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Nader Shah
Shahanshah of Persia
Nader Shah's portrait from the collection of the Victoria and Albert Museum.
Reign	1736–1747
Born	1688
Birthplace	Dargaz (Khorasan, Iran)
Died	June 19, 1747(1747-06-19)
Place of death	Quchan (Khorasan, Iran)
Predecessor	Abbas III
Successor	Adil Shah

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}} Nāder Shāh Afshār (Persian: نادر شاه افشار‎; also known as Nāder Qoli Beg - نادر قلی بیگ or Tahmāsp Qoli Khān - تهماسپ قلی خان) (November, 1688^[1] or August 6, 1698^[2] – June 19, 1747) ruled as Shah of Iran (1736–47) and was the founder of the Afsharid dynasty. Because of his military genius, some historians have described him as the Napoleon of Persia^[3] or the Second Alexander.^[4] Nader Shah was a member of the Turkic Afshar tribe of northern Persia,^[5] which had supplied military power to the Safavid state since the time of Shah Ismail I.^[6]

Nader rose to power during a period of anarchy in Iran after a rebellion by the Hotaki Afghans had overthrown the weak Persian Shah Sultan Husayn, and both the Ottomans and the Russians had seized Persian territory for themselves. Nader reunited the Persian realm and removed the invaders. He became so powerful that he decided to depose the last members of the Safavid dynasty, which had ruled Iran for over 200 years, and become shah himself in 1736. His numerous campaigns throughout the Naderian Wars created a great empire that encompassed what is now part of or including Iran, Iraq, Afghanistan, Pakistan, Tajikistan, Turkmenistan, Uzbekistan, India, Georgia, Armenia, Azerbaijan, Russia, Oman and the Persian Gulf but his military spending had a ruinous effect on the Persian economy.^[1]

Nader idolized Genghis Khan and Timur, the previous conquerors from Central Asia. He imitated their military prowess and—especially later in his reign—their cruelty. His victories briefly made him the Middle East's most powerful sovereign, but his empire quickly disintegrated after he was assassinated in 1747. Nader Shah has been described as "the last great Asian military conqueror".^[7] He is credited for restoring Iranian power as an eminence between the Ottomans and the Mughals.^{[8][9][10][11]}

Early life[link]

Nader Shah was born in Darra Gaz ^[12] into the Qereqlu (in Persian قرقلو) clan of the Afshars, a semi-nomadic Qizilbash tribe settled in northeastern valleys of Khorasan, a province in the north-east of the Persian Empire.^[13] His father Emamqoli, a poor shepherd ^[1] or Coat-maker (poostinduz in Persian language),^[14] died while Nader was still a child. According to legends, Nader and his mother were carried off as slaves by marauding Uzbek or Turkmen tribesmen, but Nader managed to escape. He joined a band of brigands while still a boy and eventually became their leader. Under the patronage of Afshar chieftains, he rose through the ranks to become a powerful military figure. Nader married the two daughters of Baba Ali Beg, a local chief.^[1]

Fall of the Safavid dynasty[link]

Nader grew up during the final years of the Safavid dynasty which had ruled Persia since 1502. At its peak, under such figures as Abbas the Great, Safavid Persia had been a powerful empire, but by the early 18th century the state was in serious decline and the reigning shah, Sultan Husayn, was a weak ruler. When Sultan Husayn attempted to quell a rebellion by the Ghilzai Afghans in Kandahar, the governor he sent was killed. Under their leader Mahmud Hotaki, the rebellious Afghans moved westwards against the shah himself and in 1722 they defeated a vastly superior force at the Battle of Gulnabad and then besieged the capital, Isfahan.^[15] After the shah failed to escape to rally a relief force elsewhere, the city was starved into submission and Sultan Husayn abdicated, handing power to Mahmud. In Khorasan, Nader at first submitted to the local Afghan governor of Mashhad, Malek Mahmud, but then rebelled and built up his own small army. Sultan Husayn's son had declared himself Shah Tahmasp II, but found little support and fled to the Qajar tribe, who offered to back him. Meanwhile, Persia's imperial rivals, the Ottomans and the Russians, took advantage of the chaos in the country to seize territory for themselves.^[16]

Fall of the Hotaki dynasty[link]

