The word that effectively sums up Asha Bhosle's career. Who else can boast of having worked as extensively with trendsetting composers across three generations, from O P Nayyar's breezy, foot-tapping ditties of the 1950s to R D Burman's pop blitzkrieg in the 1970s to A R Rahman's sensational contemporary rhythms?

Her distinctiveness arises from her enormous appetite for experimentation. She sang one of Hindi cinema's first rock 'n roll numbers, Eena meena deeka way back in the 1950s. She has recorded memorable ghazals with the likes of Ghulam Ali and Jagjit Singh, pop songs with Biddu and innumerable disco numbers with Bappi Lahiri.

In the mid-1980s, she went to London and sang with Boy George and Stephen Lauscombe. In 1997, she sang a love song with Code Red, a boy band. Then, she gave Indipop a boost with the hit album Jaanam Samjha Karo even as she was busy preparing to render 500-year-old classical compositions in tandem with sarod maestro Ustad Ali Akbar Khan!

Her repertoire runs to over 20,000 songs across 14 languages over 55 glorious years. We try to pick composers who brought out the best in Asha Bhosle:

Khayyam
Although other composers worked with her far more extensively than Khayyam, none has had as profound an impact on her career as he did on account of a single film, Umrao Jaan. In the Muzaffar Ali-directed musical, she immortalised four ghazals: Dil cheez kya hai, In aankhon ki masti ke, Ye kya jagah hai and Justju jiski thi. It won her the first National Award of her career.

Says Khayyam, "Asha and I have worked together right from my first film, Biwi, in 1948. I had asked Asha to sing Mere man ke aangan chand chamka for then superstar Mumtaz Shanti. She sang it beautifully. Then, in Footpath, I made her sing all the songs for Meena Kumari. There was a cabaret number too. Footpath did very well.

"Asha was very hard working. She would rehearse for hours. She understood my style; I understood her range. She didn't get to sing for heroines when she began. She faced a lot of trouble. She made a name for herself in fast numbers.

"The ghazals she sang for Umrao Jaan became a milestone in her career. I changed her tone and she was quite surprised she could sing like that. The songs proved her versatility and established her talent.

"She is a fine human being, very blunt and says things to your face. I like that. It helps maintain relationships and clear the air. Her heart is clean. Her musical antecedents are awesome: natya sangeet and shastriya sangeet. Our non-film album, Asha Aur Khayyam, was composed by me and sung by her. She always does exactly what the composer wants her to. She can sing in any language."

O P Nayyar
Nayyarsaab's association with her is part of film lore. When she was considered second choice by most composers, he recognised her potential and, in a sense, moulded her career by giving her a distinctive style.

Starting with Naya Daur and Tumsa Nahin Dekha in 1957, the duo created a treasure trove of lively melodies. Asha's delicately sensuous rendition of Aaiye meherbaan (Howrah Bridge), Yeh hai reshmi zulfon ka (Mere Sanam) and Aao huzur tumko (Kismat) was matched only by her exuberance in Nayyar's trademark, upbeat compositions in duets like Maang ke saath tumhara (Naya Daur), Main pyaar ka rahi hoon (Ek Musafir Ek Haseena), Sar par topi laal haath mein (Tumsa Nahin Dekha) and Ishaaron ishaaron mein dil lene wale (Kashmir Ki Kali).

The crowning glory of their association was Chain se hum ko kabhi (Praan Jaye Par Vachan Na Jaye), Nayyarsaab's last hit.

S D Burman
She sang most of her songs with S D Burman in the late 1950s and early 1960s when he had a rift with Lata Mangeshkar and refused to record with her. Within that short span, SD and Asha worked together on several soft romantic numbers like Kali ghata chhaye (Sujata), Koi aaya dhadkan kehti hai (Lajwanti), Achchaji main haari (Kaala Pani), Haal kaisa hai janaab ka (Chalti Ka Naam Gaadi) and Chhod do aanchal zamana kya kahega (Nau Do Gyarah).

For Bimal Roy's Bandini, Asha sang Ab ke baras bhej bhaiya ko babul with such feeling that she apparently broke down after recording the song. A few years later came Jewel Thief's seductive Raat akeli hai, among her last notable collaborations with SD, apart from the famous Aradhana duet with Mohammed Rafi, Gunguna rahe hain bhanwar.

