Latest news with #Lata
Time of India
a day ago
- Time of India
61-year-old Worli man shoots wife while sleeping, later kills self; suspected domestic dispute
MUMBAI: A 61-year-old man allegedly shot dead his wife before turning the revolver on himself at their Worli home early Sunday. Police said the man, Rajmanohar Naampille, and his wife Lata, who was in her early 50s, used to have frequent domestic tiffs. The couple's 32-year-old son was asleep in another room when the incident occurred. Worli police said Naampille, an electrical contractor, used an unlicensed countrymade firearm. Police are trying to find out where he procured the weapon from and will be making inquiries with the couple's son and daughter-in-law. The incident occurred between 5.30 and 6.15am at their 2nd floor Pankaj Mansion flat. Lata was sleeping when her husband allegedly shot her in the head. He then went to the building's staircase where he shot himself too in the head. His nephew, who was in the house on Sunday, heard the shots and called police, who rushed the couple to a public hospital where they were declared dead. Worli murder: Cops probe if couple had financial issues| Naampille's relations with his wife had soured. He believed that his son supported his wife during arguments,' a police officer said. Investigators are probing whether there were any financial issues in the household. Worli police have registered a case of murder under provisions of Bhartiya Nyaya Sanhita and have also applied sections related to firearms.
The Hindu
4 days ago
- Science
- The Hindu
Chenab bridge designed to survive loss of one of its piers
One of the striking features of the Chenab bridge in Jammu and Kashmir, reportedly the highest arch-railway bridge in the world, is that the structure would stand even if one of the eight supporting piers is taken way, and still be strong enough to keep the train on it moving, albeit at a slower speed. The credit for conceptualising the design that allows this stability goes to G. Madhavi Lata, Professor of Civil Engineering at the Indian Institute of Science, Bengaluru. For nearly two decades, she has been a consultant for AFCONS Infrastructure, the engineering firm that had executed the construction of the bridge. Standing 359 metres above the river Chenab, it is as high as four Qutb Minars stacked on top of each other. Due to the height and the terrain, the parabolic arch – the strongest load-bearing structure -- which supports the railway bridge, could be assailed by winds that can touch 220 kmph and because it spans Himalayan mountains, has to contend with the strongest earthquakes, Dr. Lata told The Hindu. 'So the challenge is in ensuring that the foundations of the bridge, which rest on the slopes of these connecting mountains, are extremely strong,' she explained. These mountains often have unexpected cracks and fissures and strengthening them requires cement grouting – applying cement in these fissures to have them function like glue. This was Dr. Lata's first stint at designing a bridge in the Himalayas. 'I joined the IISc in 2003, as an Assistant Professor, and since 2005 have been associated with this project. Along with this, you also must provide rock anchors which are steel rods inserted into the slope. While these are standard civil engineering techniques, the real challenge lies in having to constantly change your basic design [of the bridge, foundations, piers] as when you realise that the slopes are full of surprises. The design has to be kept flexible till you reach the final stage. To me that was the biggest challenge,' she added. This is also the only arch-shaped railway bridge in India and there are only a few comparable constructions in the world, in China for instance, she added. The Chenab bridge spans 1,315 metres and has an arch-span of 467 metres. The bridge is one of the 927 bridges in the Udhampur-Srinagar-Baramulla Rail Link (USBRL) project.
Time of India
5 days ago
- Politics
- Time of India
SOG arrests 3 govt employees for role in 2021 SI paper leak
Jaipur: Special Operations Group (SOG) of Rajasthan Police Thursday arrested three govt officials in connection with the 2021 Sub-Inspector recruitment examination paper leak case, further unravelling a complex web of corruption in the recruitment process. Tired of too many ads? go ad free now The arrests include two assistant accounts officers (AAOs)—Purushottam Dadhich (35) and Sandeep Kumar Lata (43)— and a Grade III teacher, Kundan Kumar Pandya (54), as confirmed by DIG (SOG) Paris Deshmukh. Dadhich, a resident of Didwana-Kuchaman, was already placed under suspension by the medical and health department in Udaipur where he was serving, while Lata, a resident of Sikar, was posted at the treasury and accounts department in Jaipur. Pandya was posted at a govt primary school in Palwada, Dungarpur. The TOI reported on Jan 5 that the Special Investigation Team (SIT) mentioned in its report that Rajasthan Public Service Commission (RPSC) member Babu Lal Katara, who was arrested in the same case, allegedly handed over six sets of the 2021 SI exam question papers to commission colleague Ramu Ram Raika. These were later leaked to Dadhich also, who allegedly circulated them for profit nearly a month before the exam. Investigators believe that Katara's association with Dadhich during the former's posting in Udaipur facilitated the leak. The investigation has revealed a broader conspiracy than initially suspected. Earlier findings suggested that RPSC member Katara leaked the papers only to benefit his colleague Raika's children—Devesh and Shobha—both of whom were arrested while undergoing SI training in Jaipur. However, recent developments indicate a commercial operation where question papers reached Dadhich and the same were sold to multiple candidates. Tired of too many ads? go ad free now According to the SIT, Dadhich received Hindi and General Knowledge papers weeks before the Sept 2021 examination and collaborated with Lata and Pandya to distribute them to select candidates in exchange for money. Dadhich's role emerged last year following the arrest of trainee sub-inspectors identified as Renu, Surendra Bagadia and Surjeet, who got the exam paper beforehand. However, when the police arrested the trio, Dadhich went underground.