Tomb of Nader Shah, a tourist attraction in Mashhad

Tahmasp and the Qajar leader Fath Ali Khan (the ancestor of Agha Mohammad Khan Qajar) contacted Nader and asked him to join their cause and drive the Ghilzai Afghans out of Khorasan. He agreed and thus became a figure of national importance. When Nader discovered that Fath Ali Khan was in treacherous correspondence with Malek Mahmud and revealed this to the shah, Tahmasp executed him and made Nader the chief of his army instead. Nader subsequently took on the title Tahmasp Qoli (Servant of Tahmasp). In late 1726, Nader recaptured Mashhad.^[17]

Nader chose not to march directly on Isfahan. First, in May 1729, he defeated the Abdali Afghans near Herat. Many of the Abdali Afghans subsequently joined his army. The new shah of the Ghilzai Afghans, Ashraf, decided to move against Nader but in September 1729, Nader defeated him at the Battle of Damghan and again, decisively, in November at Murchakhort. Ashraf fled and Nader finally entered Isfahan, handing it over to Tahmasp in December. The citizens' rejoicing was cut short when Nader plundered them to pay his army. Tahmasp made Nader governor over many eastern provinces, including his native Khorasan, and married him to his sister. Nader pursued and defeated Ashraf, who was murdered by his own followers.^[18] In 1738 Nader Shah besieged and destroyed the last Hotaki seat of power at Kandahar. He built a new city near Kandahar, which he named "Naderabad".^[1]

Ottoman campaign[link]

Painting of Nader Shah

In the spring of 1730, Nader attacked the Ottomans and regained most of the territory lost during the recent chaos. At the same time, the Abdali Afghans rebelled and besieged Mashhad, forcing Nader to suspend his campaign and save his brother, Ebrahim. It took Nader fourteen months to defeat the Abdali Afghans.

Relations between Nader and the Shah had declined as the latter grew jealous of his general's military successes. While Nader was absent in the east, Tahmasp tried to assert himself by launching a foolhardy campaign to recapture Yerevan. He ended up losing all of Nader's recent gains to the Ottomans, and signed a treaty ceding Georgia and Armenia in exchange for Tabriz. Nader saw that the moment had come to ease Tahmasp from power. He denounced the treaty, seeking popular support for a war against the Ottomans. In Isfahan, Nader got Tahmasp drunk then showed him to the courtiers asking if a man in such a state was fit to rule. In 1732 he forced Tahmasp to abdicate in favor of the Shah's baby son, Abbas III, to whom Nader became regent.

Nader decided he could win back the territory in Armenia and Georgia by seizing Ottoman Baghdad and then offering it in exchange for the lost provinces, but his plan went badly amiss when his army was routed by the Ottoman general Topal Osman Pasha near the city in 1733. Nader decided he needed to regain the initiative as soon as possible to save his position because revolts were already breaking out in Persia. He faced Topal again with a larger force and defeated and killed him. He then besieged Baghdad, as well as Ganja in the northern provinces, earning a Russian alliance against the Ottomans. Nader scored a great victory over a superior Ottoman force at Baghavard and by the summer of 1735, Persian Armenia and Georgia were his again. In March 1735, he signed a treaty with the Russians in Ganja by which the latter agreed to withdraw all of their troops from Persian territory.^[19][20]

Nader becomes shah[link]

In January 1736, Nader held a qoroltai (a grand meeting in the tradition of Genghis Khan and Timur) on the Moghan plain in Azerbaijan. The leading political and religious figures attended. Nader suggested he should be proclaimed the new shah in place of the young Abbas III. Everyone agreed, many—if not most—enthusiastically, the rest fearing Nader's anger if they showed support for the deposed Safavids. Nader was crowned Shah of Iran on March 8, 1736, a date his astrologers had chosen as being especially propitious.^[21]

Religious policy[link]

