Chief minister Uddhav Thackeray and actor Dharmendra pay their last respects to Dilip Kumar at the latter’s Pali Hill residence on Wednesday

It’s hard to believe that Dilip Kumar ji - Yusuf  saab to all of us - is no more. He was to me like elder brother, a friend and guide.

My first meeting with Yusuf saab was on a suburban train. This was years ago—I think, in 1946 or ’47. I, Anil da (music director Anil Biswas) and one of his assistants were on our way to Malad. A tall, young man hopped into the compartment at Bandra. Anil da asked him to join us. ‘Yeh ladki kaun hai?” (Who is this girl?) he asked. Anil da introduced me, saying, “This is a young playback singer, she is very good. She is a Maharashtrian.” Yusuf saab remarked jokingly, “Maharashtrians are hardly well-versed in Urdu. Their Urdu ‘talaffuz’ (pronunciation) smells of ‘daalbhaat’.”

That very day I asked (music director) Mohammad Shafi saab if he could look for an Urdu tutor for me. Today, when someone praises my Urdu ‘talaffuz’ I quietly thank Yusuf saab. His light-hearted remark made me study a beautiful language. Yusuf saab’s Urdu was impeccable, music to the ears. We would often bump into each other, and he would greet me with affection. Whenever I touched his feet, he would say, ‘ Jeeti raho, khush raho (Live a long, happy life)’.

I’ve seen most of Yusuf saab’s films—‘Deedar’, ‘Madhumati’, ‘Aan’, ‘Daag’, ‘Yahudi’, ‘Aadmi’...almost all—in cinema halls. I would go along with my sisters to Liberty, Roxy, Opera House to see films. Watching Yusuf saab on the silver screen was a fascinating experience. His sheer presence on celluloid was magnetic: a heady mix - grace, style, dignity and acting abilities; his faraway, brooding glances said it all.

Yusuf saab sang with me in ‘Musafir’, a Hrishikesh Mukherjee film. It was Hrishi da’s brainwave to ask Yusuf saab to sing a duet with me. Salil da (music director) put him through the paces. Yusuf saab began in the true tradition of classical music — aalaap, taan and so forth. He sang to his heart’s content and then we recorded the song. And I must tell you that people liked ‘Laagi naahi chchute raam...’. Connoisseurs remember the song to this day.

I had my first concert in London in 1974. I requested Yusuf saab if he would be there at the iconic Royal Albert auditorium to introduce me to the audience. He readily agreed. In his brilliant speech, he described me as his “little sister”. I used to tie a raakhi on his hand on Raksha Bandhan Day every year.

Over the years Yusuf saab’s health began to deteriorate. I had a strong urge to meet him. My niece Rachana (Shah) accompanied me to his Pali Hill residence. This was in December 2014. Saira ji (Dilip Kumar’s wife) took me to Yusuf saab’s room. We all knew that his memory was fast fading. But, he hardly took any time to recognise me. He smiled and said, “Come in.” A big chair, saddled with a gadda, was meant for him; but he insisted on sitting on a sofa, next to me. When food was brought in, I fed him ‘maalpuwa’ and paneer tikka. He ate heartily—and smiled. When I reminded him of the ‘Musafir’ song, he grinned. A big, happy grin.

(As told to Ambarish Mishra)

Our first interaction was when we had to collaborate for a song. I don’t recall which track it was. I had gone for the rehearsals, and he told me that he had been wanting to work with me for several days. My sister, Usha Mangeshkar, who had been working with him since long, often praised him—for his skill and kindness. He was a simple man, with simple means. Despite being famous, he lived like a common man. He never thought twice before saying what he wished to. I remember him as a jovial man, who loved to play the harmonium and mimic people. I enjoyed his mimicry.

I asked him why he kept his name Raam Laxman. He said that initially, there were two of them [referring to his partner, Surendra Kadam]. He was Laxman, and his partner was Raam. When his partner passed away [in 1976], he decided to retain the name, like composers Shankar Jaikishan did.

He had a distinct style of music, and wasn’t one who copied from others or sought inspiration from elsewhere. He created his own melodies, a lot of which, like Dil Deewana and Didi Tera Devar Deewana, were among ones that I found to be very special. He had an album called 100 Days. The track, Le Le Dil, was one that I enjoyed [rendering]. He had roped in S P Balasubrahmanyam to be [the voice of] Salman Khan. There was a time when neither SPB, nor I was [available] to sing his song, and he was upset. He said that while the work had to be done, he didn’t enjoy creating music if I wasn’t involved in it, because I understood his songs, and sang it [as I desired]. He treated me like his older sister.

