an Officer of theNational Order of the Legion of Honour, the country's highest civilian award.[18]
Her father,Deenanath Mangeshkar was aMarathi andKonkani classical singer and theatre actor. Deenanath's father was Ganesh Bhatt Bhikoba (Bhikambhatt) Navathe Hardikar (Abhisheki), aKarhade Brahmin[22] who served as apriest at the famousMangeshi Temple in Goa.[23] Deenanath's mother Yesubai was his father'smistress[24] belonging to theDevadasi community of Goa,[25][22][26] a matrilineal community of temple artists now known asGomantak Maratha Samaj.[27] As a Devadasi, Yesubai was a reputed musician. Deenanath's father's surname wasHardikar.[22]: 47–48 Deenanath had taken the surname Mangeshkar, based on the name of his ancestral village,Mangeshi in Goa.[27][25]
Her mother, Shevanti (later renamed Shudhamati), was aGujarati woman[28] fromThalner,Bombay Presidency (now in northwestMaharashtra). Shevanti was Deenanath's second wife; his first wife Narmada, who had died before his marriage to Shevanti, was Shevanti's older sister.[29] Her maternal grandfather, Seth Haridas Ramdas Lad, was fromGujarat, a prosperous businessman and landlord of Thalner. She learnedGujarati folk songs such asgarbas ofPavagadh from her maternal grandmother.[30]
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.[31]
She was the eldest child in the family.Meena,Asha,Usha andHridaynath, in birth order, are her siblings; all are accomplished singers and musicians.[32]
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 inMarathi). On her first day of school,[31] Mangeshkar left because she was not allowed to bring her sister Asha along with her.[33]
In 1942, when Mangeshkar was 13, her father died ofheart disease.[34]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.[35]
She sang the song "Naachu Yaa Gade, Khelu Saari Mani Haus Bhaari", which was composed by Sadashivrao Nevrekar for Vasant Joglekar'sMarathi movieKiti Hasaal (1942), but the song was dropped from the final cut.[36] Vinayak gave her a small role in Navyug Chitrapat's Marathi moviePahili Mangalaa-gaur (1942), in which she sang "Natali Chaitraachi Navalaai" which was composed by Dada Chandekar.[31] Her first Hindi song was "Mata Ek Sapoot Ki Duniya Badal De Tu" for the Marathi filmGajaabhaau (1943).[37] 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.[20]
She moved toMumbai in 1945 when Master Vinayak's company moved its headquarters there. She started taking lessons inHindustani classical music from Ustad Aman Ali Khan of Bhindibazaar Gharana.[38][39] She sang "Paa Lagoon Kar Jori" for Vasant Joglekar's Hindi-language movieAap Ki Seva Mein (1946),[31] which was composed by Datta Davjekar.[40] The dance in the film was performed byRohini Bhate, who later became a famous classical dancer.[41] Lata and her sister Asha played minor roles in Vinayak's first Hindi-language movie,Badi Maa (1945). In that movie, Lata also sang abhajan, "Maata Tere Charnon Mein." She was introduced to music directorVasant Desai during the recording of Vinayak's second Hindi-language movie,Subhadra (1946).[42][43]
After Vinayak's death in 1948, music directorGhulam Haider mentored her as a singer. He introduced her to producerSashadhar Mukherjee, who was then working on the movieShaheed (1948), but Mukherjee dismissed her voice as "too thin".[31] 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 byNazim Panipati—in the movieMajboor (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."[31][44]
