Coordinates	12°58′0″N77°34′0″N
Name	Standard Hindi
Nativename	''Mānak Hindī''
Imagecaption	The word "Hindi" in Devanagari script
Familycolor	Indo-European
States	India, Mauritius and significant communities in USA, UK, Saudi Arabia, Malaysia, Singapore, United Arab Emirates, Australia, Myanmar, Canada, Nepal, Afghanistan, South Africa, Uganda, New Zealand
Speakers	180 million native in 1991
Fam2	Indo-Iranian
Fam3	Indo-Aryan
Fam4	Central zone
Fam5	Western Hindi
Fam6	Khariboli
Fam7	Hindustani
Script	Devanagari
Nation
Agency	Central Hindi Directorate (India)
Iso1	hi
Iso2	hin
Linglist	hin-hin
Lingua	59-AAF-q (with Urdu,including 58 varieties: 59-AAF-qaa to 59-AAF-qil)
Notice	Indic}}

Standard Hindi, or more precisely Modern Standard Hindi, also known as Manak Hindi (Devanagari: ), High Hindi, Nagari Hindi, and Literary Hindi, is a standardised and sanskritised register of the Hindustani language derived from the ''Khariboli'' dialect of Delhi (and the surrounding western Uttar Pradesh and southern Uttarakhand region). The primary official language of the Republic of India, it is one of the 22 official languages of India. The spoken Hindi dialects form an extensive dialect continuum of the Indic language family, bounded on the northwest and west by Punjabi, Sindhi, Gujarati and Marathi; on the southeast by Oriya; on the east by Maithili and Bengali; and on the north by Nepali.

Modern Hindi is mutually intelligible with the alternative register of the Hindustani language called Urdu. Mutual intelligibility decreases in literary and specialized contexts which rely on educated vocabulary. Because of religious nationalism since the partition of British India and continued communal tensions, native speakers of both Hindi and Urdu frequently assert them to be completely distinct languages, despite the fact that they generally cannot tell the colloquial languages apart. The combined population of Hindi and Urdu speakers is the fourth largest in the world. However, the number of native speakers of Standard Hindi is still ambiguous. According to the 2001 Indian census, 258 million people in India regarded their native language to be "Hindi". However, this includes large numbers of speakers of Hindi dialects besides Standard Hindi; as of 2009, the best figure ''Ethnologue'' could find for Khariboli Hindi was a dated 1991 figure of 180 million. Hindi is also enumerated as one of the twenty-two languages of the Eighth Schedule of the Constitution of India, which entitles it to representation on the Official Language Commission. The Constitution of India has stipulated the usage of Hindi and English to be the two languages of communication for the Central Government. Most of government documentation is prepared in three languages English, Hindi and the local state language.

It was envisioned that Hindi would become the sole working language of the central government by 1965 (per directives in Article 344 (2) and Article 351), with state governments being free to function in languages of their own choice. However, widespread resistance movements to the imposition of Hindi on non-native speakers, of especially the people living in south India (such as the Anti-Hindi agitations of Tamil Nadu) led to the passage of the Official Languages Act (1963), which provided for the continued use of English, indefinitely, for all official purposes. Therefore, English is still used in official documents, in courts, etc. However, the constitutional directive to the central government to champion the spread of Hindi was retained and has strongly influenced the policies of the Union government.

At the state level, Hindi is the official language of the following states in India: Arunachal Pradesh, Bihar, Jharkhand, Uttarakhand, Madhya Pradesh, Rajasthan, Uttar Pradesh, Chhattisgarh, Himachal Pradesh, Haryana, Delhi and Himachal Pradesh. Each of these states may also designate a "co-official language"; in Uttar Pradesh for instance, depending on the political formation in power, sometimes this language is Urdu. Similarly, Hindi is accorded the status of co-official language in several states.