Nader Shah and two of his sons on the reverse side of Nader Shah's Sword

The Safavids had introduced Shi'a Islam as the state religion of Iran. Nader was probably brought up as a Shi'a ^[13] but later espoused the Sunni^[22] faith as he gained power and began to push into the Ottoman and Mughal Empires. He believed that Safavid Shi'ism had intensified the conflict with the Sunni Ottoman Empire. His army was a mix of Shi'a and Sunni and included his own Qizilbash as well as Uzbeks, Afghans and others. He wanted Persia to adopt a form of religion that would be more acceptable to Sunnis and suggested that Persia adopt a form of Shi'ism he called "Ja'fari", in honour of the sixth Shi'a imam Ja'far al-Sadiq. He banned certain Shi'a practices which were particularly offensive to Sunnis, such as the cursing of the first three caliphs. Personally, Nader is said to have been indifferent towards religion and the French Jesuit who served as his personal physician reported that it was difficult to know which religion he followed and that many who knew him best said that he had none.^[23] Nader hoped that "Ja'farism" would be accepted as a fifth school (mazhab) of Sunni Islam and that the Ottomans would allow its adherents to go on the hajj, or pilgrimage, to Mecca, which was within their territory. In the subsequent peace negotiations, the Ottomans refused to acknowledge Ja'farism as a fifth mazhab but they did allow Persian pilgrims to go on the hajj. Nader was interested in gaining rights for Persians to go on the hajj in part because of revenues from the pilgrimage trade.^[1] Nader's other primary aim in his religious reforms was to weaken the Safavids further since Shi'a Islam had always been a major element in support for the dynasty. He had the chief mullah of Persia strangled after he was heard expressing support for the Safavids. Among his reforms was the introduction of what came to be known as the kolah-e Naderi. This was a hat with four peaks which symbolised the first four caliphs.^[1][21]

Invasion of India[link]

Afsharid forces negotiate with a Mughal Nawab.

In 1738, Nader Shah conquered Kandahar, the last outpost of the Hotaki dynasty. His thoughts now turned to the Mughul Empire of India. This once powerful Muslim state was falling apart as the the Hindu Maratha Empire made inroads on its territory from the south-west. In 1737, Maratha forces sacked Delhi, following their victory against the Mughals in the First Battle of Delhi, further weakening the Mughal authority. Its ruler Muhammad Shah was powerless to reverse this disintegration. Nader asked for Afghan rebels to be handed over, but the Mughal emperor refused. Nader used the pretext of his Afghan enemies taking refuge in India to cross the border and capture Ghazni, Kabul, Peshawar, Sindh and Lahore. He then advanced deeper into India crossing the river Indus before the end of year.

"Battle of Karnal" painting by adel adili

He defeated the Mughal army at the huge Battle of Karnal on 13 February 1739. After this victory, Nader captured Mohammad Shah and entered with him into Delhi.^[10] When a rumour broke out that Nader had been assassinated, some of the Mughal soldiers attacked and killed Persian troops. Nader reacted by ordering his soldiers to plunder the city. During the course of one day (March 22) 20,000 to 30,000 Mughal were killed by the Persian troops, forcing Mohammad Shah to beg for mercy.^[24]

In response, Nader Shah agreed to withdraw, but Mohammad Shah paid the consequence in handing over the keys of his royal treasury, and losing even the Peacock Throne to the Persian emperor. The Peacock Throne thereafter served as a symbol of Persian imperial might. Among a trove of other fabulous jewels, Nader also gained the Koh-i-Noor and Darya-ye Noor diamonds (Koh-i-Noor means "Mountain of Light" in Persian, Darya-ye Noor means "Sea of Light"). The Persian troops left Delhi at the beginning of May 1739. Nader's soldiers also took with them thousands of elephants, horses and camels, loaded with the booty they had collected. The plunder seized from India was so rich that Nader stopped taxation in Iran for a period of three years following his return.^[25]

After India[link]

A map of the extent of Nader Shah's empire

The Indian campaign was the zenith of Nader's career. Afterwards he became increasingly despotic as his health declined markedly. Nader had left his son Reza Qoli Mirza to rule Persia in his absence. Reza had behaved highhandedly and somewhat cruelly but he had kept the peace in Persia. Having heard rumours that his father had died, he had made preparations for assuming the crown. These included the murder of the former shah Tahmasp and his family, including the nine-year old Abbas III. On hearing the news, Reza's wife, who was Tahmasp's sister, committed suicide. Nader was not impressed with his son's waywardness and reprimanded him, but he took him on his expedition to conquer territory in Transoxiana. In 1740 he conquered Khanate of Khiva. After the Persians had forced the Uzbek khanate of Bokhara to submit, Nader wanted Reza to marry the khan's elder daughter because she was a descendant of his hero Genghis Khan, but Reza flatly refused and Nader married the girl himself. Nader also conquered Khwarezm on this expedition into Central Asia.

