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<keyword id="2029832" type="UNKNOWN" weightage="100" keywordseo="Dum-Laga-Ke-Haisha">Dum Laga Ke Haisha</keyword>, starring <keyword id="6354535" type="PERSON" weightage="100" keywordseo="Ayushmann-Khurrana">Ayushmann Khurrana</keyword> and <keyword id="2069863" type="UNKNOWN" weightage="100" keywordseo="Bhumi-Pednekar">Bhumi Pednekar</keyword> releases today, and those who grew up in India in the ’90s couldn’t be happier. The reason for the celebration of music lovers is the music of this movie, which would make you relive the India of 1990s, more so because the movie is based in 1995. 
 What makes the music of this Yash Raj venture even more special is the fact that it marks the comeback of melody king <keyword id="35680" type="PERSON" weightage="100" keywordseo="Kumar-Sanu">Kumar Sanu</keyword> with heart-touching and foot-tapping tracks, ‘Tu’ and ‘Dard Karaara’, respectively. 
 Talking of ‘Tu’, the song is bound to take you to the romantic music of Saajan, Aashiqui, Baazigar and Pardes. The use of orchestra, combined with a soothing whistle brings out the best of romantic music that people in the ’90s loved. Add to it the 90s style dance sequence in ‘Dard Karaara’ and you have the perfect album for whenever you feel nostalgic about the good old growing-up years; thanks to Kumar Sanu, Sadhna Sargam, and the music composer <keyword id="2225" type="PERSON" weightage="100" keywordseo="Anu-Malik">Anu Malik</keyword>. 
 
Other than the music, the attraction of the movie is debutante Bhumi Pednekar, who used to work as the assistant of Shanoo, the casting director of Yash Raj films. To say the least, Bhumi Pednekar doesn’t look like a conventional actress, given her plain jane looks and healthy figure. However, she proved in the trailer itself what she has it in herself that bagged her three-film deal with Yash Raj, one of the most reputed production houses in the industry. 
 
Kumar Sanu plays an important part not only in the music but also the script of the story, given that Ayushmann Khurrana’s character is a huge Kumar Sanu fan. The singer would also be seen doing a cameo in the film. 
 
Let’s hope that other music composers and film makers learn from the album and offer some great music and not blaring noises that is served in the name of music these days.

Relive the ’90s with Dum Laga Ke Haisha

You always groove to their music, sometimes without even knowing that they are the brains behind the tunes. 
 The music magic of <keyword id="143" type="CITY" weightage="100" keywordseo="Bollywood">Bollywood</keyword> never fizzles out, even when the composers are mired in touchiest controversies and have been in and out of news for some unsavoury reasons. 
 
Here is a list of 5 most controversial musicians who have made it big in Bollywood.