Time of India
7 days ago
- Business
- Time of India
When Lata Mangeshkar REFUSED to sing for Raj Kapoor's films after demanding royalty: I will sit outside your house till…'
The collaboration between Lata Mangeshkar and Raj Kapoor, though legendary, faced turbulence during 'Satyam Shivam Sundaram' when Kapoor replaced Mangeshkar's brother as composer without her consent. This led to a rift, with Mangeshkar demanding royalties and avoiding Kapoor. Eventually, through mediation and Kapoor's persistence, they reconciled, allowing Mangeshkar to continue singing for his films. The legendary collaboration between Lata Mangeshkar and Raj Kapoor gave Bollywood some of its most timeless melodies, but behind the scenes, their relationship was marked by moments of tension and disagreement. One such episode during the making of Satyam Shivam Sundaram revealed the complex dynamics between the iconic singer and the visionary filmmaker—an episode that nearly ended their partnership but ultimately showcased their resilience and mutual respect. Tensions rose during Satyam Shivam Sundaram when Raj Kapoor asked Lata to bring her brother Hridaynath Mangeshkar on board for the music. She agreed, but was later shocked to learn that he had been replaced by Laxmikant-Pyarelal—without her knowledge. This incident led Lata to refuse to sing for Raj for a period, and their relationship was further strained by disagreements over royalties. Despite the ups and downs, their creative partnership left an indelible mark on Indian film music. In Raj Kapoor: The One and Only Showman, Raj Kapoor's daughter Ritu Nanda detailed a pivotal moment that strained the filmmaker's long-standing collaboration with Lata Mangeshkar. At Raj's request, Lata persuaded her brother Hridaynath Mangeshkar—who was initially reluctant—to compose the music for Satyam Shivam Sundaram, a suggestion originally made by singer Mukesh. However, while Lata was away on a US tour, Raj Kapoor quietly replaced Hridaynath with composer duo Laxmikant-Pyarelal without informing her. The unexpected move caused a serious rift between Lata and Raj, marking a low point in their otherwise iconic association. Lata Mangeshkar found the situation deeply embarrassing, especially since her brother Hridaynath had accepted the film project on her recommendation, only to face negative press that suggested otherwise. Hridaynath felt offended and humiliated by the turn of events. On returning from her tour, Lata confronted Raj Kapoor, questioning why he had replaced her brother after she had convinced him to take on the project at Raj's own request. According to Ritu Nanda, Raj Kapoor's daughter and author of Raj Kapoor: The One and Only Showman, this incident became a major point of conflict between Lata and Raj. Following the fallout, Lata began demanding royalties from Raj for the songs she recorded, as she did with other producers, and reportedly caused delays in recording sessions, making their professional relationship increasingly strained. To ease the tension between Lata Mangeshkar and Raj Kapoor, Pandit Narendra Sharma, a fatherly figure to Lata, stepped in and persuaded her to lend her voice to Satyam Shivam Sundaram, believing no other singer could do justice to the songs. However, Lata set strict conditions: she agreed to sing only if she could avoid interacting with anyone in the studio. She went as far as requesting Laxmikant Pyarelal to prevent Raj Kapoor from entering the studio during her recording sessions. Lata sang the song and left immediately without speaking to anyone. Around that time, the film Bobby was in production, and she contacted Raj Kapoor to inform him that the singers' association had instructed singers to collect royalties directly from producers. Raj's response was sharp: "I have come here to do business, not distribute royalty." Lata, unfazed, replied, "You have come here for business, and I have come to the zoo," recalling the exchange with a mix of humor and frustration. Tensions reached a boiling point, prompting Raj Kapoor to ask Laxmikant Pyarelal to mediate the ongoing cold war between him and Lata. Though she initially resisted his efforts, Lata eventually received a call from Raj Kapoor, who playfully warned her, 'If you refuse to sing for my film, I will put up a tent right outside your house.' The two eventually reconciled, with Lata going on to sing for Bobby and all the other films Raj Kapoor made throughout his career. Check out our list of the latest Hindi , English , Tamil , Telugu , Malayalam , and Kannada movies . Don't miss our picks for the best Hindi movies , best Tamil movies, and best Telugu films .