History

The dialect upon which Standard Hindi is based is ''khariboli'', the vernacular of the Delhi and Uttar Pradesh region. This dialect acquired linguistic prestige in the Mughal Empire (17th century) and became known as ''Urdu'', "the language of the court." After independence, the Government of India set about standardising Hindi as a separate language from Urdu, instituting the following conventions:

standardisation of grammar: In 1954, the Government of India set up a committee to prepare a grammar of Hindi; The committee's report was released in 1958 as "A Basic Grammar of Modern Hindi"

standardisation of the orthography, using the Devanagari script, by the Central Hindi Directorate of the Ministry of Education and Culture to bring about uniformity in writing, to improve the shape of some Devanagari characters, and introducing diacritics to express sounds from other languages.

standardisation of vocabulary, replacing most of the more learned Persian loan words with new coinages from Sanskrit. (See next.)

Alphabet and vocabulary

Standard Hindi derives much of its formal and technical vocabulary from Sanskrit. Standard or ''shuddh'' ("pure") Hindi is used only in public addresses and radio or TV news, while the everyday spoken language in most areas is one of several varieties of Hindustani, whose vocabulary contains many words drawn from Persian and Arabic. In addition, spoken Hindi includes words from English and other languages as well. Actual Hindi (Devanagari) is spoken in the state of UP, Bihar, Rajasthan, Himachal Pradesh, MP, Chattisgarh, Jharkhand etc. Other states like Punjab, WestBengal, Orissa speak/use Hindi beside of their regional/state language. All over North, Central, East & West Indians use Hindi vastly. However, the literary registers differ substantially in borrowed vocabulary; in highly formal situations, the languages are barely intelligible to speakers of the other. Hindi has looked to Sanskrit for borrowings from at least the 19th century, and Urdu has looked to Persian and Arabic for borrowings from the eighteenth century. On another dimension, Hindi is associated with the Hindu community and Urdu with the Muslim community though this is much more a twentieth century phenomenon when the political impetus to actively distinguish Hindi from Urdu gathered pace amongst the educated Hindus driving this change. Prior to this it was the norm for both educated Hindu and Muslim Indians to be fluent in Urdu.

There are five principal categories of words in Standard Hindi: ''Tatsam'' (तत्सम् / ''same as that'') words: These are words which are spelled the same in Hindi as in Sanskrit (except for the absence of final case inflections). They include words inherited from Sanskrit via Prakrit which have survived without modification (e.g. Hindustani ''nām''/Sanskrit ''nāma'', "name"), as well as forms borrowed directly from Sanskrit in more modern times (e.g. ''prārthanā'', "prayer"). Pronunciation, however, conforms to Hindi norms and may differ from that of classical Sanskrit. Among nouns, the ''tatsam'' word could be the Sanskrit uninflected word-stem, or it could be the nominative singular form in the Sanskrit nominal declension. ''Ardhātatsam'' (अर्धातात्सम्) words: These are words that were borrowed from Sanskrit in the middle Indo-Aryan or early New Indo-Aryan stages. Such words typically have undergone sound changes subsequent to being borrowed. ''Tadbhav'' (तद्भव / ''born of that'') words: These are words which are spelled differently from Sanskrit but are derivable from a Sanskrit prototype by phonological rules (e.g. Sanskrit ''karma'', "deed" becomes Pali ''kamma'', and eventually Hindi ''kām'', "work").

''Deshaj'' (देशज) words: These are words that were not borrowings but do not derive from attested Indo-Aryan words either. Belonging to this category are onomatopoetic words.

''Videshī'' (विदेशी) words: these include all words borrowed from sources other than Indo-Aryan. The most frequent sources of borrowing in this category have been Persian, Arabic, Portuguese and English.

Similarly, Urdu treats its own vocabulary, borrowed directly from Persian and Arabic, as a separate category for morphological purposes.

Hindi from which most of the Persian, Arabic and English words have been ousted and replaced by ''tatsam'' words is called ''Shuddha Hindi'' (pure Hindi). Chiefly, the proponents of ''Hindutva'' ideology ("Hindu-ness") are vociferous supporters of ''Shuddha Hindi''.

Excessive use of ''tatsam'' words sometimes creates problems for most native speakers. Strictly speaking, the ''tatsam'' words are words of Sanskrit and not of Hindi—thus they have complicated consonantal clusters which are not linguistically valid in Hindi. The educated middle class population of India can pronounce these words with ease, but people of rural backgrounds have much difficulty in pronouncing them. Similarly, vocabulary borrowed from Persian and Arabic also brings in its own consonantal clusters and "foreign" sounds, which may again cause difficulty in speaking them.