Ravi
Ravi Shankar Sharma shot to fame with scores for films like Mehendi, Ghar Sansar, Dilli Ka Thug and Chaudvin Ka Chand. He worked closely with Asha in many films. Says he, "I started my career as [singer-music director] Hemant Kumar's assistant. Lataji and Ashaji would often come to the studio to sing.

"My first film was Vachhan (1955), directed by Devendra Goel. Ashaji sang for it. One of her songs, Chandamama door ke became very popular. My mother used to sing this song to put me to sleep. I adapted the lyrics and composed it. Ashaji won her first award from my song in Grahasti.

"We had a great relationship. She loved my wife's pickles. Ours was the only house she would come to, to eat pickles. Our families used to drive to Darjeeling and Kashmir."

Usha Khanna
Usha Khanna, who scored music for the Asha Parekh-Shammi Kapoor film, Dil Deke Dekho (1959), says: "One utilises her voice because it is fabulous. She enhances the scenes with her voice. I have received a lot of love from Ashaji. She calls me her daughter. We have had an affectionate relationship.

"She would get angry with me sometimes, but as soon as she reached home, she would call up and apologise, 'Usha, I was irritated but not angry.' Then, she would laugh and add, 'See, I have to take care of my daughter, so I'm calling you.'

"Once she was recording for me but I wasn't quite getting what I had in mind. She was watching me from the small glass recording room and my face would fall when she reached this particular sequence. I didn't say anything, but she realised it. She asked for the recording to be stopped.

"She asked me if she was singing properly. I replied, 'Didi you are singing well.' But she insisted, saying, 'You are my guru when I sing your compositions. Tell me what you want.' I told her and she said, 'Oh yes, I was singing differently!'

"Once I was wearing a kurta-pyjama. Even she wanted to wear one. The next time before recording, she asked me what I would be wearing. I said churidar-kurta. She wore one too for the recording!

"I love Hai tabassum tera from my film Nishaan (1965). Her cabaret numbers are just as good as her classical numbers. Today, though we are busy in our respective lives, we still keep in touch over the phone."

R D Burman
The maverick musical genius wouldn't be immortal without Asha's willingness to let her voice be manoeuvred into uncharted territories. It would be fair to say that Pancham conducted musical experiments on Asha's vocal chords.

Throughout the late 1960s and 1970s, the RD-Asha team held sway on the world of Hindi film music with their youthful, Westernised sounds and sent an entire generation into raptures. So much so that the remix wave that has the recording industry in its vice-grip in recent years is largely propelled by RD's compositions rendered by Asha.

Rewind to the fabulous Aaja aaja main hun pyaar tera (Teesri Manzil), Piya tu ab to aaja (Caravan), Dum maaro dum (Hare Rama Hare Krishna), Chura liya hai tumne jo (Yaadon Ki Baaraat) and Jaane jaa dhoondhta phir raha (Jawani Diwani), to soak in the irrepressible mood of their distinctive melodies.

Or catch Asha's soulful rendition of Mera kuch saaman and Khaali haath shaam aayi hai from Ijaazat to get a measure of the sheer range of musical expression the RD-Asha combination managed to map.

Sardar Malik

Anu Malik's dad has composed such great tunes like Haan deewana hoo mein in Saraanga and Mujhe tumse mohabbat in Bachpan for her. Sardar Malik reminisces about the good old days. "I first met her after her first son was born. We had gone to her house.

"I was going through a bad time in my career and had started taking these Nag Panchami kind of films. But she sang even those with great fervour. I love her songs like Chanda se pyare, zulm bhi karte hain aur kehte hain fariyaad na kar. She sang all my songs.

"Asha has known and respected me even when I had no work.

"She once told me that she only got light numbers, no serious ones. I was doing Thokar and asked her to sing all the songs. The ghazal, Ai ghum-e-dil kya karoon was sung by Talat Mehmood and the second version was to be sung by Asha. She sang it so beautifully that Talat claimed that she matched the pathos in his version.

"Recently, I had gone for [son and composer] Daboo's recording. She was there. When Daboo came to meet me, she asked him if he knew who I was. He was surprised and she said, 'He is my best friend!'