5 Most Controversial
Musicians Who Have Made It Big In Bollywood

<keyword id="31278" type="General" weightage="20" keywordseo="Lata-Mangeshkar" source="Orion">Lata Mangeshkar</keyword>, India's most loved singer who had once moved Pandit Jawaharlal Nehru to tears, leaves behind a teary-eyed nation of admirers who grew up listening to her immutable voice give wings to the words of poets and the screen careers of legions of heroines. India's Melody Queen, who also composed music for Marathi films and was a producer as well, and had the distinction of being conferred with the highest civilian honours of India and France, passed away on Sunday morning at the Breach Candy Hospital in Mumbai, where she had been admitted because of Covid-related complications on January 11. Lata Didi, as she was known among her family and followers, was 92 and is survived by her siblings -- playback singer and composer Meena Khadilkar, popular singer and restaurateur Asha Bhosale, singer <keyword id="146736" type="General" weightage="20" keywordseo="Usha-Mangeshkar" source="Orion">Usha Mangeshkar</keyword>, and music director Hridayanath Mangeshkar. She never married, but was close to the late Raj Singh Dungarpur, the aristocratic former cricketer and President of the Board of Control for Cricket in India (BCCI) from 1996 to 1999. One of India's most loved voices, Lata Mangeshkar was the recipient of three National Film Awards, seven Filmfare awards, and of course, the Dadasaheb Phalke Award in 1989. She was conferred the Bharat Ratna in 2001, becoming the second singer after M.S. Subbulakshmi to be so honoured, and the French awarded her the Officer of the Legion of Honour. In 1974, Lata Mangeshkar became the first Indian to perform at the Royal Albert Hall, London. She had indeed come a long, long way since the time when the first song that she recorded for a film -- 'Kiti Hasaal' in 1942 -- was dropped in the final cut. Born in what was then the princely state of Indore on September 28, 1929, to the classical singer, Marathi theatre actor and writer of musical plays Deenanath Mangeshkar and his wife Shevanti (Shudhamati), Lata Mangeshkar was originally named Hema by her parents, but they later changed it to Lata after the character Latika from one of her father's musical plays. Lata Mangeshkar's association with the performing arts began when she was five and started appearing in her father's musical plays, and it continued even after her father's premature death in 1942, thanks to his good friend, the actor and director Master Vinayak (Vinayak Damodar Karnataki), who took the family under his wings. It was Master Vinayak who took Lata Mangeshkar to Mumbai, paved her way into the world of Marathi cinema, got her to take Hindustani classical music lessons from Ustad Aman Ali Khan of the Bhendi Bazaar Gharana, and introduced her to Vasant Desai, V. Shantaram's favourite music composer. But it was not until Master Vinayak's death in 1948 that the struggling singer-actor found the person whom she considered to be her "godfather" -- the music composer Ghulam Haider, who gave Lata Mangeshkar her first big break with the song 'Dil Mera Toda, Mujhe Kahin Ka Na Chhora' in the movie 'Majboor' (1948). It was her first big break. Haider took his protege to Shashadhar Mukherjee, the Filmistan boss now better known as Kajol and Rani Mukherjee's grandfather, for his film, 'Shaheed' (1948), but he turned her down because he found her voice to be "too thin". Lata Mangeshkar proved him oh-so wrong just a year later when her song 'Aayega Aanewaala', filmed on the gorgeous Madhubala in Kamal Amrohi's debut directorial, 'Mahal' (1949), became an ageless hit. And in one of life's delicious ironies, Mukherjee's grand-daughter lip-synced the 'Dilwale Dulhania Le Jayenge' song, 'Mere Khwabon Mein', which was sung by none other than Lata Mangeshkar, as well as the other numbers picturised on her and Shah Rukh Khan. Since 'Mahal', Lata Mangeshkar was courted by just about every music director of note -- from Anil Biswas to S.D. Burman (and his son Rahul Dev, whose first and last song she sang), Naushad (who had asked her to sing like the then reigning nightingale, Noorjehan), Madan Mohan, Shankar-Jaikishan, Laxmikant-Pyarelal (for whom she's said to have sung 700 songs in 35 years), and Kalyanji-Anandji. And she worked with every contemporary composer of note -- from Anand-Milind, sons of Chitragupt, with whom she had also worked, and Anu Malik, Sardar Malik's son, to Ilaiyaraaja and A.R. Rahman. It is said she worked with music directors from 13 states in her star-studded career. After Noorjehan moved to Pakistan, Lata Mangeshkar became the go-to playback singer for every film producer and music composer. She did not disappoint them. Lata Mangeshkar lent her voice to an endless succession of chart-topping numbers in Hindi cinema, from 'Allah Tero Naam' and 'Rangeela Re' to the 'Satyam Shivam Sundaram' title track, to 'Lukka Chuppi' in 'Rang De Basanti', apart from songs in Marathi (she also composed the music for several Marathi films in her 'Anandghan' avatar), Bengali, Tamil, Kannada, Malayalam, and Sinhala. In 1974, the Guinness Book of Records listed Lata Mangeshkar as the most recorded artiste in human history, stating that she had recorded "not less than 25,000 solo, duet and chorus-backed songs in 20 Indian languages" between 1948 and 1974. The claim was contested by her long-time rival, Mohammad Rafi, who claimed to have sung around 28,000 songs. After Rafi's death, the Guinness Book in its 1984 edition listed Lata Mangeshkar in its entry for 'Most Recordings', but it also recorded Rafi's claim. Later editions of the Guinness Book said Lata Mangeshkar had sung no less than 30,000 songs from 1948 to 1987. For 73 years, from 1943 to 2015, when she recorded her last song for a film (the Indo-Norwegian production, 'Dunno Y2...Life Is A Moment', which was all about gay love), Lata Mangeshkar commanded a fan following and an inimitable reputation with not many parallels in the Indian performing arts. The late Yash Chopra, who was one of Lata Mangeshkar's favourite directors, said in an article he had penned for BBC.com on the occasion of the singer's 75th birthday (not longer after she had sung the famous 'Veer Zaara' song, 'Tere Liye Hum Hain Jiye', with Roop Kumar Rathod): "I see God's blessing in her voice." We are blessed to have that voice live with us forever. SEE ALSO: <a target="_blank" class="c-link c-message_attachment__title_link" href="https://www.businessinsider.in/business/ecommerce/news/aditya-birla-fashion-retail-d2c-unit-will-sell-ethnic-and-wedding-wear-from-top-designers/articleshow/89347587.cms">Birla has the best wedding suits stacked up and he wants them displayed on your phone</a> <a target="_blank" class="c-link c-message_attachment__title_link" href="https://www.businessinsider.in/stock-market/news/textile-cigarette-metal-and-electric-batteries-sectors-stocks-up-budget-day/articleshow/89346157.cms">Textile, cigarette makers and others sector stocks that rallied since budget speech</a>