Literature

Hindi literature, is broadly divided into four prominent forms or styles, being ''Bhakti'' (devotional – Kabir, Raskhan); ''Shringar'' (beauty – Keshav, Bihari); ''Veer-Gatha'' (extolling brave warriors); and ''Adhunik'' (modern).

Medieval Hindi literature is marked by the influence of Bhakti movement and the composition of long, epic poems. It was not written in the current dialect but in other Hindi languages, particularly in Avadhi and Braj Bhasha, but later also in Khariboli. During the British Raj, Hindustani became the prestige dialect. Hindustani with heavily Sanskritized vocabulary or ''Sahityik'' Hindi (Literary Hindi) was popularized by the writings of Swami Dayananda Saraswati, Bhartendu Harishchandra and others. The rising numbers of newspapers and magazines made Hindustani popular among the educated people. Chandrakanta, written by Devaki Nandan Khatri, is considered the first authentic work of prose in modern Hindi. The person who brought realism in the Hindi prose literature was Munshi Premchand, who is considered as the most revered figure in the world of Hindi fiction and progressive movement......

The ''Dwivedi Yug'' ("Age of Dwivedi") in Hindi literature lasted from 1900 to 1918. It is named after Mahavir Prasad Dwivedi, who played a major role in establishing the Modern Hindi language in poetry and broadening the acceptable subjects of Hindi poetry from the traditional ones of religion and romantic love.

In the 20th century, Hindi literature saw a romantic upsurge. This is known as ''Chhayavaad'' (''shadowism'') and the literary figures belonging to this school are known as ''Chhayavaadi''. Jaishankar Prasad, Suryakant Tripathi 'Nirala', Mahadevi Varma and Sumitranandan Pant, are the four major ''Chhayavaadi'' poets.

''Uttar Adhunik'' is the post-modernist period of Hindi literature, marked by a questioning of early trends that copied the West as well as the excessive ornamentation of the Chhayavaadi movement, and by a return to simple language and natural themes.

Sample text

The following is a sample text in High Hindi, of the Article 1 of the Universal Declaration of Human Rights (by the United Nations): : 1 —

Transliteration (IAST): :

Transcription (IPA): :.

Gloss (word-to-word): :Article 1 — ''All'' human-beings to dignity and rights' matter in from-birth freedom and equality acquired is. Them to reason and conscience's endowment acquired is and always them to brotherhood's spirit with behaviour to do should.

Translation (grammatical): :Article 1 — All human beings are born free and equal in dignity and rights. They are endowed with reason and conscience and should act towards one another in a spirit of brotherhood.

Sanskritization

Under the Indian government's encouragement, the officially sponsored version of the ''Khari-boli'' dialect has undergone a sea-change after it was declared the language of central government functioning in 1950. A major change has been the Sanskritisation of Hindi (introduction of Sanskrit vocabulary in Khariboli). Three factors motivated this conscious bid to sanskritize Hindi, being:

The independence movement inculcated a nationalistic pride in India's ancient culture, including its ancient classical language Sanskrit;

Independence was accompanied by partition along religious lines, with Muslim-majority areas seceding to form Pakistan, and a partial rejection of Persian and Arabic influence in the Hindu-majority areas; Saadat Hasan Manto, the Pakistani Urdu writer opposed to Hindi-Urdu divide.

The people of south and east India were averse to the dominance of the language and culture of north India in the affairs of the country. The Hindu populations of these regions did not identify with Hindi itself or with the Mughal (Persian, Turkic) cultural influences that had shaped Hindi, but they were more receptive to Sanskrit. Sanskritization was thus viewed as a means to make Hindi more palatable in practice.

In its non-Sanskritized form, the Khariboli-based dialect is the ''normal'' and principal dialect used in the Hindi cinema. It is almost exclusively used in contemporary Hindi television serials, songs, education, and of course, in normal daily speech in almost all the urban regions of north India, wherever Hindi is also the state language. The rural dialect varies from region to region.