Initially, she is said to have imitated the acclaimed singerNoor Jehan, but she later developed her own style of singing.[31] 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. Asoprano 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.[45] Although she had limitedcoloratura skills in her early career, she developed better tone and pitch as she progressed in her playback career.[46] Lyrics of songs in Hindi movies were, in those days, primarily composed by Urdu poets and contained a higher proportion ofUrdu words, including the dialogue. ActorDilip Kumar once made a mildly disapproving remark about her accent while singing Hindi/Urdu songs; so for a period of time, she took lessons in Urdu from an Urdu teacher named Shafi.[47] 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.[48]
One of her first major hits was "Aayega Aanewaala," a song in the movieMahal (1949), composed by music directorKhemchand Prakash and lip-synced on screen by actressMadhubala.[49][a] 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 a stuntman 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 the recognition they deserved.[20]
She sang manyraga-based songs forNaushad in movies such asDeedar (1951),Baiju Bawra (1952),Amar (1954),Uran Khatola (1955) andMother India (1957).[49]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 forBarsaat (1949),Aah (1953),Shree 420 (1955) andChori Chori (1956). Before 1957, composer S. D. Burman chose her as the leading female singer for his musical scores inSazaa (1951),House No. 44 (1955), andDevdas (1955). However a rift developed between her and Burman in 1957, and she did not sing his compositions again until 1962.[31]
Her songAye Maalik Tere Bande Hum which was the original composition of Vasant Desai and used in the filmDo Aankhen Barah Haath on 1957, was adapted by a Pakistani school as the school anthem.[57]
In 1961, she recorded two popularbhajans, "Allah Tero Naam" and "Prabhu Tero Naam", for Burman's assistant,Jaidev.[52] In 1962, she was awarded her second Filmfare Award for the song "Kahin Deep Jale Kahin Dil" fromBees Saal Baad, composed by Hemant Kumar.[52]
In 1963, she returned to collaborate with S. D. Burman.[61] She had sung inR. D. Burman's first film,Chhote Nawab (1961), and later in his films such asBhoot Bungla (1965),Pati Patni (1966),Baharon ke Sapne (1967), andAbhilasha (1969).[62][63] She also recorded several popular songs for S. D. Burman, including "Aaj Phir Jeene Ki Tamanna Hai", "Gata Rahe Mera Dil" (duet withKishore Kumar) and "Piya Tose" fromGuide (1965), "Hothon Pe Aisi Baat" fromJewel Thief (1967), and "Kitni Akeli Kitni Tanhaa" fromTalash.[64][65][66][67]
During the 1960s, she continued her association with Madan Mohan, which included the songs "Aap Ki Nazron Ne Samjha" fromAnpadh (1962), "Lag Jaa Gale" and "Naina Barse Rim Jhim" fromWoh Kaun Thi? (1964), "Woh Chup Rahen To" fromJahan Ara (1964), "Tu Jahan Jahan Chalega" fromMera Saaya (1966) and "Teri Aankho Ke Siva" fromChirag (1969),[68] and she had a continuing association with the maestros Shankar Jaikishan, who got her to sing in various genres in the 1960s.[69][70]
She made herKannada debut in 1967 for the filmKranthiveera Sangolli Rayanna by recording two songs for the music director Lakshman Berlekar.[73] The song "Bellane Belagayithu" was well received and appreciated.[74]
In the 1960s, she recorded duets withKishore Kumar,Mukesh,Manna Dey,Mahendra Kapoor andMohammed Rafi. For a brief period during the 1960s, she was not on good terms with Mohammed Rafi over the issue of royalty payments to singers. She 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.[75] 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.[76] The music director Shankar Jaikishan later negotiated a reconciliation between the two.[77]
In 1969 he recorded Marathi song "Mi Dolkara Daryacha Raja" alongside Lata Mangeshkar, composed by Hridaynath Mangeshkar. Emerged as huge hit.[78]