"She has not learnt the word 'fear.' She stood her ground with the most outstanding singers and proved herself to be the best each time, whether here or abroad."

Pyarelal
Laxmikant-Pyarelal made great music together in films like Dosti, Bobby, Amar Akbar Anthony, Karz, Mr India, Tezaab and many, many more films. After Laxmikant passed away in 1998, Pyarelal cut down on work considerably.

"I cannot praise Asha Bhosle," he says. "Words are inadequate. People like her are a gift to the nation. I cannot choose her best songs, all of them are outstanding. But better than that is her cheerfulness and commitment. I love her songs from Umrao Jaan and all the songs she sang for R D Burman and O P Nayyar. The way she sings is her contribution to the industry.

"I have heard she is an outstanding cook though I have not had the opportunity to taste her food. I know she loves to feed people.

"Eighty-five per cent of my songs were sung by her and all of them are popular. There was Aage bhi jaane na tu in Waqt, Mujhe gale se laga lo in Aaj Aur Kal, Yeh raatein yeh mausam and Cat mane billi in Dilli Ka Thug.

"She was to sing for B R Chopra's Nikaah too but they wanted the heroine to sing. So Salma Agha was roped in. But the songs were rehearsed by Ashaji. When my son Ajay was making his films (Khamosh Nigahen and Mera Suhag), she refused to charge a fee for singing for his films."

A R Rahman
The shy genius from Chennai met the ageless diva of Mumbai and electrifying music was made.

Picture the 60-plus Asha singing Rangeela re or, even more astonishing, Tanha tanha. The inherent sensuality in her voice highlighted Urmila Matondkar's newfound S**-symbol image.

While Rangeela was the high point of the Rahman-Asha association, they have notched up many other hits including Kahin aag lage (Taal) and Radha kaise na jale (Lagaan).

Alka Yagnik
I love the way she has sung Hone lagi hai raat jawan jagte raho, Tu rootha to main rodoongi sanam and Chain se hum ko kabhi aapne jeene naa diya.

She is ageless, versatile and very young in spirit. It is so easy to make conversation with her. She is so easy to communicate with. I have been aware of both the sisters [Lata and Asha] right from the age of four. I used to sing their songs and would often find that Ashaji's way of expressing nuances was very difficult.

To hold your own when you have a singer like Lata Mangeshkar at home must require strength of character and self-confidence that she obviously has. I want to be invited on her 100th birthday!

Kavita Krishnamurthy
All her songs are outstanding, especially Aab ke baras from Bandini. At 70, her zest for life is wonderful. Her clothes, style, involvement with her family, the way she carries herself and her enthusiasm is very inspiring.

Abhijeet
She is one singer even male singers can learn from.

If I have a style, the credit goes to Asha Bhosle. I have developed it by listening to her. It is her stamp. She has changed herself over the decades.

She has a very forgiving nature. Once I said something about her that I regretted very much. I was very scared to face her after that. But when I met her, she was very kind. I met her on her birthday and begged her forgiveness.

She is 70? I would believe you if you said 17!

Preeti Uttam
She is an institution in versatility. Give her any style and she executes it beautifully. I love her rendition of Pappe bachalofrom Caravan. I don't think any artiste can sing the way she rendered the antara of this song.

Her voice remains the same after so many years: youthful.

Sadhana Sargam
Just listening or even seeing her inspires me. She is so versatile it amazes me. It is very difficult to choose from her vast repertoire of songs. Some of her songs are very difficult to sing, even for me.

I have sung a few songs with her, Main haseena gazab (Khoon Bhari Maang). She sang for Rekha and I for Sonu Walia. We also sang for R D Burman's Tadap with Amit Kumar.

She has always met me with affection. She is very encouraging.

My favourites among her songs are one Jhoote naina bole from Lekin and Chura liya hai tumne from Yaadon Ki Baaraat.

Udit Narayan
We are very lucky to have her in our midst. She has her own style, her adaa, which is very attractive. Whether she sings a ghazal, dance or classical number, she stamps it with her style.

I am fortunate I could work with her. I love all her songs, especially In aankhon ki masti (Umrao Jaan). I love the way she has sung it.

Saagarika
She has released this album that had some fabulous songs of [yesteryear singer] Noorjehan. She sang Yoon saja chand with tremendous expression.