Lata Mangeshkar, the ageless voice of India, passes away at 92

Though anticipated, when it became official that the Melody Queen of India, <keyword id="31278" type="General" weightage="20" keywordseo="Lata-Mangeshkar" source="Orion">Lata Mangeshkar</keyword>, is no longer among us, it hit the collective consciousness of the nation like a sledgehammer. The only consolation was that she may have passed on, but her voice, which moved our hearts and provided succour to our souls for more than seven decades, will forever be with us. Like all inspirational stories, Lataji's early struggle to establish herself in the 1940s is one that we cannot ever forget. In those days, she would take a BEST bus and travel from her south Mumbai home regularly to meet Naushad Ali at his Khar West bungalow or in the studios, hoping for a 'singing break' under the legendary music maker's baton. In the vicious Mumbai monsoon, she would come to Naushad's home, wearing her trademark sari, carrying an umbrella but totally drenched, shivering and barely able to speak, let alone sing. The music director would offer her piping hot tea and cookies to soothe her, but no songs ... yet ... . "I felt her voice was not yet 'ripe' for my style of music," said Naushad, the perfectionist, in a conversation with this writer. He was trying to justify not giving her an early break. "To improve her diction and control over words, I advised her to learn and practice Urdu, which she did ... and finally, she was ready to record for me." The first choices of Naushad were the reigning stalwarts -- Noorjehan, Suraiya, Shamshad Begum, Zohra Ambalewali, to name a few. With time, trained by her father, Dinananth Mangeshkar, Lataji grasped the maestro's advice and got her first major hit -- 'Uthaye Ja Unke Sitam' ('Andaz', 1949) -- composed by her mentor Naushad. With it, she 'arrived' in the film industry. Thereafter, top music directors of the era wooed her, and they included Sachin Dev Burman, Husan Lal-Bhagat Ram (brothers), Ghulam Haider, Sardar Malik, Ghulam Mohammed, Jaidev, Salil Chowdhary, C. Ramchandra, Shankar-Jaikishan (partners), Roshan, Madan Mohan, M. Zahur Khayyam, Kalyanji-Anandji (brothers), Laxmikant-Pyarelal (partners), Sonik-Omi (uncle-nephew), Ravi Kumar Sharma or 'Ravi', Sudhir Phadke, Sajjad Hussain, Usha Khanna, and even A.R. Rahman, Anu Malik, Rajesh Roshan, Anand-Milind and Jatin-Lalit, among the younger crop of baton wielders. Producers and directors vied for Lataji's unique voice and style for their top heroines, especially because she could 'mould' her voice to suit most heroines. Without doubt, she had become the first among women singers, a position that Mohammed Rafi enjoyed among the men. Yet, there was a music director who remained aloof from Lataji -- with haughty pride -- and yet rose to the top echelons of the music industry -- the incomparable O.P. Nayyar. "I found Lata's voice too thin, too shrill, which did not suit my compositions," Nayyar had once said, claiming he was "the only music director who succeeded in Bollywood without Lata's voice". He added: "I needed a more vivacious, richer, healthier voice of, say, Shamshad Begum, Geeta Ghosh-Dutt, Asha Bhosale." One woman singer, Suman Kalyanpur, was blessed with a voice rivalling that of Lataji's, but she was content being in the shadows, yet she thrived on enduring masterpieces composed by some of the music directors. As Lataji's singing style matured under master music directors, her voice helped heroines who acted or danced to her tunes catapult to stardom, such as Madhubala, Meena Kumari, Nargis, Ameeta, Beena Rai, Waheeda Rehman, Vyjayanthimala Bali, Tanuja, Sharmila Tagore, Asha Parekh, Nutan, Saira Bano, Sadhana Shivdasani, Babita Kapoor, Zeenat Aman, Parveen Babi, Hema Malini, Rekha, Sridevi, Neetu Singh, Madhuri Dixit, and many others in the post-1980s, right down to the youngsters, notably, Kajol, Rani Mukherjee and Karisma Kapoor. After the exit of Noorjehan from India and the fading away of other stalwart female singers, by the late 1950s/early 1960s, Lataji was firmly perched on the top of the heap and brooked no nonsense from anyone -- producers, directors, composers, siblings or contemporaries -- attempting to clamber anywhere close to her roost. Bollywood is full of stories of how Lataji ring-fenced her position till the very end, often raising the hackles of her female peers, although male singers, such as Mohammed Rafi, Mukesh, Kishore Kumar, Mahendra Kapoor and Manna Dey (all deceased) and others, chose to maintain a professional rapport with her. Nevertheless, there were tales of how Rafi once bore the brunt of her "other side", or certain composers quivering as she gently declined to sing for them after they allegedly dared to commission some other female singers, for whatever reason. Of course, powerful filmmakers such as Mehboob Khan, Raj Kapoor, Kamal Amrohi, Dev Anand, Shakti Samanta, B.R. Chopra, Yash Chopra and the likes had no time for tantrums. Born on September 28, 1929, as the oldest child of a musically inclined family in Indore (Madhya Pradesh) -- comprising father Dinanath, Lataji, Meena (Khadilkar), Asha (Bhosale), Usha and sole brother Hridaynath -- she was tutored by her dad from the age of five and also acted in his musical stage plays, till death in 1942. Helped by a close family friend, Master Vinayak D. Karnataki, she got a foothold in singing and acting that year with a first Marathi song and a maiden Hindi song in 1943 before shifting to the film industry capital in 1945. In Bombay (now, Mumbai), she learnt classical music and continued singing the odd songs, till her big break with 'Dil Mera Toda, Mujhe Kahinka Na Chhoda' ('Majboor', 1948), with full help from Ghulam Haider, whom she later described as her "godfather". With a colossus such as Noorjehan still around, Lataji continued her with a few more hits -- 'Aayega Aanewala' ('Mahal', 1949) and 'Uthaye Ja Unke Sitam' ('Andaz', 1949), heralding her entry with a bang in big-time Bollywood. Simultaneously, she sang in different Indian languages with aplomb, non-film songs, with her range encompassing classical, tragic, melodious, erotic, melancholic, light, mischievous, depending on the composer, or the heroine, or the song situation. After the seniors passed away or faded out, Lataji sang expertly and easily with the gen next of male singers such as S.P. Balasubramaniam, Amit Kumar, Shabbir Kumar, Nitin Mukesh, Anwar, Udit Narayan and Sonu Nigam, and astounded her listeners with the seemingly "undying" power and youthfulness of her golden voice. Over the decades, she was decorated with a multitude of rewards and honours -- three Padma awards, five Filmfare Awards, the Dadasaheb Phalke Award -- capped by the Bharat Ratna in 2001. More than that, state governments named awards and institutions after her. Lataji sang at prestigious live concerts or charitable events, enthralling global audiences, picked up more overseas accolades, such as France's highest civilian honour, Officer of the Legion of Honour, in 2007, briefly dabbled in high-end merchandise, such as signature jewellery and perfumes, launched a production and music house, and entered into international music collaborations. Death has only removed her physically. The legacies she leaves behind will outlive her for decades. SEE ALSO: <a target="_blank" class="c-link c-message_attachment__title_link" href="https://www.businessinsider.in/business/ecommerce/news/aditya-birla-fashion-retail-d2c-unit-will-sell-ethnic-and-wedding-wear-from-top-designers/articleshow/89347587.cms">Birla has the best wedding suits stacked up and he wants them displayed on your phone</a> <a target="_blank" class="c-link c-message_attachment__title_link" href="https://www.businessinsider.in/stock-market/news/textile-cigarette-metal-and-electric-batteries-sectors-stocks-up-budget-day/articleshow/89346157.cms">Textile, cigarette makers and others sector stocks that rallied since budget speech</a>