In 1972,Meena Kumari's last film,Pakeezah, was released. It featured popular songs including "Chalte Chalte" and "Inhi Logon Ne", sung by Mangeshkar, and composed by Ghulam Mohammed. She recorded many popular songs for S. D. Burman's last films, including "Rangeela Re" fromPrem Pujari (1970), "Khilte Hain Gul Yahaan" fromSharmeelee (1971) and "Piya Bina" fromAbhimaan (1973)[b] and for Madan Mohan's last films, includingDastak (1970),Heer Raanjha (1970),Dil Ki Rahen (1973),Hindustan Ki Kasam (1973),Hanste Zakhm (1973),Mausam (1975) andLaila Majnu (1976).[80]
From the 1970s onward, she also staged many concerts in India and abroad, including several charity concerts. She transformed the way Indian music concerts were perceived in the West.[88] Her first concert overseas was at theRoyal Albert Hall,London, in 1974. (Despite some sources claiming that she was the first Indian to do so,[89][90] according to the Hall's own records, the first Indian to perform there was the lateRavi Shankar, on 21 October 1969.[91]) Until that time, film music concerts were song-and-dance affairs held in community halls and colleges, rarely taken seriously. Mangeshkar demanded to sing in mainstream halls only, which was an honour that until then was bestowed only upon classical musicians.[88]
She also released an album ofMirabai'sbhajans, "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".[92] 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 byShrinivas Khale.[93][94]
In the 1978Raj Kapoor-directedSatyam Shivam Sundaram, she sang the main theme song "Satyam Shivam Sundaram," among the chart-toppers of the year. The film's story is inspired by her, according to Kapoor's daughter Ritu Nanda in her bookRaj Kapoor. 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."[95]
In the late 1970s and early 1980s, she worked with the children of composers she had earlier worked with. Some of these composers includedRahul Dev Burman, son ofSachin Dev Burman,Rajesh Roshan, son ofRoshan,Anu Malik, son of Sardar Malik, andAnand–Milind, sons ofChitragupta.[96] She also sang many songs in the Assamese language and developed a very good relationship with the Assamese musicianBhupen Hazarika. She sang many songs under his direction; the song "Dil Hoom Hoom Kare" fromRudaali (1993) made the highest record sales that year.[97][98][99]
In the 1980s, the composer duoLaxmikant–Pyarelal had Lata sing their biggest hits—"Sheesha Ho Ya Dil Ho" inAsha (1980), "Tu Kitne Baras Ka" inKarz (1980), "Kitna Aasan Hai" inDostana (1980), "Hum Ko Bhi Gham" inAas Paas (1980), "Mere Naseeb Mein" inNaseeb (1980), "Zindagi Ki Na Toote" inKranti (1981), "Solah Baras Ki" inEk Duuje Ke Liye (1981), "Ye Galiyan Ye Chaubara" inPrem Rog (1982), "Likhnewale Ne Likh Dale" inArpan (1983), "Din Maheene Saal" inAvtaar (1983), "Pyar Karnewale" and "Nindiya Se Jagi" inHero (1983), "Zu Zu Zu Yashoda" inSanjog (1985), "Zindagi Har Qadam" inMeri Jung (1985), "Baith Mere Paas" inYaadon Ki Kasam (1985), "Ungli Mein Anghoti" inRam Avtar (1988) and "O Ramji Tere Lakhan Ne" inRam Lakhan (1989).[103]
SomeRahul Dev Burman compositions for Lata in these years include "Aaja Sar-e-Bazaar" inAlibaba Aur 40 Chor (1980), "Bindiya Tarase" inPhir Wohi Raat (1981), "Thodi Si Zameen" inSitara (1981), "Kya Yahi Pyar Hai" inRocky (1981), "Dekho Maine Dekha" inLove Story (1981), "Tune O Rangeele" inKudrat (1981), "Jaane Kaise Kab" inShakti (1982), "Jab Hum Jawan Honge" inBetaab (1983), which became instantly popular, "Humein Aur Jeene" inAgar Tum Na Hote (1983), "Tujhse Naraaz Nahin" inMasoom (1983), "Kahin Na Ja" and "Jeevan Ke Din" inBade Dil Wala (1983), "Jaane Kya Baat" inSunny (1984), "Bhuri Bhuri Aankhon" inArjun (1985), "Sagar Kinare" inSagar (1985), "Din Pyar Ke Aayenge" inSavere Wali Gaadi (1986). "Kya Bhala Hai Kya", "Khamosh Sa Afsana" and "Seeli Hawa Chhoo" inLibaas (1988).
