Here in London as we celebrated 70 years of the accession of Her Majesty the Queen, India on the other side of the world mourned the loss of its Queen, Lata Mangeshkar.
Lataji was indeed the “Nightingale of India” and held a role symbolic to that of Her Majesty the Queen. It was, therefore, no surprise that the Government of India announced two days of national mourning and Lataji was bestowed with a State funeral.
Like the Queen, Lataji was someone who resonated with an entire nation. For the vast majority of India’s population, Lataji was all they knew. From the 40s and 50s to her pinnacle in the 70s and 80s, to even most recently in the noughties, she had a place in everyone’s hearts.
Her life is symbolic of that of India. Whilst India was gripped with independence in 1947 under Jawaharlal Nehru’s political leadership, India looked upon Lataji for her cultural voice. This is a role Lataji upheld with the utmost integrity and virtue for over 75 years.
I was privileged to share a great, personal bond with Lataji and her family since the early 1970s. I first met Lataji in India in 1971 during my visit to Mumbai. Lataji came to know that I was a huge fan of hers, especially her songs from the films Sharmeeli, Hare Rama Hare Krishna and Pakeezah. To my amazement, Lataji very kindly specially sent her driver to send me four signed copies of her albums which I have treasured till this day.
Lataji’s first tour in London was organised in 1974 by the late Mr Gourisaria and compared by the legendary Dilip Kumar. This was the first time in the history of this country, that the Royal Albert Hall was opened to a Bollywood singer. The show was a magnificent triumph and many of the then early Indian migrants from East Africa and India still reminisce about Lataji’s electrifying performance.
At the time of her first tour, I had the honour of looking after Lataji who stayed at 20 Abbey Road – opposite the studio of the Beatles. Lataji had come to London with her mother and family. My friendship with Lataji and her family blossomed, particularly with her younger brother Hridaynath Mangeshkar who she knew was very close to me. Hridaynathji played with me on several occasions in London and eventually made my album of ghazals in India, which was performed on Door Darshan TV on Aarohi programme.
Given the great success of the show, there were others shows of Lataji again in London in 1979, again at the Royal Albert Hall and the London Palladium with the Wren Orchestra, this time with Sunil Dutt, Nargis and Dilip Kumar. Here my wife Nitu Gadhvi had the opportunity to sing with Lataji including songs such as "Satyam Shivam Sundaram” and “Pyar Kiya to Darna Kya”. This time, given her love for London, Lataji had her own flat in St John’s Wood opposite Lord’s Cricket ground in Lord’s View. The apartment was chosen for its views of Lord’s – as Lataji was an enthusiastic cricket fan. I remember watching cricket games with her in her apartment balcony with Lataji and Hridyanathji. Lataji would always make sure I always ate with them. She was energised by the cricket and as an ardent fan, she respected all the cricketers, including the likes of Sunil Gavaskar and Sachin Tendulkar.
I still have vivid memories of touring London with Lataji. She was an avid explorer and shopper who was mesmerised by London. I had the privilege to take her to the Tate Gallery and all the sites of London. One of Lataji’s great hobbies was photography, which she adored.
Lataji later had two more shows in London, but regrettably, with age, she opted to travel abroad less, much to the disappointment of her fans. However, she continued her zest for music, acting as a playback singer to thousands of films. She was known to tip the balance of a film’s fortune and actresses would plead for Lataji to be their playback singer. It was, therefore, no surprise that Lataji became the first-choice singer for so many directors. One of Lataji’s personal favourite directors was of course Yash Raj Chopra – who she considered an elder brother. Yashji would only release a film if Lataji agreed to be the playback. Lataji also worked with new music directors including AR Rahman who went on to produce some of India’s finest music.
Despite her age, Lataji was still active in public and civic life. She devoted a lot of her life to philanthropy, and she set up a hospital in memory of her father in Pune to benefit the disadvantaged.
I was lucky to maintain my friendship with Lataji and I would always visit her in her apartment in Mumbai. I remain incredibly fortunate for the time I had with Lataji.
We were all devastated with the news of her passing – particularly my wife Nitu, whose musical career involved singing hundreds of Lataji’s songs. Lataji was indeed an icon of India who was much more than a musician. She was India’s guiding light. Whilst we may never see her again, Lataji will live on in our hearts for generations to come.
