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The cabaret song was a free woman’s song, the one who was no more confined to the four walls of the house and Asha sang that with much aplomb. As films began reflecting a changing India, composers like RD Burman began to capitalise on that. Even the romance of those days needed the heroine to be coy. Lata was brilliant but she was the voice of the meek heroine in white. Did the emergence of the independent, modern woman have to do with Asha finding work in the 1970s?Ībsolutely. Through several years, Lata sang for the “pure” Indian woman on screen, while Asha was the voice of the vamp. But RD refused to compose the cabarets if Asha wouldn’t sing them and she relented. She even refused to sing the fast numbers, saying that she could sing what her sister could. Asha never liked that and complained often. But even he gave some of the more nuanced numbers to Lata. She also drew close to Pancham (RD Burman), who had come up with a new style of his own. Until Geeta began having problems with Guru Dutt, there was no real opening for Asha. The only songs she wasn’t singing were performed by Geeta (Dutt). Asha took it upon herself to prove herself.īut Lata never let go of the top position. The lack of encouragement and musical support from an older sister turned matters worse. If Asha performed live, Lata never attended her shows - something that would infuriate Asha. While Lata chose what to sing or whom to sing for, Asha did not have that luxury. In the 1950s and ’60s, Lata charged Rs 500 for a song, unheard of in the industry, while Asha had to settle for Rs 100-150. When Lata found attention and popularity, displacing every female singer in the music industry, Asha wanted to do the same. Lata and Asha grew up in the same house, just three years apart, and were competitive even as kids. I had to take note of the fact that there was some ruthlessness in the relationship between the two sisters. The first 50 pages of your book are on the rivalry between the two Mangeshkar sisters. Mera kuch samaan tumhare paas pada hai for RD and Gulzar in Ijaazat is one of her finest renditions, something she delivered, perhaps, better than Lata. To me, Asha emerged as a brilliant singer with OP Nayyar and SD and RD. The phenomenon, as we know it, is probably RD’s (Burman’s) creation. For the five years that SD didn’t work with Lata, Asha benefitted. When Lata had a falling out with SD (Burman), he used Asha in Nau Do Gyarah. She found success and was some kind of competition to Lata. Maang ke saath tumhara and Ude jab jab zulfein became big hits. He was a Punjabi from Lahore, whose grip on Urdu was really strong. Nayyar spotted the fact that Asha was strong in the low notes. Because Nayyar had a score to settle with Lata, he decided on using her sister’s voice for his compositions. This was until OP Nayyar, a tyrant, took her under his wing. Her Marathi-Hindi diction was a problem, she didn’t work on her Urdu like Lata did. In fact, she sang more than any other singer, including Mohammad Rafi, who was absolutely prolific. If producers were not using Lata, they would say use Geeta Dutt or Shamshad Begum. That’s why in the book I began with how she struggled to find good work. Asha Bhosle was no phenomenon to begin with.