I admire her tremendously. We have sung for two Bengali films and one Oriya film.

I also sang with her as a child. It was a mother-daughter song in Anokha Bandhan.

Priya Bhattacharya
I love Aao na gale lag jao na from Mere Jeevan Saathi, Do lafzon ki hai from The Great Gambler, O saathi re bhool na jana mera pyar and the title song of Jaanam Samjha Karo. These are unforgettable!

She is a great source of inspiration for me. Whenever I get a peppy number to sing, I close my eyes and try to think how Ashaji would have sung the number.

Shaan
My favourite Ashaji number is Sapne main chupke se aaye koi bina kahe chala gaya from Mahananda. It was composed by my father Manas Mukherji.

When she sings, you don't need visuals. Her voice conveys everything. She is the best. She has so much resilience that everyone can learn from her not only as a singer but as a human being.

She has been a good wife, mother and singer. She has done everything well. She has lived a complete life.

Sanjivani Bhelande
I love to sing Kaali ghata chaye, Balma khuli hawa mein and Jab chali thandi hawa. The spontaneity of her personality shows in her songs.

I also love her Marathi song Hi wata door zaate.

'I am an open book, everyone knows everything about me'

India's most loved singer turns a glorious 70.

The ride has been a roller coaster. Peppered with unforgettable songs and personal landmarks that ranged from the blissful to the wretched. Yet, the decades that have rolled by sit lightly on the shoulders of the legendary Asha Bhosle.

Today, as she looks back at the years gone by, it is not her professional achievements that matter to Ashaji. In this reflective interview – a serious note from the normally chirpy Ashaji -- she looks back and shares with rediff.com readers her real joys and sorrows.

In many ways, Ashaji today is the mother-next-door. The matriarch who has firm control over her life and her home. That is what keeps her happy.

The rest – fame, adulation, money – is, as she says, incidental.

Could you share some of the more memorable moments in your life with us?

[Laughs; a long pause as she thinks] It is difficult to focus on any one such moment.

Becoming a mother is one of the most beautiful and unforgettable moments in a woman's life. I had a son. Then my daughter, Varsha, was born. Then there was Anand. Now, after a long time, there are children in my house again. I have twin grandchildren. These are moments of happiness.

It is such a great feeling when you record a song well and the listener enjoys it and praises you.

It is such a happy feeling when you prepare a mouth-watering meal and everybody enjoys it.

There are many such moments of happiness in a person's life. And, if he wants to, can be happy in any situation.

Unfortunately, most people tend to forget the happy moments in their life and focus on the sad ones instead. It is a question of mindset. For example, we live in a joint family. My daughter [rediff.com columnist] Varsha [Bhosle] and I fight all the time; my daughter-in-law and I seldom do.

Yet, if Varsha tells me something, I would not be as upset if my daughter-in-law said something. This is the mentality many women have; they are more tolerant and forgiving of their daughters. This is just inviting grief. This is not my attitude; I am not interested in investing in grief.

I have this habit of focusing on only the happy things in life. As Lord Vishnu has said in the [Bhagvad] Gita: don't mourn the past and don't worry about the future. Only the present belongs to you. Even that, you leave to me. Main is cheez ko bahut maanti hoon [I believe in this very strongly].

That is why my life is filled with happiness.

When I get angry or upset, I don't brood over it. Main dhaad-dhaad-dhaad bol deti hoon [I say what is bothering me immediately]. Then it is the problem of the other person; he or she has to deal with it. It is out of my system, so I am happy [laughs].

It is important to be happy; I try to be happy all the time.

Trying to have a certain outlook towards life -- you say you have always tried to focus on the good things in your life and derive happiness from them -- is one thing. Implementing it is another, especially when times are difficult and one is going though a lot of pain.

That is true.

How have you managed to hold on to this philosophy and implement it in your life?

When someone faces a difficult time, God also gives him the strength to deal with it. You find within yourself the ability to deal with the crisis facing you.

Some people have it in greater measure, some people have it in lesser measure. Some people are unable to deal with the unhappiness and crisis in their lives and fall ill. Some are unable to deal with the problems in their lives and commit suicide. Some take out their anger against life on the people around them.