Nader now decided to punish Daghestan for the death of his brother Ebrahim Qoli on a campaign a few years earlier. In 1741, while Nader was passing through the forest of Mazanderan on his way to fight the Daghestanis, an assassin took a shot at him but Nader was only lightly wounded. He began to suspect his son was behind the attempt and confined him to Tehran. Nader's increasing ill health made his temper ever worse. Perhaps it was his illness that made Nader lose the initiative in his war against the Lezgin tribes of Daghestan. Frustratingly for him, they resorted to guerrilla warfare and the Persians could make little headway against them. Nader accused his son of being behind the assassination attempt in Mazanderan. Reza angrily protested his innocence, but Nader had him blinded as punishment, although he immediately regretted it. Soon afterwards, Nader started executing the nobles who had witnessed his son's blinding. In his last years, Nader became increasingly paranoid, ordering the assassination of large numbers of suspected enemies.

With the wealth he gained, Nader started to build a Persian navy. With lumber from Mazandaran, he built ships in Bushehr. He also purchased thirty ships in India.^[1] He recaptured the island of Bahrain from the Arabs. In 1743 he conquered Oman and its main capital the city of Muscat. In 1743 Nader started another war against the Ottoman Empire. Despite having a huge army at his disposal, in this campaign Nader showed little of his former military brilliance. It ended in 1746 with the signing of a peace treaty, in which the Ottomans agreed to let Nader occupy Najaf.^[26]

Domestic policies[link]

Nader changed the Iranian coinage system. He minted silver coins, called Naderi, that were equal to the Mughal rupee.^[1] Nader discontinued the policy of paying soldiers based on land tenure.^[1] Like the late Safavids he resettled tribes. Nader Shah transformed the Shahsevan, a nomadic group living around Azerbaijan whose name literally means "shah lover", into a tribal confederacy which defended Iran against the Ottomans and Russians.^[27][28] In addition, he increased the number of soldiers under his command and reduced the number of soldiers under tribal and provincial control.^[1] His reforms may have strengthened the country, but they did little to improve Iran's suffering economy.^[1]

Death and legacy[link]

A Western view of Nader in his later years from a book by Jonas Hanway (1753). The background shows a tower of skulls.^[29]

Nader Shah's dagger with a small portion of his jewelry. Now part of the Iranian Crown Jewels.

Nader Shah's tomb was designed by Hooshang Seyhoon.

Nader became crueller and crueller as a result of his illness and his desire to extort more and more tax money to pay for his military campaigns. More and more revolts broke out and Nader crushed them ruthlessly, building towers from his victims’ skulls in imitation of his hero Timur. In 1747, Nader set off for Khorasan where he intended to punish Kurdish rebels. Some of his officers feared he was about to execute them and plotted against him. Nader Shah was assassinated on 19 June 1747, at Fathabad in Khorasan. He was surprised in his sleep by Salah Bey, captain of the guards, and stabbed with a sword. Nader was able to kill two of the assassins before he died.^[30][31]

After his death, he was succeeded by his nephew Ali Qoli, who renamed himself Adil Shah ("righteous king"). Adil Shah was probably involved in the assassination plot.^[19] Adil Shah was deposed within a year. During the struggle between Adil Shah, his brother Ibrahim Khan and Nader's grandson Shah Rukh almost all provincial governors declared independence, established their own states, and the entire Empire of Nader Shah fell into anarchy. Finally, Karim Khan founded the Zand dynasty and became ruler of Iran by 1760, while Ahmad Shah Durrani had already proclaimed independence in the east, marking the foundation of modern Afghanistan.

Nader Shah was well known to the European public of the time. In 1768, Christian VII of Denmark commissioned Sir William Jones to translate a Persian language biography of Nader Shah written by his Minister Mirza Mehdi Khan Astarabadi into French.^[32] It was published in 1770 as Histoire de Nadir Chah.^[33] Nader's Indian campaign alerted the British East India Company to the extreme weakness of the Mughal Empire and the possibility of expanding to fill the power vacuum. Without Nader, "eventual British [in India] would have come later and in a different form, perhaps never at all - with important global effects".^[34]

See also[link]

• Muslim conquest in the Indian subcontinent
• Safavid conversion of Iran from Sunnism to Shiism
• Treaty of Kerden
• Talpur

References[link]

Sources[link]

• Michael Axworthy, The Sword of Persia: Nader Shah, from Tribal Warrior to Conquering Tyrant Hardcover 348 pages (26 July 2006) Publisher: I.B. Tauris Language: English ISBN 1-85043-706-8
• The Cambridge History of Iran, Volume 7 (Cambridge University Press, 1968)