Lata Mangeshkar's over 70-year journey from travelling in BEST bus for singing break in the industry to melody queen of India

If you’re one of those spending more than half your day on the internet logged into the numerous social networking sites while at the same time ensuring you’ve watched every video that Youtube has to offer, the name <a href="http://www.businessinsider.in/searchresult.cms?query=John+Oliver">John Oliver</a> shouldn’t be too unfamiliar. Neither would the show <a href="http://www.businessinsider.in/searchresult.cms?query=last+week+tonight">‘Last Week Tonight</a>.’ 
 An American late-night talk and news <keyword id="1462374" type="COMPANY" weightage="80" keywordseo="Satire">satire</keyword> television progamme, <a href="http://www.businessinsider.in/Watch-John-Oliver-make-fun-of-patent-trolls-on-Last-Week-Tonight/articleshow/46991299.cms">Last Week Tonight with John Oliver</a> burst into our lives a little over a year ago. Modeled slightly similar to Comedy Central’s <a href="http://www.businessinsider.in/Jon-Stewart-And-The-Daily-Show-Brilliantly-Point-Out-The-Absurdity-Of-The-Veterans-Affairs-Backlog/articleshow/21136562.cms">‘The Daily Show with Jon Stewart’</a> where Oliver himself was a correspondent, <keyword id="2285556" type="UNKNOWN" weightage="80" keywordseo="last-week-tonight">Last Week Tonight</keyword> quickly became popular due to <keyword id="1490518" type="UNKNOWN" weightage="80" keywordseo="John-Oliver">John Oliver</keyword>’s impeccable wit relentlessly pushing the boundaries of comedy and him not shying away from taking on massive topics. 
 