But one has to remember that after every night, a new day dawns. Never doubt that. One should also remember that the darkness becomes more forbidding just before dawn.

Life is a like a roller coaster or a Ferris wheel. There are ups and there are downs. There have been many ups and downs in my life. When the downs came, they were bad. But when the highs came, they were really very good. That is why I feel those who face life bravely will get to see its good side.

This does not mean that just because you know the bad times will pass you don't do anything about it. You have to keep trying to deal with the bad times, you have to fight it; you have to attempt to get out of your bad times. I do. And I keep hope alive in my heart.

One should also remember everything is transient. All the artistes who came before me were such huge stars. Today, they are no longer here. One day, I too will not be here.

Man must be prepared for everything, including death. Tomorrow, my fame will no longer exist. I could lose all my money. My body will become weak.

Those who are prepared for death will not feel pain or sorrow when it is time for them to leave this world. But those who believe the good times, that fame and the fortune will always exist will suffer terribly when life takes a downturn.

My father had once told me that the sun that rises will also set. Even when it sets, it is a beautiful, fiery-red glowing ball that mesmerises us. A human being should be like that. Glorious till the last moment.

My father used to say another thing. He would say a crow can sit on top of a high peak, but he will still remain a crow; he will not become an eagle. An eagle is always born, not made.

My father would always tell me: you are the child of an eagle; whenever you fly you will always soar to the skies. His prediction came true; thanks to his blessings and the blessings of God.

Sometimes I would feel this is the end; iske baad kuch nahi ho sakta [I will not survive this]. But, somehow, things always worked out. Today, the bad times have passed.

Now, I am used to the good times and the bad. These things do not matter to me any more. Today, I have fame and money; tomorrow I may not. It does not matter.

The only thing that matters to me today is my family. If something happens on that front, I will be unhappy. Other than that, nothing can affect me.

There are moments in life when both the present and the future seem dark. Were there any such moments in your life when you felt you could not carry on?

There were many such moments.

Can you give us an example?

[Laughs and thinks for a while] There came a time in my life when I was on the street. I had two young children, I was pregnant, I had no money. There was nobody I could depend on.

It is a sad truth that however good a woman may be – she could even be another Sita – society will always point fingers at her and label her bad. Society has never given woman a standing where she could be right and the man wrong. It is always the woman who is wrong.

I knew the blame for what had happened would be laid at my door.

Mind you, I did not leave. I was thrown out. Who will leave their own house? And this house was mine in every sense of the word. I had worked for it from the start, I had invested in it. I had no place to go but my mother's home.

This was not the only blow. The industry was wary of approaching me. They thought I would not sing any more. The attitude was iska kya hoga maloom nahin [God knows what will happen to her]. They stopped giving me songs and started calling other singers.

It was a very, very difficult time for me. I kept wondering what I should to. But I never lost faith in my ability to work hard.

At that time, a very big man had told me, 'You don't have work, you don't have a house, you have small children. What are you going to do?'

I said, 'I am a very good cook. I will work as a cook in someone's house and bring up my children. I have strength and the courage. So what if I don't get songs? Main ghar kaam karoongi [I will work as a servant in people's homes]. I'm not afraid of hard work and don't consider any kind of work too small. After all, I am not stealing.'

He told me, 'Tumhari himmat ki main daad deta hoon [I salute your courage]. But this is a very big step you are taking.'

When I see my youngest son now – he is 43 years old and has his own children [laughs] – I think I took the right decision.

Where do you get this drive to go on? Is it because of your father?

You don't get it because of anyone. It has to come from within you. It has to be there when you were born. A person is born with a particular nature. People are born thieves or bad people or sadhus or singers or artistes.

I cannot say that I am this way because someone inspired me. Mere saamne koi bhi nahi tha jo mujhe inspire kar sake. Is kaam ke liye to koi bhi nahi tha. [There was no one who could have inspired me. And in this particular situation, there was definitely no one]. Sab mujhe darrate the [Everyone would frighten me].

When you look back, are there certain events in your life that you feel should have never happened?

There have been many such incidents. My life would have been so much better if they had not happened. I wish they hadn't.

Par mere kehne se kuch nahi hota hai [But that does not mean things will happen the way I want them to].