See also

Hindi-Urdu (covers phonology, grammar, and orthography)

Hindi literature

History of Hindustani

Anti-Hindi agitations of Tamil Nadu

Hinglish

Languages of India and Languages with official status in India

List of languages by number of native speakers in India

The list of Hindi words and list of words of Hindi origin at Wiktionary, the free dictionary

References

Notes

Bibliography

Bhatia, Tej K. ''Colloquial Hindi: The Complete Course for Beginners''. London, UK & New York, NY: Routledge, 1996. ISBN 0-415-11087-4 (Book), 0415110882 (Cassettes), 0415110890 (Book & Cassette Course)

.

Grierson, G. A. ''Linguistic Survey of India'' Vol I-XI, Calcutta, 1928, ISBN 81-85395-27-6

McGregor, R. S. (1977), ''Outline of Hindi Grammar'', 2nd Ed., Oxford University Press, Oxford-Delhi, ISBN 0-19-870008-3 (3rd ed.)

. . . . .

Taj, Afroz (2002) ''A door into Hindi''. Retrieved November 8, 2005.

Tiwari, Bholanath ([1966] 2004) ''हिन्दी भाषा (Hindī Bhāshā)'', Kitāb Mahal, Allahabad, ISBN 81-225-0017-X.

Dictionaries

.

Further reading

Bhatia, Tej K ''A History of the Hindi Grammatical Tradition''. Leiden, Netherlands & New York, NY : E.J. Brill, 1987. ISBN 90-04-07924-6

External links

The Union: Official Language

Official Unicode Chart for Devanagari (PDF)

English to Hindi Transliteration Editor developed by C-DAC Mumbai

USA Foreign Service Institute (FSI) Hindi basic course

ఘబబభయ

* Category:Hindustani Category:Indo-Aryan languages Category:Languages of India Hindi

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Coordinates	12°58′0″N77°34′0″N
name	Ayesha Jhulka
birth name	Ayesha Jhulka
birth date	July 28, 1975
birth place	Srinagar, Kashmir, India
occupation	Film actress
years active	1983–present
spouse	Sameer Vashi
homepage	}}

Ayesha Jhulka (, born 28 July 1975 in Srinagar, Kashmir, India) is a Bollywood actress. She is the daughter of Wing Commander Jhulka, an Indian Air Force Officer. During her career, she has worked with major stars like Mithun Chakraborty, Govinda, Jackie Shroff, Nana Patekar, Aamir Khan, Salman Khan, Ajay Devgan, Suniel Shetty, Akshay Kumar, Shahrukh Khan etc.

Career

Jhulka made her debut in 1991 with ''Kurbaan'' opposite Salman Khan, which turned out to be hit. She got two popular hits in 1992, ''Jo Jeeta Wohi Sikander'' with Aamir Khan and ''Khiladi'' with Akshay Kumar. She was a new happening star in Bollywood. 1993 was also good for her, as her films ''Dalaal'' and ''Rang'' were hits. Though Dalaal was a hit at the box office, Ayesha was having problems with its maker because of a certain scene in which they used her body double. Jhulka filed complaints with the Cine Artistes Association and the Film Producers Association. Out of the three controversial scenes, two were subsequently deleted. But it made her hugely upset as she always played the girl next door kind of roles.

In 1993, she was part of two more average successes ''Waqt Hamara Hai'' and ''Meherbaan''. She was praised for films ''Balma'' and ''Sangram'', in which she played major roles along with Ajay Devgan and Karishma Kapoor. In the meantime, she also had an affair with Akshay Kumar. She was all set to marry Armaan Kohli and decided to leave films after her bad experience with ''Dalaal''. She completed all her assignments, but her relationship with Armaan came to an end, so was Ayesha's bright career.

Among her 1994's releases ''Jai Kishan'' did quite well, but others were flops. Now there were no movies in her hand. She did a few second cameos in ''Akele Hum Akele Tum'', which was her only release of 1995. Besides that Promos of her film ''Kisi Se Dil Laga Ke Dekho'' with Shahrukh Khan and Madhoo were on air in the same year. But that film could not see the light of the day.