Rajesh Roshan's collaboration with Dev Anand inLootmaar andMan 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" inSwayamwar (1980), "Kabhi Kabhi Bezubaan" inJohny I Love You (1982), "Tujh Sang Preet" inKaamchor (1982), "Angrezi Mein Khete Hai" inKhud-Daar (1982), "Ankhiyo Hi Ankhiyo Mein" inNishaan (1983), "Dushman Na Kare" inAakhir Kyon? (1985) and "Wada Na Tod" inDil Tujhko Diya (1987), later featured in the soundtrack of the 2004 filmEternal Sunshine of the Spotless Mind.[104]
Bappi Lahiri composed some songs for Lata, such as "Dooriyan Sab Mita Do" inSaboot (1980), "Baithe Baithe Aaj Aayi" inPatita (1980), "Jaane Kyun Mujhe" inAgreement (1980), "Thoda Resham Lagta Hai" inJyoti (1981), "Dard Ki Ragini" inPyaas (1982), and "Naino Mein Sapna" (duet with Kishore Kumar) inHimmatwala (1983).[105]
Mohammed Zahur Khayyam continued to work with her during the 80s and composed songs such as "Hazaar Rahein Mud" (duet with Kishore Kumar) inThodisi Bewafai (1980), "Simti Huyi" fromChambal Ki Kasam (1980), "Na Jane Kya Hua" inDard (1981), "Chandni Raat Mein" inDil-e-Nadaan (1982), "Dikhayi Diye" inBazaar (1982), "Chand Ke Paas" inDil-e-Nadaan (1982), "Bhar Lein Tumhe" and "Aaja Nindiya Aaja" fromLorie (1984) and "Kiran Kiran Mein Shokhiyan" inEk Naya Rishta (1988).[106]
During the 80s, Lata sang hits such as "Sun Sahiba Sun" inRam Teri Ganga Maili (1985) for Ravindra Jain, "Chand Apna Safar" inShama (1981), "Shayad Meri Shaadi" and "Zindagi Pyar Ka" inSouten (1983), "Hum Bhool Gaye Re" inSouten Ki Beti (1989) for Usha Khanna. Hridaynath Mangeshkar had "Kale Kale Gehre Saye" inChakra (1981), "Ye Ankhen Dekh Kar", and "Kuchh Log Mohabbat Ko" inDhanwan (1981), "Mujhe Tum Yaad Karna" inMashaal (1984), Assamese song "Jonakore Rati" (1986) with music and lyrics byDr. Bhupen Hazarika, "Jaane Do Mujhe" inShahenshah (1989) for Amar-Utpal, "Sajan Mera Us Paar" inGanga Jamuna Saraswati (1988) and "Mere Pyar Ki Umar" inWaaris (1989) for Uttam Jagdish.[107]
In 1991,Indonesiandangdut singer,Rhoma Irama invited Mangeshkar to collaborate ona number of songs, in album entitled "Album Khusus Soneta Volume 1 - Ratu Dangdut Dunia Lata Mangeshkar".[117][120] Rhoma also called Mangeshkar as Ratu Dangdut Dunia (World Dangdut Queen).[119]
From 1998 to 2014,A. R. Rahman recorded a few songs with her, including "Jiya Jale" inDil Se.. (1998), "Ek Tu Hi Bharosa" inPukar (2000), "Pyaara Sa Gaon" inZubeidaa (2000), "So Gaye Hain" inZubeidaa, "Khamoshiyan Gungunane Lagin" inOne 2 Ka 4 (2001), "O Paalanhaare" inLagaan (2001), "Lukka Chuppi" inRang De Basanti (2006) andLaadli inRaunaq (2014).[126] She made an on-screen appearance in the filmPukar singing "Ek Tu Hi Bharosa."[127]
In 1999, Lata Eau de Parfum, aperfume brand named after her, was launched.[131]She was also awardedZee Cine Award for Lifetime Achievement the same year[132]In 1999, she was nominated as a member ofRajya Sabha.[133] However, she did not attend Rajya Sabha sessions regularly, inviting criticism from several members of the House, including the Deputy ChairpersonNajma Heptullah,Pranab Mukherjee andShabana Azmi.[134][135] 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.[134][136]
In 2001, Mangeshkar was awarded theBharat Ratna, India's highest civilian honour.[137]
In the same year, she established the Master Deenanath Mangeshkar Hospital inPune, managed by the Lata Mangeshkar Medical Foundation (founded by the Mangeshkar family in October 1989). In 2005, she designed a jewellery collection called Swaranajali, which was crafted by Adora, an Indian diamond export company. Five pieces from the collection raised £105,000 at aChristie's auction, and a part of the money was donated for the2005 Kashmir earthquake relief.[138] Also in 2001, she recorded her first Hindi song with the composerIlaiyaraaja, for the filmLajja; she had earlier recordedTamil andTelugu songs composed by Ilaiyaraaja.[139]
After 14 years, she recorded a song for composerNadeem-Shravan; "Kaise Piya Se" forBewafaa (2005).[141] She recorded with Shamir Tandon "Kitne Ajeeb Rishte Hain Yahan Pe" forPage 3 (2005) and "Daata Sun Le" forJail (2009).