They were fated to happen. No one can change that. If these things were to happen in my next life and I had a choice about it, I would say, okay, I don't want it to happen. But what is the point brooding over something that has already happened in this life? But yes, but I always think this should not happen in the future [laughs].

You must be very happy about your grandchildren.

I am really happy. My other granddaughter, who is 16 years old, is studying in Scotland. The twins are 17 months old [shows a framed photograph of the twins].

To tell you the truth, this is life. The rest of it is transient.

Do you think your legacy will be carried on by your family?

It is a very difficult thing to do. Even if there is talent in your family, they may not want to opt for the same line.

Varsha used to sing very well. She is a trained singer. Then, one day, she told me she does not want to sing any more. When I asked her why, she said, 'Mujhe tarazu mein tolenge har waqt [people will constantly compare me to you].'

She gave me examples of children who had taken after their parents and become actors. If they were not as good as their parents, everyone was highly critical; comparisons were constant. She did not want that to happen with her. In a way, I feel the decision she took was correct.

She will not be a Lata Mangeshkar or an Asha Bhosle. But the comparison will still be there, like I was constantly compared with Lata didi. Varsha changed her line altogether. Now I am after her to write a novel; bahut peeche padti hoon [I prod her constantly]. I know she will do a good job.

Do you feel happy that you will leave behind an immortal legacy?

There is nothing that is immortal. You may remember my voice, but the next generation may not.

With the surfeit of remixes today, it will be very difficult for people to remember the original compositions and the original voices.

Aajkal utpatang gaane hote hain; utpatang picturisation hoti hai; gande se ganda dikhaten hain [Today the songs are bad and their picturisations are worse]. Girls have no qualms about exhibiting their bodies. They strip to the barest possible minimum.

There is a song of mine – Tu tu hai wohi dil ne jise apna kaha. It is such a beautiful, pure song. See how they have picturised it! Look at how they have destroyed Dum maaro dum and Kaanta laga. With such shameful things happening, the real singers and composers will be lost in the mists of Time.

Children will only remember the remixes and the singers of those remixes in future.

I realise the extremes people go to in order to make money. And I am not just talking about songs. I see on television how people adulterate milk and that same milk is then given to innocent children.

School children don't have clean water to drink. They are given water from the dirtiest gutters. They don't have a bathroom to go to. Yet, the people who run these schools ask what better resources they can give the children.

Thirty years ago, people were not as bad as they are today. Insaan itna gira hua nahin tha, aaj bahut gir gaya hai [Man wasn't so bad earlier. Now man has fallen].

Today's youngsters – in the age group of 16-20 – are trying to improve the world. But their elders, those who are running things, are destroying the country. When I see this in the country I love so much, it makes me very unhappy. When I see the country in which I was born being destroyed by people without conscience, I feel it would be better if I were no longer alive. It would be better if I die.

Do you miss the past?

Bilkul! [Of course!] Those kind of people no longer exist.

I was talking to my brother just yesterday about this. And he said, "Ashatai, that world no longer exists. Today, there are no honest people left. Kisi rishte mein honest nahin hain [No relationship is honest]."

Why do you think this is happening?

Let me give you an example. I travel abroad regularly. When I visited Dubai on May 14, 1970, the airport was just a hangar.

When I go there today, chalte chalte pair toot jaate hain [your legs will ache from walking]. Their airport is so big. They have such tall buildings. They have so many trees in a place where one was once hard-pressed to spot a leaf.

Today, Dubai seems like Paris.

This is because they care about their country. You go to any country today, people are honest towards their nation. They love their nation.

Hindustan was once known as the suvarna bhoomi [golden country]. We had everything that we needed.

Today, there is nothing. Today, there is only dishonesty.

When India became independent, I was 13 or 14 years old. I have known this country from earlier, when the British were still here. When warplanes used to fly in the skies and our parents would hide us in the cellars because they feared a bomb would fall on us.

I saw the period when people died for India's independence; when people were hanged because they were fighting for their country. We had leaders like Gandhiji and [Veer] Savarkar.

Then, I saw the slow deterioration till we reached the depths in which our country is enmeshed today.

I wonder, why did we become independent? To see India the way she is today? Where, instead of milk, Fevicol and God knows what else is being mixed together to create a liquid that is filled into bottles and fed to children?