After a gap, she returned to movies in 1996, with hit ''Masoom''. Her other film with Mithun called ''Suraj'' did quite well in masses, but it did not help her much. After the success of ''Masoom'', She got two important films ''Vishwavidhata'' and ''Ghoonghat''. In both the films, she was having roles with substance, but both films flopped at the box office. She did a cameo in Kamal Hasan's ''Chachi 420'', even though film did well and also received positive reviews, all she was getting were films opposite Mithun or with struggling newcomers by that time.

She had two major films in 1999, ''Kohram'', in which she got the role which was offered to Rani Mukherji and a delayed film called ''Hote Hote Pyar Ho Gaya'' with Jackie Shroff and Kajol. Her career could not shine like before, but small films kept coming her way including regional Punjabi films like ''Khalsa Mero Roop Hai Khas'', which did well abroad. She got films with good roles like ''Samvedna'' (a film based on homosexuals), ''Amma'' (in which she played role of 60 year old woman,waiting for her husband) and ''Janani'', but apart from ''Janani'' other two films could not be released.

In the meantime, she got married to construction tycoon Sameer Vashi. She played supporting but important roles in ''Run'' (2004), ''Socha Na Tha'' (2005) and ''Umrao Jaan'' (2006). Recently, She started play production and produced plays like ''Purush'' and ''Prakriti''.

Filmography

! Year !! Film !! Role !! Other notes
1983	''Kaise Kaise Log''	Pooja
1990	''Meet Mere Mann Ke''
		Chandra Singh
''Haye Meri Jaan''	Neelam
		Nisha Rai
''Khiladi''	Neelam Choudhury
''Jo Jeeta Wohi Sikandar''	Anjali
''Anaam''	Meghna
''Kohra''	Nisha
	''Kaise Kaise Rishte''
''Sangram''	Pallavi(saathi)
''Dalaal''	Roopali
''Rang''	Pooja
''Waqt Hamara Hai''	Ayesha
''Dil Ki Baazi''	Arti
''Aulad ke Dushman''	Shalu Kumar
	''Brahma''
''Ekka Raja Rani''
''Jai Kishen''	Anita
''Maha shaktishali''
	''Akele Hum Akele Tum''		Friendly Appearance
''Aashique Mastaane''	Malti
	''Masoom''	Chanda
''Muqaddar''
	''Chachi 420''	Ratna	Special Appearance
''Vishwavidhata''	Radha Khanna
''Judge Mujrim''	Dancer/Singer	Special Appearance
''Ghoonghat''
	''Dand Nayak''	Naina
''Barood''	Dancer
	''Purush''
''Phool Aur Aaj''		Special Appearance in song "Main Gaaon Dil Gaaye"
''Hote Hote Pyar Hogaya''	Shobha
''Kohram: The Explosion''	Sweety
	''Khalsa Mero Roop Hai Khaas''	Channi
	Anju Gupta
	''Hadh: Life On the Edge of Death''
	Shakeela
		Roopa
	''Aanch''	Devangi M. Thakur
		Shivani
	''Socha Na Tha''	Viren's bhabhi
	Sonia
	Khurshid
	''Keshyog''
	''ADA...A Way of Life''

References

External links

Category:Indian actors Category:Living people Category:People from Srinagar Category:1975 births Category:Indian film actors Category:Hindi film actors

kn:ಆಯೆಷಾ ಝುಲ್ಕಾ ml:ആയിഷ ഝുൽക്ക mr:आयेशा झुल्का

Coordinates	12°58′0″N77°34′0″N
name	Lata Mangeshkar
background	solo_singer
born	September 28, 1929Indore, Central India Agency, British India
instrument	Vocals
genre	Film music (playback singing)
occupation	Singer
years active	1942–present }}

Lata Mangeshkar (; born September 28, 1929) is a singer from India. She is one of the best-known and most respected playback singers in India. Mangeshkar's career started in 1942 and has spanned over six and a half decades. She has recorded songs for over a thousand Bollywood movies and has sung songs in over thirty-six regional Indian languages and foreign languages, though primarily in Hindi. She is the elder sister of singer Asha Bhosle, and Hridayanath Mangeshkar, Usha Mangeshkar and Meena Mangeshkar. She is the second vocalist to have ever been awarded the Bharat Ratna, India's highest civilian honour.