On 21 June 2007, she released the albumSaadgi, featuring eightghazal-like songs written byJaved Akhtar and composed by Mayuresh Pai.[142]
On 12 April 2011, Mangeshkar released the albumSarhadein: Music Beyond Boundaries, which contains the duet "Tera Milna Bahut Acha Lage" by her andMehdi Hassan (written by Pakistan's Farhad Shahzad). The album featuresUsha Mangeshkar,Suresh Wadkar,Hariharan,Sonu Nigam,Rekha Bhardwaj and another Pakistani singer,Ghulam Ali, with compositions by Mayuresh Pai and others.[143][144]
Shamir Tandon recorded a song with her ("Tere Hasne Sai Mujheko") for the filmSatrangee Parachute (2011).[145] After a hiatus she came back to playback singing and recorded at her own studio the song "Jeena kya hai, jaana maine" forDunno Y2... Life Is a Moment (2015), the sequel to Kapil Sharma's queer love storyDunno Y... Na Jaane Kyun (2010) for which also she had lent her voice to one song.[146]
On 28 November 2012, she launched her own music label, LM Music, with an album ofbhajans,Swami Samarth Maha Mantra, composed by Mayuresh Pai. She sang with her younger sister Usha on the album.[147]
In 2014, she recorded a Bengali album,Shurodhwani, including poetry by Salil Chowdhury, also composed by Pai.[148] Lata Mangeshkar also recorded "Laadli" song with A.R.Rahman for his music albumRaunaq (Album) (2014).[126]
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.[19]
On 17 January 2024, Prime MinisterNarendra Modi posted Lata's last recording, "Shree Ramarpan", ashloka based on theRama Raksha Stotra recorded by her in 2021, with music by Mayuresh Pai.[149]
Mangeshkar has sung 185 songs inBengali,[7] making her debut in 1956 with the hit song "Aakash Prodeep Jwole", composed by Satinath Mukhopadhyay.[150] The same year, she recorded "Rongila Banshite", composed byBhupen Hazarika, which was also a hit.[151] 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" inMaya, and "O Sajna" inParakh.[152] In 1960, she recorded "Akash Pradip Jole".[153] 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 likeSudhin Dasgupta, Hemant Kumar and Salil Chowdhury.[154][155][156][157][158][159][160]
Lata Mangeshkar composed music for the first time in 1955 for the Marathi movieRam Ram Pavhane. Later in the 1960s, she composed music for followingMarathi movies under the pseudonym of Anand Ghan.[167][168][169]
She won Maharashtra State Government's Best Music Director Award for the filmSadhi Manase. The song "Airaneechya Deva Tula" from the same film received best song award.[170]
On 8 January 2022, Mangeshkar tested positive forCOVID-19 with mild symptoms and was admitted toBreach Candy Hospital's intensive care unit inMumbai. She remained in the ICU with signs of "marginal improvement" in her health. The doctors treating her had taken her off theventilator on 28 January after her health "improved marginally";[172] however, she was back on the ventilator on 5 February, after her health deteriorated, and was undergoing "aggressive therapy".[173]
In 1984, the State Government ofMadhya Pradesh instituted theLata Mangeshkar Award in her honour. The State Government of Maharashtra also instituted a similar award in 1992.[195]
In 2009, she was awarded the title of Officer of the FrenchLegion of Honour, France's highest order.[196]
Ustad Bade Ghulam Ali Khan said "kambakht, kabhi besuri na hoti" ("[she] is never off-key").[198] ActorDilip Kumar once commented, "Lata Mangeshkar ki awaaz kudrat ki takhleek ka ek karishma hain", meaning "Lata Mangeshkar's voice is a miracle from God".[199]
Lata Mangeshkar was included in the 'In Memoriam' segment at the 2022 British Academy Film and Television Awards (BAFTA).[200]
Lata was 84th onRolling Stone's list of the 200 Greatest Singers of All Time, published on 1 January 2023.[201]
The first Assamese-language book on Lata Mangeshkar,Swarnokonthi Lata Mangeshkar, was written by Rousanara Begum and published in 2015.[205]
Lata Geetkosh, encyclopedia of the songs sung by Lataji has been published bySnehasis Chatterjee in 15 volumes. Containing all pertinent information for the songs (i.e. First Line of the song, Releasing Year, Lyricist, Music Composer, Name of the Film with Year, Name of the Co-Singer/s, Gramophone Record Numbers etc), Detailed information of the films (i.e. Name of the Film, Banner/producer, Music Director, Casting) and many more. Full text (i.e. Lyrics) of each and every song also available in Lata Geetkosh.