Additional reading[link]

• Lawrence Lockhart Nadir Shah (London, 1938)
• Ernest Tucker, Nadir Shah's Quest for Legitimacy in Post-Safavid Iran Hardcover 150 pages (4 October 2006) Publisher: University Press of Florida Language: English ISBN 0-8130-2964-3
• Michael Axworthy, Iran: Empire of the Mind: A History from Zoroaster to the Present Day (Paperback) ISBN 0-14-103629-X Publisher Penguin 6 November 2008

External links[link]

Wikimedia Commons has media related to: Nader Shah

• Nader Shah's portrait
• Nader Shah Mausoleum and Museum

Lata Mangeshkar
Mangeshkar in 2008
Background information
Born	(1929-09-28) September 28, 1929 (age 82) Indore, Central India Agency, British India
Genres	Film music (playback singing)
Occupations	Singer
Instruments	Vocals
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.^[1][2] Mangeshkar's career started in 1942 and has spanned over six and a half decades. She has recorded songs for over a thousand Hindi films 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, 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.^[3]

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. 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.^[4][5] In 2011 Guinness officially acknowledged Bhosle as the most recorded artist in music history.^[6]

Early life[link]

Lata Mangeshkar was born in Sikh Mohalla,^[7] in the princely state of Indore, part of 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.^[8] Lata is the eldest child of her parents. Meena, Asha, Usha and Hridayanath are her siblings in sequence.

Mangeshkar took her first 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.^[8] 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[link]

Early career in the 1940s[link]

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.^[8] 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 . She sang “Paa Lagoon Kar Jori” for Vasant Joglekar's Hindi-language movie Aap Ki Seva Mein (1946),^[8] which was composed by Datta Davjekar. Mangeshkar 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).

Following the partition of India in 1947, Ustad Amanat Ali Khan 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."^[8] 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).^[8]

Initially, Mangeshkar is said to have imitated the acclaimed singer Noor Jehan, but later she developed her own style of singing.^[8] 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.^[9]

One of her first major hits was “Aayega Aanewaala,” a song in the movie Mahal (1949), which was composed by music director Khemchand Prakash and lip-synced on screen by actress Madhubala.

1950s[link]

Mangeshkar as a young woman

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.^[8]

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[link]

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, 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.^[8][10]

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 sang for Parasmani (1963) which was their first film together.

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[link]

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^{[citation needed]}. She recorded several songs composed by Laxmi-Pyare in 1960s and 1970s, many of them 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 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[link]

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 Koun..! (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.^[11]

In 1999, Mangeshkar was nominated as a member of Rajya Sabha.^[12] 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.^[13][14] 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.^[13][15]

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.^[16] 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.^[17]

Lata Mangeshkar records songs for Madhur Bhandarkar Kitne Ajeeb Rishte Hain Yahan Par for Page 3 (2005), Daata Sun Le for Jail (2009) and, Kyun Yahan Hota Hai was recorded years ago for Corporate (2006), but is only being used in Heroine (2012).^{[18] [19]}

Non-singing career[link]

Music direction[link]

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.^[20]

• 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.^{[citation needed]}

Production[link]

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[link]

Lata Mangeshkar has won several awards and honors, including Bharat Ratna (India's Highest Civilian Award), Padma Bhushan (1969), Padma Vibhushan (1999), Dada Saheb Phalke Award (1989), Maharashtra Bhushan Award (1997),^[21] 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 honour 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.^[4][22] 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.^[23]

Although the entry has not been printed in Guinness editions since 1991, several sources claim that she has recorded thousands of songs, with estimates ranging up to figures as large as 50,000.^[24][25] However, even the earliest Guinness claim of 25,000 songs (between 1948–1974) was claimed to be exaggerated by several other sources, with one of them stating that the number of songs sung by Lata Mangeshkar in Hindi films till 1991 was found to be 5250.^[26][27][28] 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.^[29] In 2011 Asha Bhosle was officially acknowledged by Guinness as the most recorded artist in music history, surpassing Mangeshkar.^[6]

See also[link]

• Playback singer
• Asha Bhosle
• List of Indian playback singers
• Bollywood songs

References[link]

Further reading[link]