Mangeshkar was featured in the ''Guinness Book of World Records'' from 1974 to 1991 for having made the most recordings in the world. The claim was that she had recorded approximately 25,000 solo, duet, and chorus-backed songs in 20 Indian languages between 1948 to 1974 (30,000 songs between 1948 and 1987, according to the 1987 edition). Over the years, while several sources have supported this claim, others have raised concerns over its veracity, claiming that this number was highly exaggerated and that Mangeshkar's younger sister, Asha Bhosle, had more song recordings than she had.

Early life

Lata Mangeshkar was born in Sikh Mohalla, Indore, in the Central India Agency (now part of Madhya Pradesh). Her father, Pandit Deenanath Mangeshkar who belonged to a Gomantak Maratha Samaj family from Goa, was a classical singer and theater actor. Her mother Shevanti (Shudhamati) who was from Thalner, Maharashtra, was Deenanath's second wife. The family's last name used to be Hardikar; Deenanath changed it to Mangeshkar in order to identify his family with his native town, Mangeshi in 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 her parents. Meena, Asha, Usha and Hridayanath are her siblings in sequence.

Mangeshkar took her first music lessons 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 the first day in the school, she started teaching songs to other children. When the teacher stopped her, she was so angry that she stopped going to the school. Other sources cite that she left school because they would not allow her to bring Asha with her, as she would often bring her younger sister with her.

Singing career

Early career in the 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.

Mangeshkar sang the song "Naachu Yaa Gade, Khelu Saari Mani Haus Bhaari" which was composed by Sadashivrao Nevrekar for Vasant Joglekar's Marathi-language 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). Mangeshkar moved to Mumbai in 1945 when Master Vinayak's company moved its headquarters there. She started taking lessons in Hindustani classical music from Ustad Amanat Ali Khan Bhendibazaarwale. She sang “Paa Lagoon Kar Jori” for Vasant Joglekar's Hindi-language movie ''Aap Ki Seva Mein'' (1946), which was composed by Datta Davjekar. Mangeshkar and her sister Asha played minor roles 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).

Following the partition of India in 1947, Ustad Amanat Ali Khan Bhendibazaarwale migrated to newly formed Pakistan, so Mangeshkar started to learn classical music under Amanat Khan Devaswale. Pandit Tulsidas Sharma, a pupil of Ustad Bade Ghulam Ali Khan, also trained her.

After Vinayak's death in 1948, music director Ghulam Haider mentored her as a singer. Haider introduced Mangeshkar to producer Sashadhar Mukherjee, who was working then on the movie ''Shaheed'' (1948), but Mukherjee dismissed Mangeshkar's voice as "too thin." An annoyed Haider responded that in the coming years the producers and the 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,” from the movie ''Majboor'' (1948).

Initially, Mangeshkar is said to have imitated Noor Jehan, but later she 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 Mangeshkar'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.

“Aayega Aanewaala,” a song in the movie ''Mahal'' (1949) was composed by music director Khemchand Prakash and lip-synced on screen by actress Madhubala.

1950s

In the 1950s, Mangeshkar sang songs composed by various music directors of the period, including Anil Biswas (in films such as Tarana and Heer), Shankar-Jaikishan, Naushad, S. D. Burman, C. Ramchandra, Hemant Kumar, Salil Chowdhury, Khayyam, Ravi, Sajjad Hussain, Roshan, Kalyanji-Anandji, Vasant Desai, Sudhir Phadke, Hansraj Behl, Madan Mohan, and Usha Khanna.

Mangeshkar sang many raga-based songs for Naushad in movies such as ''Baiju Bawra'' (1952), ''Mughal-E-Azam'' (1960), and ''Kohinoor'' (1960). ''Ae Chorre Ki Jaat Badi Bewafa'', a duet with G. M. Durrani, was her first song for composer, Naushad. The duo, Shankar-Jaikishan, chose Mangeshkar for ''Aag'', ''Aah'' (1953), ''Shree 420'' (1955), and ''Chori Chori'' (1956). Before 1957, composer Sachin Dev (S. D.) Burman chose Mangeshkar 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 Lata did not sing Burman's compositions again until 1962.