In 1974,Guinness World Records listed Lata Mangeshkar as the most recorded artist in history, stating that she had reportedly recorded "more than 25,000 solo,duet and chorus backed songs in 20 Indian languages" between 1948 and 1974. Her record was contested byMohammed Rafi, who was claimed to have sung around 28,000 songs.[206][207] After Rafi's death, in its 1984 edition, the Guinness Book of World Records stated her name for the "Most Recordings", but also stated Rafi's claim. The later editions of Guinness Book stated that she had sung no fewer than 30,000 songs between 1948 and 1987.[208]
The entry was discontinued by Guinness editions in 1991 without explanation, while several sources continued to claim that she recorded thousands of songs, with estimates ranging up to figures as large as 50,000.[209][210] However, even the earliest Guinness claim of 25,000 songs (between 1948 and 1974) was disputed and claimed to have been exaggerated by several others, stating that the number of songs sung by her inHindi films to 1991 was found to be 5025.[211][212][213][214] Mangeshkar stated that she did not keep a record of the number of songs she recorded, and that she did not know from where Guinness Book editors got their information.[215] In 2011, the entry was revived byGuinness crediting the record to her sisterAsha Bhosle as the most recorded artist in music history, "for recording up to 11,000 solo, duet and chorus-backed songs and in over 20 Indian languages since 1947".[216] Since 2016, current record in this category belongs toP. Susheela, for recording at least 17,695 songs in 6 languages, not counting some lost early recordings.[217][218]
^In one of her interviews, Lataji said, that Madhubala used to have it written in her contract, that her songs would be sung by Lata only[50]
^Abhimaan was directed by Hrishikesh Mukherjee who always lavished praise on Lata Mangeshkar's work. Her timeless contributions forAbhimaan included other classicals also likeAb Toh Hai Tumse andNadiya Kinare. Lata never charged a single penny for her work in Mukherjee's films. When asked about the fee, she would reply,Dada, aapse kya paisa lena? [O! my big brother. How may I take money from you!!][79]
^hai Na BBB (1995).In search of Lata Mangeshkar. Indus. p. 49.ISBN978-81-7223-170-5.I may be a Brahmin by Karma, but by birth I am both a Brahmin and a Maratha", he would say, for his mother Yesubai (Rane) was a 'Maratha'
^abcHarish Bhimani (1995).In search of Lata Mangeshkar. Indus. p. 214.ISBN978-81-7223-170-5.My research ... revealed that, her paternal grandmother Yesubai Rane, who lived near the temple in a house called Chandramouli, and Lata's paternal grandfather Ganeshbhatt Bhikoba (Bhikambhatt) Abhisheki who was the head priest of the same temple were united according to the prevailing tradition of the times.
^Harish Bhimani (1995).In search of Lata Mangeshkar. Indus. p. 49.ISBN978-81-7223-170-5.I may be a Brahmin by Karma, but by birth I am both a Brahmin and a Maratha", he would say, for his mother Yesubai (Rane) was a 'Maratha'
^Cabral e Sá, Mário (1997).Wind of fire: the music and musicians of Goa. Promilla & Co. p. 166.ISBN978-81-85002-19-4.
Lata, Mangeshkar (1995). Madhuvanti Sapre; Dinkar Gangal (eds.).In search of Lata Mangeshkar (in Marathi). HarperCollins/Indus.ISBN978-81-7223-170-5. A collection of articles written by Lata Mangeshkar since 1952.
Nerurkar, Vishwas.Lata Mangeshkar Gandhar Swaryatra (1945–1989) (in Hindi). Mumbai: Vasanti P. Nerukar.
Bichhu, Mandar V. (1996).Gaaye Lata, Gaaye Lata (in Hindi). Sharjah: Pallavi Prakashan.ISBN978-81-7223-170-5. A collection of articles written by Lata Mangeshkar since 1952.
Verma, Sunanda (2018).Namaste, Lata Mangeshkar! Her voice touches at least a billion hearts. Singapore: The Indologist.ISBN978-9814782111.
Chatterjee, Snehasis.Lata Geet Kosh.
Bhawana Somaaya (2006). "Lata Mangeshkar". In Malvika Singh (ed.).Freeing the Spirit: The Iconic Women of Modern India. New York.ISBN978-0-14-310082-9.
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