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Actress Bathing Biography

Maria Antonescu (born Maria Niculescu, also known as Maria Mareşal Antonescu or Rica Antonescu; November 3, 1892 – October 18, 1964) was a Romanian socialite and philanthropist, the wife of World War II authoritarian Prime Minister and Conducător Ion Antonescu. A long-time resident of France, she was twice married before her wedding to Antonescu, and became especially known for her leadership of charitable organization grouped in the Social Works Patronage Council organization, having Veturia Goga for her main collaborator. The Council profited significantly from antisemitic policies targeting Romanian Jews, and especially from the deportation of Bessarabian Jews into Transnistria, taking over several hundred million lei resulting from arbitrary confiscations and extortion.

Arrested soon after the August 1944 Coup which overthrew her husband, Maria Antonescu was briefly a prisoner of war in the Soviet Union, and, after a period of uncertainty, tried and sentenced by the new communist regime on charges of economic crimes (embezzlement). Imprisoned for five years and afterward included in the Bărăgan deportations, she spent the final years of her life under internal exile at Borduşani.

Born in Calafat, Maria was the daughter of Romanian Army captain Teodor Niculescu and his wife Angela (or Anghelina).[1] According to researcher and journalist Lavinia Betea, her father may have squandered the family fortune, which, she argues, may explain why Maria did not have a dowry.[2] She married Gheorghe Cimbru, a Police officer, with whom she had a son, also known as Gheorghe.[3][4] The child was physically disabled by poliomyelitis.[2][4] Cimbru died before 1919, after which date Maria Niculescu is known to have moved to Paris.[1] In July 1919, she married a second time, to businessman Guillaume Auguste Joseph Pierre Fueller,[1] a French Jew.[2][3]
Having divorced from Fueller in 1926 and married Antonescu, Romania's former military attaché in France, she soon after moved to Bucharest, where her new husband served as Secretary General of the Defense Ministry. The two reportedly met and fell in love before her divorce was final.[2] Sources diverge on the marriage date, which is either indicated as August 29, 1927,[1] or an unspecified day in 1928.[5] Reputedly, their life as a couple was marked by Antonescu's rigidity and distaste for the public life.[4] However, as Antonescu reached prominence and earned important political assignments, Maria too became the focus of public attention,[1][2][4] which is said to have included negative reactions from the ranks of the upper class, who reportedly viewed her as a parvenue.[4] In 1938, when the relationship between Ion Antonescu and King Carol II degenerated into open conflict, the monarch engineered Ion Antonescu's trial for bigamy, based on charges that she and Fueller had never actually divorced. Assisted by his lawyer Mihai Antonescu, the future Conducător disproved the claim, and the perception that he was being persecuted by an authoritarian ruler reportedly earned him the public's respect.[2][4][6] By then, although the officer spoke out against Carol II's extramarital affair with the commoner Elena Lupescu, his own marriage to a divorcée was being treated with contempt by some commentators of the time.[2][4]
[edit]Wartime
Maria Antonescu herself achieved political importance in late 1940, during the National Legionary State, the short-lived government established in tandem by Antonescu and the fascist Iron Guard as a result of the 1940 crises. In this context, she took over the new state-run charity, which reputedly made her a contender in the conflict opposing her husband to the Guard, before the Legionary Rebellion of early 1941 brought the Guard's downfall: according to Spanish historian Francisco Veiga, her humanitarian effort was endorsed by the more conservative pro-Antonescu factions in reaction to Guardist projects such as Ajutorul Legionar.[7] Named Sprijinul ("The Support"), this body notably ensured participation from Veturia Goga, widow of antisemitic Premier Octavian Goga.[7] They were also joined by the wife of World War I hero, General Constantin Prezan,[4] and Sanda, the spouse of sociologist Sabin Manuilă.[1][8]
Her promotion to head of the Social Works Patronage Council, merging the recognized charities, coincided with Romania's participation in Operation Barbarossa, the recovery of Bessarabia and Northern Bukovina, and the occupation of Transnistria. These events brought the generalization of antisemitic measures and the massive deportations of the Jews to areas east of the Dniester, a process initiated by her husband, and marked by events in which she herself was implicated (see Holocaust in Romania). In October 1941, Wilhelm Filderman, head of the Jewish Communities' Federation, sent her and her husband letters of protest, stressing that the deportations were tantamount to death—messages which went unanswered.[9] In November, after the ghetto in Chişinău was sacked and its population deported to Transnistria, the authorities set aside confiscated property for the Patronage Council, for the Romanian Red Cross, for Romanian hospitals and the Romanian Army.[10]
In August 1942, the Jewish entrepreneurs Max Auschnitt and Franz von Neumann donated 50 million Swiss francs to the same charity, a precautionary measure which may have played a part in the decision to indefinitely postpone transports from Romania to Nazi extermination camps.[11] This event was notably recounted in a testimony by Ioan Mocsony-Stârcea, a member of King Michael I's entourage.[12] The same month, Jewish Affairs Commissioner Radu Lecca, whose office implied regular extortion of the Jewish community, collected 1.2 billion lei from the ghettos through the government-controlled Central Jewish Office, of which 400 million were redirected toward Maria Antonescu's charities.[13] The total sum passed by the Central Jewish Office toward the patronage Council exceeded 780 million lei.[14] Lecca himself later stated: "The need for extra-budgetary money was continuously rising", arguing that, in addition to pressures from the part of Mihai Antonescu and German Ambassador Manfred Freiherr von Killinger, "Mrs. Antonescu asked for money for her patronage".[15] This type of abuse also touched other communities. Thus, among the special provisions ordered by Governor Gheorghe Alexianu and affecting Ukrainian peasants in Transnistria, one set produce quotas for Maria Antonescu's project, as hospital meals for Romanian soldiers wounded on the Eastern Front.[16]