• Bichu, Dr. Mandar (2011). Lata - Voice of the Golden Era. Popular Prakashan. ISBN 978-81-7991-625-4. 
• Bhimani, Harish (1995). In search of Lata Mangeshkar. Indus. ISBN 978-81-7223-170-5. 
• Bharatan, Raju (1995). Lata Mangeshkar: A Biography. UBS Publishers Distributors. ISBN 978-81-7476-023-4. 
• Kabir, Nasreen Munni (2009). Lata Mangeshkar: In Her Own Voice. Niyogi Books. ISBN 978-81-89738-41-9. 
• Lata, Mangeshkar (1995). Madhuvanti Sapre and Dinkar Gangal. ed (in Marathi). In search of Lata Mangeshkar. Harper Collins/Indus. ISBN 978-81-7223-170-5. . A collection of articles written by Lata Mangeshkar since 1952.
• Nerurkar, Vishwas (in Hindi). Lata Mangeshkar Gandhar Swaryatra (1945-1989). Mumbai: Vasanti P. Nerukar. .
• Bichhu, Mandar V. (1996) (in Hindi). Gaaye Lata, Gaaye Lata. Sharjah: Pallavi Prakashan. ISBN 978-81-7223-170-5. . A collection of articles written by Lata Mangeshkar since 1952.

External links[link]