Is this why we have become independent? So that we could see how our children drink water from the gutters?

Why are these things happening? Why are parents not able to impart values to their children?

I really can't understand it.

Earlier, for example, music directors would make each other listen to their good compositions. Today, they will not do that because they are afraid their work will be plagiarised.

Today, people don't have faith in the future. They don't trust each other. They have no faith in themselves.

Everybody has become insecure.

Singers are insecure. Actors and actresses are insecure. They feel, if our movie fails, what will happen to us?

Singers feel that if they demand royalty, they won't get songs. So they give up their royalty. If one singer asks Rs 20,000 for a song, there is someone always willing to undercut him and sing for Rs 5,000. This is because they are insecure.

When man becomes insecure, he begins to lose character. He becomes dishonest. First he will be dishonest with himself, then with others. The root cause for all this is money.

Money is a very big thing, but it is not everything. People don't understand that.

Can you tell us something about yourself that people do not know about you?

[Smiles] There is nothing about me that people don't know.

Everyone says Asha is an open book. Everyone knows everything about me.

Written by Savera R Someshwar
Interviewed by Savera R Someshwar, Syed Firdaus Ashraf

These are a few of Asha's favourite things!

Asha Bhosle's eyes have a distinct twinkle. It can fool you; make you think she is easy-going.

Until she is pushed. Then she looks at you and says, 'Yeh mujhe achcha nahi lagta [I don't like this].'

Or 'Aap agla sawaal poochiye [Ask the next question].' The tone is polite, but you can't mistake the message.

When we began the interview in English, she interrupted firmly, 'Aap Hindi mein boliye [Please speak in Hindi].'

There is no doubt the lady has charm. Plenty of it.

One question later, she was laughing as she shared with rediff.com some of her favourite things.

There are many things she likes, like cooking for her family and watching 'dancing' films. But she is not too fond of the computer. "The computer has taken away too many jobs. What is a hale and hearty man supposed to do when his work is taken over by a machine? How is he supposed to feed his family?"

She's not too fond of the Internet either. "Songs are stolen on the Internet. People listen to songs without paying for it. That's not fair to the artistes."

As for the other things she is fond of, read on to find out:

Of the songs you have sung over the years, which are your favourite?

[Long pause] Why don't you suggest some songs?

How about Yeh hai reshmi zulfon ka...

That's not bad. But a better one is Ghar jayegi, tar jayegi, doliyan chad jayegi [from Khushboo]. This is a very beautiful song.

There are some of [R D] Burmansaheb's films that did not do well, but had some very beautiful songs... like Aao na gale lagao na. The tune is very nice. Actually, all of Burmansaheb's songs are good.

Doosre yaad nahi aate utne [I can't remember the others]. I have sung thousands of songs; now I can't remember specifics. You choose whatever you like.

But we love all your songs. We want to know which are the songs you like.

In Hindi, I have sung many songs. But there are some songs that have been a challenge. For example, there is a song in Marathi that is a very challenging song for any singer -- Taruna ahe raatr azuni.

In Hindi, there are songs like Dil dhadakne ka sabab yaad aaya [from Meraj-e-Ghazal, her album with Ghulam Ali] that are very challenging.

Let's suppose we've had a terrible day and need to listen to some music to cheer myself up. Which of your songs would you recommend?

[Laughs] To make you feel better? Karle pyaar karne ke din hain yehi. Aao na gale lagao na. Aap koi mera chulbula gaana sunenge toh aapko achcha lagega [Any of my perky songs will cheer you up]. Any of Pancham's songs. Baithe hain kya uske paas is another good song of his [from Jewel Thief].

Do you watch Western films?

Bahut zyada [Plenty]. I watch them all the time.

Which are your favourite films?

[Laughs] Bahut saari [Quite a few]. I see musicals, comedies, and all kind of films. Mujhe naam yaad nahi rehte [I can't remember the names]. I used to watch English films even when I was very small, even when I was in Kolhapur in 1943-44.

I see a lot of films. I saw Gone With The Wind when it came for the first time. I have seen it again many times. Whenever I go to London, I watch stage shows. I like them very much. I like 'dancing' films very much. I don't miss any musical.