Maria Antonescu occasionally intervened with her husband to alleviate some antisemitic measures. She is thus believed to have persuaded the Conducător not to create a special ghetto in Iaşi (where the survivors of the 1941 pogrom were supposed to be confined), in exchange for which local Jews provided the Patronage Council with 5 million lei.[17] It was also as a result of her intercession that Romania's Chief Rabbi, Alexandru Şafran, obtained the reversal of an order to nationalize and desecrate Bucharest's Sevastopol Jewish Cemetery.[18] However, Şafran also left an account of her unwillingness to provide water and milk for children and infants confined in Cernăuţi en route to Transnistria.[19] Reputedly, she and Veturia Goga also mediated between the Conducător and Petru Groza, left-wing activist and leader of the clandestine Ploughmen's Front, whose stance against the regime later made him the Antonescu regime's political prisoner.[20]
[edit]Detention, sentencing and final years
The Antonescus' status changed dramatically after King Michael and opposition forces carried out the August 1944 Coup, arresting the Conducător and taking Romania out of its Axis alliance. Her son Gheorghe Cimbru died soon afterward, on September 10.[3] Reportedly, his death was suicide, caused by the distress he felt over his adoptive father's downfall.[2][4] Having fled to Băile Herculane,[1] Maria Antonescu was arrested in Căzăneşti, where she had been offered refuge by a close friend of her personal secretary.[1][21] According to one account, she had asked for protection from Queen Mother Helen who, as a noted adversary of her husband, refused to grant it.[2]
In March 1945, Maria Antonescu was taken into custody by the Soviet occupation forces, and, like her husband before her, was transported into Soviet territory, where she was only interrogated once.[1][2][21] They were not told of each other, even though their cells at Moscow's Lubyanka are said to have shared a wall.[4] Maria Antonescu returned in April 1946, at the same time as her husband. She was submitted to interrogations by Interior Ministry Secretary, Romanian Communist Party member and public investigator Avram Bunaciu, who recorded her views on Antonescu's political choices.[1] Part of the inquiry focused on Maria Antonescu's own involvement. When asked about her support for a war of aggression, which Bunaciu defined as "a war of plunder", she replied: "When I started [work with charities] there was no war. What was I to do? Not to keep going? I originally started because of all the misery in the Romanian land."[1] She denied accusations of having participated in extortion, but admitted to having received funds from Lecca, and replied that she had never considered providing aid to Transnistrian deportees because Jews had "enough funds", and denied knowledge that Jews had been imprisoned in concentration camps.[1]
According to conflicting accounts, she was simply allowed to go free,[21] or detained at Malmaison prison before her declining health made the authorities commit her to Nicolae Gh. Lupu's clinic, ultimately assigning her house arrest in a Bucharest lodging she shared with her mother.[1] She lacked the means to support herself, and was cared for by her friends and family.[1][21] After his People's Court trial and just prior to his June 1946 execution for war crimes, Ion Antonescu met his wife one final time, handing her his watch with the request that she imagine "it is my heart beating", and never let it stop.[4] Again arrested in 1950, she was indicted by the communist regime and found guilty of "bringing disaster to the country" and economic crimes in general, and of embezzlement in particular.[14] From 1950 to 1955, she was imprisoned at Mislea, a former convent in Cobia.[1][21] She was kept under the provisions of "in secrecy" solitary confinement, and, according to the account of one of her fellow inmates, allowed to step out of her cell only at night, when she would collect and smoke the cigarette butts discarded by the guards.[2]
After her release from prison, Maria Antonescu was assigned "obligatory domicile" on the Bărăgan Plain, within a wave of Bărăgan deportations.[1][2][4][21][22] While in Borduşani, Ialomiţa County, she met and befriended fellow women detainees from the Blue Squadron.[23] Another witness to her deportation was engineer Eugen Ionescu, who later escaped to Australia. Ionescu later retold his conversations with the Conducător's wife, specifically her complaint that Ion Antonescu had been refused trial by the International Military Tribunal.[22]
The area was characterized by weather extremes, and she complained of snowdrifts preventing her from leaving her home in winter, and spent much of her time knitting.[2] According to one witness account, Maria Antonescu was also held in Giurgeni, and worked for the local state farm's cafeteria.[24] She was by then afflicted with a debilitating heart condition, and, after petitioning the authorities, was briefly allowed to return to Bucharest for treatment in 1958 or 1959.[1] Maria Antonescu was again in Borduşani from 1959 to 1964, when a turn for the worse saw her internment to a specialist clinic, and then at the Colţea Hospital, where she was cared for by a friend doctor.[1] She died there as the result of a third heart attack, and was buried at in Bellu cemetery, in a tomb owned by distant relatives.[21]
source:http://en.wikipedia.org/wiki/Maria_Antonescu