Wikimedia Commons has media related to: Lata Mangeshkar

• Lata Mangeshkar at the Internet Movie Database

Awards for Lata Mangeshkar v t e Bharat Ratna laureates Sarvepalli Radhakrishnan (1954) C. Rajagopalachari (1954) C. V. Raman (1954) Bhagwan Das (1955) Mokshagundam Visvesvarayya (1955) Jawaharlal Nehru (1955) Govind Ballabh Pant (1957) Dhondo Keshav Karve (1958) Bidhan Chandra Roy (1961) Purushottam Das Tandon (1961) Dr. Rajendra Prasad (1962) Dr. Zakir Hussain (1963) Pandurang Vaman Kane (1963) Lal Bahadur Shastri (1966) Indira Gandhi (1971) V. V. Giri (1975) K. Kamaraj (1976) Mother Teresa (1980) Acharya Vinoba Bhave (1983) Khan Abdul Ghaffar Khan (1987) M. G. Ramachandran (1988) B. R. Ambedkar (1990) Nelson Mandela (1990) Rajiv Gandhi (1991) Sardar Vallabhbhai Patel (1991) Morarji Desai (1991) Abul Kalam Azad (1992) J. R. D. Tata (1992) Satyajit Ray (1992) A. P. J. Abdul Kalam (1997) Gulzarilal Nanda (1997) Aruna Asaf Ali (1997) M. S. Subbulakshmi (1998) Chidambaram Subramaniam (1998) Jayaprakash Narayan (1998) Ravi Shankar (1999) Amartya Sen (1999) Gopinath Bordoloi (1999) Lata Mangeshkar (2001) Bismillah Khan (2001) Bhimsen Joshi (2008) v t e Dadasaheb Phalke Award 1969–1980 Devika Rani Chaudhuri Roerich (1969) B. N. Sircar (1970) Prithviraj Kapoor (1971) Pankaj Mullick (1972) Ruby Myers (1973) Bommireddy Narasimha Reddy (1974) Dhirendranath Ganguly (1975) Kanan Devi (1976) Nitin Bose (1977) Rai Chand Boral (1978) Sohrab Modi (1979) Paidi Jairaj (1980) 1981–2000 Naushad Ali (1981) L. V. Prasad (1982) Durga Khote (1983) Satyajit Ray (1984) V. Shantaram (1985) Bommireddy Nagi Reddy (1986) Raj Kapoor (1987) Ashok Kumar (1988) Lata Mangeshkar (1989) Akkineni Nageswara Rao (1990) Bhalji Pendharkar (1991) Bhupen Hazarika (1992) Majrooh Sultanpuri (1993) Dilip Kumar (1994) Rajkumar (1995) Sivaji Ganesan (1996) Pradeep (1997) B. R. Chopra (1998) Hrishikesh Mukherjee (1999) Asha Bhosle (2000) 2001–present Yash Chopra (2001) Dev Anand (2002) Mrinal Sen (2003) Adoor Gopalakrishnan (2004) Shyam Benegal (2005) Tapan Sinha (2006) Manna Dey (2007) V. K. Murthy (2008) D. Ramanaidu (2009) K. Balachander (2010) Soumitra Chatterjee (2011) v t e National Film Award for Best Female Playback Singer 1968–1980 No Award (1968) P. Susheela (1969) K. B. Sundarambal (1970) Sandhya Mukherjee (1971) P. Susheela (1972) Lata Mangeshkar (1973) No Award (1974) Lata Mangeshkar (1975) Vani Jairam (1976) P. Susheela (1977) S. Janaki (1978) Chhaya Ganguly (1979) Vani Jairam (1980) 1981–2000 S. Janaki (1981) Asha Bhosle (1982) P. Susheela (1983) P. Susheela (1984) S. Janaki (1985) K. S. Chithra (1986) K. S. Chithra (1987) Asha Bhosle (1988) K. S. Chithra (1989) Anuradha Paudwal (1990) Lata Mangeshkar (1991) Vani Jairam (1992) S. Janaki (1993) Alka Yagnik (1994) Swarnalatha (1995) Anjali Marathe (1996) K. S. Chithra (1997) K. S. Chithra (1998) Alka Yagnik (1999) Jayshree Dasgupta (2000) 2001–present Bhavatharini Ilaiyaraaja (2001) Sadhana Sargam (2002) Shreya Ghoshal (2003) Tarali Sarma (2004) K. S. Chithra (2005) Shreya Ghoshal (2006) Arati Ankalikar-Tikekar (2007) Shreya Ghoshal (2008) Shreya Ghoshal (2009) Nilanjana Sarkar (2010) Rekha Bhardwaj (2011) Rupa Ganguly (2012) v t e Filmfare Award for Best Female Playback Singer 1959–1960 Lata Mangeshkar (1959) No Award (1960) 1961–1980 No Award (1961) No Award (1962) Lata Mangeshkar (1963) No Award (1964) No Award (1965) Lata Mangeshkar (1966) No Award (1967) Asha Bhosle (1968) Asha Bhosle (1969) Lata Mangeshkar (1970) Sharda (1971) Asha Bhosle (1972) Asha Bhosle (1973) Asha Bhosle (1974) Asha Bhosle (1975) Sulakshana Pandit (1976) Hemlata (1977) Preeti Sagar (1978) Asha Bhosle (1979) Vani Jairam (1980) 1981–2000 Nazia Hassan (1981) Parveen Sultana (1982) Salma Agha (1983) Aarti Mukherji (1984) Anupama Deshpande (1985) Anuradha Paudwal (1986) No Award (1987) No Award (1988) Alka Yagnik (1989) Sapna Mukherjee (1990) Anuradha Paudwal (1991) Anuradha Paudwal (1992) Anuradha Paudwal (1993) Alka Yagnik and Ila Arun (1994) Kavita Krishnamurthy (1995) Kavita Krishnamurthy (1996) Kavita Krishnamurthy (1997) Alka Yagnik (1998) Jaspinder Narula (1999) Alka Yagnik (2000) 2001–present Alka Yagnik (2001) Alka Yagnik (2002) Kavita Krishnamurthy and Shreya Ghoshal (2003) Shreya Ghoshal (2004) Alka Yagnik (2005) Alisha Chinai (2006) Sunidhi Chauhan (2007) Shreya Ghoshal (2008) Shreya Ghoshal (2009) Kavita Seth and Rekha Bhardwaj (2010) Mamta Sharma and Sunidhi Chauhan (2011) Rekha Bhardwaj and Usha Uthup (2012) v t e Filmfare Award for Lifetime Achievement 1991 – 2000 Amitabh Bachchan (1991) Dev Anand (1992) Dilip Kumar (1993) Lata Mangeshkar (1994) Shammi Kapoor & Waheeda Rehman (1995) Ashok Kumar, Sunil Dutt & Vyjayanthimala (1996) Dharmendra, Mumtaz & Pran(1997) Sharmila Tagore (1998) Manoj Kumar & Helen (1999) Vinod Khanna & Hema Malini (2000) 2001 – 2010 Feroz Khan & Asha Bhosle (2001) Gulzar & Asha Parekh (2002) Jeetendra (2003) Sulochana Latkar, Nirupa Roy & B.R. Chopra (2004) Rajesh Khanna (2005) Shabana Azmi (2006) Javed Akhtar & Jaya Bachchan (2007) Rishi Kapoor (2008) Bhanu Athaiya & Om Puri (2009) Shashi Kapoor & Khayyam (2010) 2011 - present Manna Dey (2011) Pyarelal & Aruna Irani (2012)