Tag Archives: Bollywood

Asha Bhosle: Legendary voice of Bollywood films

Asha Bhosle and her sister Lata Mangeshkar stand as the undisputed leading voices of Bollywood film music. Across decades of cinema, both singers built extraordinary careers, contributing to thousands of film soundtracks and shaping the sound of Indian popular culture. Asha Bhosle, celebrated for her versatility and high‑energy performances, became a household name across generations in India. Her collaborations brought her international recognition, further expanding her global appeal. Over her prolific career, she earned two Grammy nominations and received India’s highest artistic honor, the Dadasaheb Phalke Award, as well as the Padma Vibhushan, the nation’s second‑highest civilian award.

In the Indian film industry, playback singing refers to the practice of recording film songs in advance and then synchronizing them with actors on screen. Professional singers record the tracks, which are later inserted into the soundtrack while the actors lip-sync to them in the film. During shooting, the recorded song is played back over loudspeakers so the performers can match their timing, which is how the term “playback” originated. This method emerged in the late 1930s, once film technology made it possible to record sound separately from the image. Before that, actors and actresses had to sing their own songs while filming.

Asha Bhosle (left) and Lata Mangeshkar. (Photo courtesy of Britanica.com)

Since the late 1940s, Bhosle has been acclaimed as a playback singer, recording an unparalleled range of songs across genres and languages. Her vast body of work earned her a Guinness World Record for the most studio recordings by any artist. Known for a vocal style that was flirtatious, rhythmically bold, and refreshingly modern, she broke from traditional playback conventions and connected with a younger, more cosmopolitan audience. Alongside Lata Mangeshkar, she has also performed extensively around the world, leaving an enduring legacy in Indian music.

Asha Bhosle passed away on 12 April 2026.

This according to the entry on “Women and music” by Jennifer C. Post in The Garland encyclopedia of world music. South Asia: The Indian Subcontinent (2013). Find it in RILM Music Encyclopedias.

The first image of the post is of Asha performing in 1966, courtesy of Britannica.com

Asha’s debut album cover, released in 1971.

Related Bibliolore posts:

https://bibliolore.org/2022/10/19/enchanting-voices/

https://bibliolore.org/2025/11/06/m-l-vasanthakumari-a-playback-singer-of-karnatak-vocal-pedigree/

https://bibliolore.org/2025/03/20/the-contemplative-karnatak-singer-jayashri-ramnath/

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From Bollywood to fusion

dola re dola

Performances of Bollywood dances among Indian diasporic populations are sites of Hindi film reception, and part of understanding this involves analyzing the dances as they exist in the films and the processes surrounding their transformation into performed works.

A comparison of the choreography of the song Dola re dola in Sanjay Leela Bhansali’s Devdas (2002) with a newly choreographed version by the U.S. fusion dance troupe Chamak demonstrates how the latter dispensed with the former’s plot-driven elements and Bollywood glitz to become a display of the troupe’s perceptions of both their Indian-American identities and their cultural heritage.

This according to “Swaying to an Indian beat: Dola goes my diasporic heart—Exploring Hindi film dance” by Sangita Shresthova (Dance research journal XXXVI/2 [winter 2004] pp. 91–101.

Above and below, the Bollywood version; further below, Chamak’s version (performance begins around 0:25).

Related article: Globalized Bollywood

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Globalized Bollywood

 

The Hindi film song Thoda resham lagta hai (It takes a little silk), written by Bappi Lahiri for the 1981 film Jyoti, was long forgotten before it was rediscovered in 2002 by the American producer DJ Quik.

Based around an unauthorized 35-second sample of the recording, the Truth Hurts song Addictive prompted Lahiri to sue Dr. Dre (the executive producer of the song), Aftermath Records, and Universal Music (Aftermath’s parent company and distributor) for $500 million.

Beyond Lahiri’s claims of cultural imperialism, obscenity, and outright theft, DJ Quik’s rearrangement of the song was, in turn, adopted by music producers, including Lahiri himself, in a wide variety of international genres, including Indian, American, and Jamaican contexts. Yet even as this well-traveled tune evokes different historical and local meanings, it evokes an eroticized Other in each context, including its original one.

This according to “It takes a little lawsuit: The flowering garden of Bollywood exoticism in the age of its technological reproducibility” by Wayne Marshall and Jayson Beaster-Jones (South Asian popular culture X/3 [October 2012] pp. 249–260). Above, a screen shot from the Addictive video; below, the song in its original context. (Yes, that’s the voice of the great Lata Mangeshkar!)

Related article: From Bollywood to fusion

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