From wastage of food, FIFA to playfully taking down the National Security Agency and exposing the sham in Miss America Organisation’s claims that it makes $45 million available in scholarships to contestants every year, John Oliver is hardly afraid of making hot-button issues the subject of his half an hour show. 
 His show’s reputation of giving a riotous bend to daily news isn’t lost on <keyword id="3658" type="COUNTRY" weightage="80" keywordseo="India">India</keyword>ns either. It’s safe to say his fan base in India is increasing at the rate of the number of twists in the Indrani Mukerjea-Sheena Bora case. 
 
Oliver has returned the love for the country too. His take on the madness of the general elections and the recent <a href="http://www.businessinsider.in/searchresult.cms?query=porn+ban">porn ban</a>, featuring a cameo by our beloved Subramanian Swamy have been watched on repeat and lapped up veraciously by lovers of intelligent comedy. 
 
The show’s high esteem in the country can be attested by the recent Reddit thread which asked the question that all of us secretly asked in our heads, ‘Why don’t we have a show like Last Week Tonight in India?’ 
 
I get why we’re endorsing the thought of wanting our version of Last Week Tonight. To start with, Indian television news is a joke, we’re perennially deprived of good humourous content, and we’re a country where absurd policies and government laws gets passed faster than a court judgement, so undoubtedly we’re brimming with content for a satire show. 
 
However, this doesn’t erase the one tiny detail we desperately need to come to terms with- Indians aren’t worthy of their own version of Last Week Tonight with John Oliver. 
 
 
 
I’ll tell you why. 
 
To start off with, we’re horrible at imitating or reproducing/stealing. The countless Pritam/Anu Malik compositions and endless Hollywood remakes being churned out as fodder for Indians to lap up in the name of Hindi cinema is enough proof. We’re capable of degrading something as splendid as Last Week Tonight into a mess of a show with no vision, script or humour. That’s an insult the show really doesn’t warrant. 
 
Suppose, we do replicate the show- the ‘burning question’ then, is who will be India’s answer to John Oliver? Shekhar Suman? Kapil Sharma? Karan Thapar? Let’s face it. We don’t have anyone who is worthy enough of taking on the responsibility of filling in John Oliver’s Shoes. And, no, the AIB guys do not count. 
 
Thirdly, even if we DO find someone to take the burden of replicating the best satire show in the history of TV, are we forgetting that we live in India? The very country where there are restrictions imposed on humour itself. One segment of mocking the ridiculous ideologies of our beloved politicians and the host would not only require Z+ security while his house and offices are vandalized but he would also face the wrath of never-ending threats and will have to leave the country if he ever wants to breathe again. 
 
Despite the fact that we’re hungry for good content which does not border on informing us that an accused has eaten a sandwich, we have to admit that Indians are a bunch of sensitive people who get offended faster than Miley Cyrus sheds clothes. We don’t know how to joke or to take a joke. All we know is ‘that hurt our sentiments’. What unfolded after the AIB Roast is evidence to this fact. It goes without saying that due to a horde of fringe outfits taking advantage of the secular nature of our country, offense is taken with regards to anything and everything and the existence of a sense of humour is long forgotten. 
 
We will never have a show as awe-inspiring as Last Week Tonight with John Oliver but what we will have is the mental image of seeing the insides of Archana Puran Singh’s mouth everytime she went on a laughing vacation in Comedy Circus. 
 
Image credit: Indiatimes

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Relive the ’90s with Dum Laga Ke Haisha

Nandini Sharma

5 Most Controversial Musicians Who Have Made It Big In Bollywood

Nandini Sharma

Lata Mangeshkar, the ageless voice of India, passes away at 92

IANS

Lata Mangeshkar's over 70-year journey from travelling in BEST bus for singing break in the industry to melody queen of India

IANS

India doesn't deserve its own version of 'Last Week Tonight' and here's why

Poulomi Das

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