a massive turnout at his funeral procession. Gaylord, a restaurant at Churchgate (Mumbai) where Jaikishan used to be a regular visitor, mourned the death of its illustrious patron by lighting a candle on his favorite table for one month and keeping it out of bounds for other guests with the sign "Reserved for Mr. Jaikishan". After Jaikishan's death, Shankar carried on with the banner of Shankar-Jaikishan alone (as per their mutual understanding made during their lifetime that in case of the demise of any one of them, the surviving partner will continue to work with the same team name). He was clearly hampered by numerous reasons such as the departures of his soul-mate Jaikishan and his favourite lyricist Shailendra, the continued Shankar-bashing and false propaganda by his rivals and lack of motivation on his own part due to which his music appeared to suffer in comparison to S-J's own high standards. Also, in spite of his continued experimentation on music, the projects themselves for which he worked did not turn out to be commercial successes due to which even his good scores went largely unnoticed. After 1970, when Raj Kapoor's personal project Mera Naam Joker did not do very well, he became superstitious and thought that this was because Lata Mangeshkar did not sing in the film. Lata got on very well with Jaikishan but not with Shankar, and Raj Kapoor chose Lata over Shankar. This was ironic, as Lata's big break was in the 1949 superhit Barsaat, where Shankar and Jaikishan were the music directors. According to Lata Mangeshkar herself, it was the late Mohd. Rafi who brought about a rapprochement between the two and she did start singing again for Shankar starting from Sohan Lal Kanwar's `Sanyasi' and several other films later. Although Shankar's creations during this period for Lata as well as other singers like Kishore, Rafi, Manna Dey were quite good, most of these went unnoticed due to non-descript status of such films which bombed at the box office. His most-successful musical hit was Sanyasi in 1975 for which he scored all songs and the entire background score based upon SJ's favorite Raag Bhairavi to prove the point that SJ's Bhairavi was as much Shankar's as that of Jaikishan. After Sanyasi, although some of Shankar's later songs did exhibit flashes of the old maestro's brilliance, overall, these films (Aatmaram, Do-Jhooth, Garam Khoon, Papi Pet Ka Sawal