Mangeshkar won a Filmfare Best Female Playback Award for Salil Chowdhury's composition “Aaja Re Pardesi,” from ''Madhumati'' (1958). In the early fifties, Lata Mangeshkar's association with C. Ramchandra produced songs in movies such as Anarkali, Albela, Asha, Pehli Jhhalak, Shin Shinkai Bublaa Boo, Azad and Amardeep. For Madan Mohan, she performed for films like Adalat, Railway Platform, Dekh Kabira Roya and Chacha Zindabad.

1960s

Mangeshkar's song "Pyar Kiya To Darna Kya" from ''Mughal-E-Azam'' (1960), composed by Naushad and picturized on 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 picturized on Meena Kumari.

In 1961, Mangeshkar 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.

On June 27, 1963, against the backdrop of the Sino-Indian War, Mangeshkar sang the patriotic song "Aye Mere Watan Ke Logo" (literally, "Oh, the People of My Country") in the presence of Jawaharlal Nehru, the then Prime Minister of India. The song, composed by C. Ramchandra and written by Pradeep, is said to have brought the Prime Minister to tears.

In 1963, Mangeshkar returned to collaboration with S. D. Burman. She also sang for R. D. Burman's very first film ''Chhote Nawaab'' and later for his films such as ''Bhoot Bangla'' (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), and "Hothon Pe Aisi Baat" from ''Jewel Thief'' (1967).

During the 1960s, Lata Mangeshkar continued her association with Madan Mohan which included the songs "Aap Ki Nazron Ne Samjha" from ''Anpadh'' (1962), "Lag Ja Gale" and "Naina Barse Rim Jhim" from ''Woh Kaun Thi?'' (1964), "Woh Chup Rahen To" from ''Jahan Ara'' (1964), and "Tu Jahan Jahan Chalega" from ''Mera Saaya'' (1966).

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.

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 name ''Anandghan''). During the 1960s and 1970s, she also sang several Bengali songs, composed by music directors like Salil Chowdhury and Hemant Kumar.

In this period Lata Mangeshkar has recorded duets with Mukesh, Manna Dey, Mohammed Rafi, and Kishore Kumar.

1970s

In 1972, Meena Kumari's last film, ''Pakeezah'' 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).

Lata Mangeshkar's most notable songs in 1970s were composed by Laxmikant-Pyarelal (Laxmi-Pyare) and Rahul Dev Burman. She recorded several songs composed by Laxmi-Pyare in 1960s and 1970s, many of them written by the lyricst 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 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. She also released an album of Mirabai's bhajans, ''Chala Vaahi Des'', composed by her brother Hridayanath Mangeshkar. Some of the bhajans in the album include "Saanware Rang Raachi" and "Ud Jaa Re Kaaga". In the early 70s, 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 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 Chitragupt).

1980s onwards

From 1980s onwards, Lata Mangeshkar worked with music directors including Shiv-Hari, Ram Laxman, and A. R. Rahman. She recorded some non-film songs, including ghazals with Jagjit Singh.

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 Hridayanath. During the 1990s, she recorded with music directors including Jatin-Lalit and Nadeem-Shravan. She has sung for Rajshri Productions, including ''Maine Pyar Kiya'' (1989) and ''Hum Aapke Hain Kaun'' (1994).

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 Dulhaniya Le Jayenge'' (1995), ''Dil To Pagal Hai'' (1997) and later on ''Mohabbatein'' (2000), ''Mujhse Dosti Karoge'' (2002) and ''Veer Zaara'' (2004).

A. R. Rahman recorded a few songs with Mangeshkar during this period, including "Jiya Jale" (''Dil Se''), "Khamoshiyan Gungunane Lagin" (''One Two Ka Four''), "Ek Tu Hi Bharosa" (''Pukar''), "Pyaara Sa Gaon" (''Zubeidaa''), "Lukka chuppi" (''Rang de Basanti'') and "O Paalanhaare" (''Lagaan''). She made an appearance in the film ''Pukar'' singing this song.