But some of these new films today that are made on the computer, I don't like those. You can make out that this is not a real person; it is generated by the computer. Usme mazaa nahin aata [I don't like that very much]. I don't watch these films. I like the older films better -- like the ones that appear on HBO, Star, Zee and the other television channels.

What international songs do you like?

Oh, there are so many. It would be difficult to pick just one.

Could you try?

[Laughs] I like all the Beatles songs. I like Shirley Bassey. I used to listen to a lot more Western music with Burmansaheb.

What about your favourite song picturisations?

It is very difficult to say. I have sung so many songs. And many of these songs were picturised well. All the songs in Umrao Jaan are very good -- from the picturisations to the clothes. If you look at the modern films, Urmila [Matondkar] has done such a good job in Rangeela. Even though she wore short clothes, it did not seem vulgar. She is small-built na, so it looked like a little child was dancing. When big-built women wear skimpy clothes, it looks vulgar.

Were there any particularly favourite actresses on whom you enjoyed seeing your songs picturised or with whom you had a personal rapport?

Helen was very good at that. She would always call me and tell me, 'Main gaa rahi hoon itna yaad rakhiye [Please remember that this song is for me].' [rediff.com aside: Asha Bhosle would always receive chocolates from Helen on the day she was to record a song for her.]

When people talk about actresses like Rekha and Zeenat Aman, they also talk of their songs, many of which have been sung by you. How does that make you feel?

I have never really thought about it. These stars are nice people. They are very nice to me when we meet; they have worked hard. It's not just my songs that have been picturised on them; even didi's [elder sister Lata Mangeshkar] songs have been picturised on them and they have worked just as hard on those songs as well. I have never felt that any kind of special effort has been made for my songs. Zeenat is a very nice person. And Rekha is Rekha, what can you say about her? She used to bring the songs alive. All the other artistes were also good.

You have sung Raat akeli hai [Jewel Thief] for Tanuja. You have also sung Zara sa jhoom loon mein [Dilwale Dulhania Le Jayenge] for her daughter Kajol. How does that make you feel?

Tanuja was 17 or 18 when Raat akeli hai was picturised on her. She did a good job. As did Kajol in Zara sa jhoom. I did not really find much of a difference. Only the faces were different [laughs]. Today's girls are freer than the earlier generation. They perform more freely.

I had sung for Babita in Aao huzoor tumko. Now I have sung for both her daughters [Karisma and Kareena Kapoor].

There was another actress called Amita. I sang for her and I have sung for her daughter as well [Sabiha in Khiladi].

You have sung in many regional languages. Of these, which are your favourite numbers?

In Tamil, there is a song called Senbagame. It's a very nice song by Illayaraja. In Bengali, there are so many songs I can list. I have sung many songs for Pancham like Moina bolu tumhe Krishna Radhe and many others.

In which regional language have you sung your best songs?

Bengali. It is a very sweet language. It is a very nice language to sing in, if you understand its nature. Kahin khulti nahi, woh bhasha gol-gol chali jaati hai [It is an endless circle]. Bada achcha lagta hai [It feels good]. I have sung many songs in Tamil as well.

Who are the classical singers you enjoy listening to?

The people I have heard before, like Amir Khansaheb, Bade Ghulam Ali Khansaheb. Us zamaane ke singers bahut achcha gaate the [The singers those days would sing very well]. The songs were filled with nazaaqat [style] and beauty. Woh jo un logon ne bajaye hai [The music they have played] like Ali Akbar Khansaheb's sarod, Ravi Shankarji's sitar... There is no one who can match their work or their talent.

We have heard it said often that you are an excellent cook. What are the dishes you like to prepare?

I make shaami kababs, special biryani, Hyderabadi biryani, pasande, raan... Three or four different kinds of pulaos and biryanis. These items are a favourite with my children.

All these are non-vegetarian dishes...

Mere bachche jo khaate hain wohi banati hoon [I cook whatever my children like to eat]. Mere bachche sabzi dekhke bhaag jaate hain [My children disappear when they see vegetables]. Other than that there is the regular daal-chawal, woh to har kisam ka bana hi leti hoon [I can make all kinds].

Written by Savera R Someshwar
Interviewed by Savera R Someshwar, Syed Firdaus Ashraf, and Rupali Nimkar

Design: Uday Kuckian