What strikes you the most about Lata Mangeshkar, 87, is her soft demeanour coupled with her ability to speak her mind without mincing words. The nightingale of India breaks into a childlike giggle when you ask her if she is bombarded with song requests from family and friends even today. The singing doyen was 12 when her father, Pandit Dinanath Mangeshkar, passed away in 1942, but his values and principles have left a deep impact on her. On the occasion of her father's 75th death anniversary yesterday, the Bharat Ratna awardee talked to BT about his teachings and why she isn't keen on playback singing anymore. Excerpts..

You seem to have taken a backseat from music. It's been long since we heard you sing for films...
I sing even today, it's just that I don't sing for films. I prefer devotional songs. Today's Bollywood music doesn't suit my singing. People like it and I don't want to comment on it or criticise it, but I don't think I'd be able to do justice to it. However, I ensure that I do my riyaaz often if not every day.

We've heard that before singing in a particular language, you'd learn it to get your pronunciation right.
That kind of dedication is rare today...Other than Marathi, which is my mother tongue and Hindi, I have sung in various languages, especially Bengali. It's important to study the language to do justice to the lyrics. You have to know their meaning, which actor is singing it on screen and the situation of the song. I've even learnt Urdu to get my pronunciation right.

Do your friends and family come up to you with song requests at home?
(Laughs wholeheartedly) No, that doesn't happen in my house as all five of us siblings (Lata, Asha, Hridaynath, Usha and Meena) are singers.

It's been 75 years since your father, renowned theatre actor and classical vocalist Pandit Dinanath Mangeshkar, passed away. You were very young at that time. Any memories of him that have stayed with you?
He used to tell me, 'Ya kopryath jo sadhu baslela aahe, mhanje Tambura ­ tyala kadhi visru nakos. Tyavar kadhi dhul padu deo nakos.' (He referred to the musical instrument Tambura as a saint and asked us never to forget him.) I want to pass on the message that he gave us - to learn classical sangeet. Every singer should know at least the basics of classical music as it always helps. Every year on his death anniversary, we honour talented artistes from different walks of life with the Master Dinanath Mangeshkar Award. We hope to take our father's legacy forward.

Your duets with legends like Kishore Kumar, Mukesh and Mohammed Rafi are timeless. With whom did you enjoy singing the most?
I liked singing with everyone - Mukesh bhaiya, Rafi saab and Talat Mahmood - but I enjoyed singing with Kishoreda the most.



Which of your songs do you like listening to the most?
I like Chala Vahi Des - Meera's bhajans composed by my brother Hridaynath Mangeshkar and Lag Jaa Gale (Woh Kaun Thi? 1964).

Who, according to you, enacted your songs really well onscreen?
Actresses like Sadhana, Meena Kumari, Nargis, Madhubala and Kajol, took the effort to understand the song and act accordingly. Jaya Bachchan observed me well and got my mannerisms right ­ starting with how I stand, how I sing and how I drape my sari. In Abhimaan (1973), she even chose to wear white saris like me. It was commendable.

Among the current singers, who are your favourites?
I like Sonu Nigam, Javed Ali, Shaan, KK and Shankar Mahadevan. Among female singers, there is Shreya Ghoshal, Sunidhi Chauhan, Chithra and Alka (Yagnik), though she doesn't sing much these days.

Any favourites as far as Western music is concerned?
I like symphonies. Nat King Cole was one of my favourite singers. I liked The Beatles too. I don't know much about today's singers.

You were heartbroken by the recent demise of one of India's finest classical vocalists, Kishori Amonkar...
Kishori's death has left a huge void in the Hindustani classical music arena. It's a massive loss. She was a brilliant singer, a doyen of the Jaipur gharana.

Not many know that you like to cook...
(Laughs!) I enjoy cooking. I can say with confidence that no one can make gajar ka halwa the way I do.

You've been honoured with almost every award in the country. Do awards still excite you?
Whether it is the Bharat Ratna or any other award, they all make me equally happy, as those who honour me do it with a lot of love and respect.

What's your take on comedians mimicking your style?
I haven't seen it so far. Mimicry karayla harkat nahi pan ti barobarch aste asa mala vatat nahi. (There is no harm in mimicking me, but I don't think that imitation is always right). It's common for people to mimic renowned personalities. When it comes to mimicry, no one is spared. If leaders like Narendra Modi ji are imitated, then who are we? I just feel that those who indulge in it should first take a close look at themselves and do it with some dignity.