In 1999, Lata Eau de Parfum, a perfume brand named after her, was launched.

In 1999, Mangeshkar was nominated as a member of Rajya Sabha. However, she did not attend the 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.

In 2001, Lata Mangeshkar was awarded Bharat Ratna, India's highest civilian honor. 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 Pakistan earthquake relief. 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" is in the film ''Eternal Sunshine of the Spotless Mind'' (2004) and on the film's soundtrack.

On June 21, 2007, she released an album ''Saadgi'', featuring eight ghazal-like songs written by Javed Akhtar and composed by Mayuresh Pai.

Non-singing career

Music direction

Lata Mangeshkar composed music for the first time in 1955 for Marathi movie ''Ram Ram Pavhane''. Later in 1960s, she composed music for following Marathi movies under the pseudonym of ''Anand Ghan''.

1960 - ''Ram Ram Pavhana''

1963 - ''Maratha Tituka Melvava''

1963 - ''Mohityanchi Manjula''

1965 - ''Sadhi Manase''

1969 - ''Tambadi Mati''

She won Maharashtra State Government's Best Music Director Award for the film ''Sadhi Manase''. The song "Airanichya Deva Tula" from the same film received best song award.

Production

Lata Mangeshkar has produced four films:

1953 - ''Vaadal'' (Marathi)

1953 - ''Jhaanjhar'' (Hindi), co-produced with C. Ramchandra

1955 - ''Kanchan'' (Hindi)

1990 - ''Lekin'' (Hindi)

Awards and recognitions

Lata Mangeshkar has won several awards and honors, including Padma Bhushan (1969), Padma Vibhushan (1999), Dada Saheb Phalke Award (1989), Maharashtra Bhushan Award (1997), NTR National Award (1999), Bharat Ratna (2001), ANR National Award (2009), three National Film Awards, and 12 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 Filmfare Lifetime Achievement Award in 1993.

In 1984, the State Government of Madhya Pradesh instituted the ''Lata Mangeshkar Award'' in honuor of Lata Mangeshkar. The State Government of Maharashtra also instituted a Lata Mangeshkar Award in 1992.

In 1974, The Guinness Book of Records listed Lata Mangeshkar as the most recorded artist in the history, stating that she had reportedly recorded "not less than 25,000 solo, duet and chorus backed songs in 20 Indian languages" between 1948 and 1974. Her record was contested by Mohammed Rafi, who was claimed to have sung around 28,000 songs. After Rafi's death, in its 1984 edition, the Guinness Book of World Records stated Lata Mangeshkar's name for the "Most Recordings", but also stated Rafi's claim. The later editions of Guinness Book stated that Lata Mangeshkar had sung no fewer than 30,000 songs between 1948 and 1987.

Although the entry has not been printed in Guinness editions since 1991, reputable sources claim that she has recorded thousands of songs, with estimates ranging up to figures as large as 50,000. However, even the earliest Guinness claim of 25,000 songs (between 1948–1974) was claimed to be exaggerated by other sources, who stated that the number of songs sung by Lata Mangeshkar in Hindi films till 1991 was found to be 5250. Mangeshkar herself stated that she does not keep a record of the number of songs recorded by her, and that she did not know from where Guinness Book editors got their information.

See also

Playback singer

Asha Bhosle

List of Indian playback singers

Bollywood songs

References

Further reading

. A collection of articles written by Lata Mangeshkar since 1952. . . A collection of articles written by Lata Mangeshkar since 1952.

External links

Category:1929 births Category:Indian female singers Category:Indian film singers Category:Recipients of the Bharat Ratna Category:Recipients of the Padma Vibhushan Category:Recipients of the Padma Bhushan Category:Living people Category:Bollywood playback singers Category:Marathi people Category:Kollywood playback singers Category:People from Indore Category:Marathi playback singers Category:Telugu playback singers Category:Kannada playback singers Category:Hindi-language singers Category:Marathi-language singers Category:Bengali-language singers Category:Gujarati-language singers Category:Tamil-language singers Category:English-language singers Category:Dadasaheb Phalke Award recipients Category:Recipients of the Maharashtra Bhushan Award Category:Malayalam playback singers

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