Time of India
31-05-2025
- Entertainment
- Time of India
With AI, it's harder to judge the authenticity of a singer: Kavita Krishnamurti
In 1971, Bollywood playback singer Kavita Krishnamurti began her musical journey with composer Hemant Kumar, alongside the iconic Lata Mangeshkar. Fast forward to November 2024, she lent her voice to The Sabarmati Report, adding another milestone to her career spanning over five decades. Tired of too many ads? go ad free now With over 23,000 songs to her credit, she's worked with Salil Chowdhury, Laxmikant–Pyarelal, RD Burman, OP Nayyar, Naushad, AR Rahman and others. In a candid conversation at her Andheri home, she spoke about her journey, the changing music industry, the impact of technology, AI and more. Excerpts… You have been a part of the music industry for over five decades, do you remember the experience of recording you first film song? I began doing concerts with HemantaDa (Hemanta Mukherjee) while still in college. One day, he called me to Rajkamal studio, saying, 'Chole esho at 10 am, don't go to college tomorrow.' Sitting with his harmonium, he taught me four lines of Shokhi Bhabona Kahare Bole—a beautiful song. I had no idea why, until the door opened and Lata Ji walked in. I don't know how I didn't faint! HemantaDa, who called her Lata, said, 'You'll sing four lines with her. (Lata r shathe charte line gaite hobe)'. During the final rehearsal, standing beside her, I completely forgot my lines. I was so mesmerized that I lost track of my cue! Hemanta Da reminded me, 'Now we're going for a take—don't forget your lines. Lata is a perfectionist, one take okay.' We did two takes, and I finally sang. That was my first film song, Shriman Prithviraj (1972). And my first lucky mascot was Lata Ji. What do you feel about the evolution of the music industry from the era of live orchestras to the digital age, and how it impacted you as a playback singer? I consider myself very lucky to have witnessed and worked with legendary artists while also collaborating with younger composers like Jatin-Lalit, Anu Malik, Nadeem-Shravan, Anand-Milind, and AR Rahman. Tired of too many ads? go ad free now I started in the '70s when playback singing was done with a full orchestra—one mistake meant redoing the entire song. Music directors had an incredible ear; Pyare Bhai could pinpoint a single violinist in a 30-piece orchestra playing the wrong note. He'd say: You (His name) sitting in the third row, the fifth violinist, you were told C major, but you are playing C minor. Correct that note.' That was the precision of that era. Today, everything is computerized. I slowly adapted to these changes, but by 2004, when technology completely took over, I found myself stepping back. With advancements in technology and AI today, what are your concerns about the use of artificial intelligence in music? It's difficult for the common listener to distinguish between a naturally skilled singer and one enhanced by pitch correction and AI. Musicians can recognize true artistry, but for the average person, technology has blurred the lines. With AI refining sur and even creating harkats, the authenticity of a singer is harder to judge. While AI is a breakthrough in medicine, its role in music raises concerns and AI in music is a question mark for me, as it opens the door to potential misuse. However, at the same time, technology is good too. I'm not so young now and for me, to think that I can sing one line and take a breath, and then sing the next line, really helps. Earlier, I would record entire songs in one go, but now recording line by line, with breaks in between has become a habit and makes the process easier. You'd mentioned a poignant encounter with the legendary Geeta Dutt. What struck you the most? Guru Dutt's youngest brother, Vijay Padukone, was my Rakhi brother. He introduced me to advertising jingles while I was a student in St Xaviers. I first met Geeta Dutt at a studio in Worli during my debut jingle recording. As the door opened, I was struck by her beauty and presence. I touched her feet and sat down. She was recording a butter commercial in Hindi and Bengali that I had to sing in Tamil. Her voice was pure magic. Though she was in the twilight of her career, facing personal loss and financial struggles, her aura remained intact. She barely spoke, just said, 'Bhalo theko'. At that time, she was famous but had no money—yet nothing could take away her personality or her gift for singing. For me, Lata Ji and Asha Ji are the greatest singers I've ever met, but there are songs that only Geeta Dutt could have sung. Waqt Ne Kiya Kya Haseen Sitam—I don't think even Lata Ji or Asha Ji could have delivered it the way she did. You've sung for some of the biggest music directors. Tell us about a few of your favourite songs. That's tough! But if I had to choose, I'd say Hawa Hawai, Dil Ne Kaha Chupke Se, and my songs from Hum Dil De Chuke Sanam. I love the ones I did with Rahman, like Tu Hi Re, Dheeme Dheeme, Kay Sera Sera. Maar Daala from Devdas is a favorite too, along with the title track of Hum Dil De Chuke Sanam and Hamesha Tumko Chaha from Devdas. Yeh sab mujhe bahut pasand hai.