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Actress Ileana Photos

Actress Ileana Biography
Illeana Douglas (born July 25, 1965)[1] is an American actress, director, screenwriter, and producer.
Douglas is a granddaughter of the actor Melvyn Douglas and his first wife, artist Rosalind Hightower, and has said that her grandfather's performance in Being There, in particular, was influential on her own career.[2][3] Her paternal great-grandfather was Latvian-born composer and pianist Edouard Hesselberg.[4][5]
Career
Douglas is known for her part in Martin Scorsese's Cape Fear (1991) – one of four Scorsese films in which she has appeared – plus her starring role as singer-songwriter Denise Waverly in Allison Anders' Grace of My Heart (1996) and supporting roles in To Die For (1995) and Ghost World (2001).
On television, Douglas appeared briefly as Garry Shandling's love interest on The Larry Sanders Show, starred in the series Action (1999) with Jay Mohr, guest starred on Seinfeld, Frasier and The Drew Carey Show, and has played a public defender on several episodes of Law & Order: Special Victims Unit in 2002 and 2003. She appeared in two episodes of the critically acclaimed HBO TV-series Six Feet Under, both of which earned Emmy nominations for Guest Actress in a Drama. She also appeared as Mrs. Ari's sister Marci in the Season 7 finale of Entourage.
In 2006, she starred in the Lifetime TV film Not Like Everyone Else and played herself in Pittsburgh opposite Jeff Goldblum. In 2007, Douglas was added to the cast of Ugly Betty, playing Sheila, an editor for MODE magazine.[6]
At the Walt Disney World Resort in the Disney's Hollywood Studios theme park, Douglas plays Aerosmith's manager in the preshow video for the Rock 'n' Roller Coaster attraction.[citation needed] She later appeared in an Aerosmith music video as Liv Tyler's mother.[citation needed]
Douglas has tried her hand at writing and directing, with a comedy short The Perfect Woman (1993), the documentary Everybody Just Stay Calm—Stories in Independent Filmmaking (1994), and the satire Boy Crazy, Girl Crazier (1995); and she has been the producer for several projects including Illeanarama, a collection of her short films for the Sundance Channel.[citation needed]
In April 2011, she was scheduled to begin a potentially recurring role on the CW drama series Gossip Girl as Lily's older sister, Carol, though Sheila Kelley replaced her as Carol due to scheduling conflicts.[citation needed]
Personal life
Douglas, June 24, 2007
From 1989 until 1997, Douglas was the companion of director Martin Scorsese.[7]
On 16 May 1998, she married producer and writer Jonathan Axelrod, the stepson of producer George Axelrod; they divorced in 2001.[7][8][9][10][11]
source:http://en.wikipedia.org/wiki/Illeana_Douglas

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Bhanurekha Ganesan (born 10 October 1954), better known by her stage name Rekha, is an Indian actress who has appeared in Hindi films. Noted for her versatility and acknowledged as one of the finest actresses in Hindi cinema,[1] Rekha started her career in 1966 as a child actress in the Telugu movie Rangula Ratnam, though her film debut as a lead happened four years later with Sawan Bhadon (1970). Despite the success of several of her early films, she was often panned for her looks and it was not until the mid-to-late 1970s that she got recognition as an actress. Since the late 1970s, after undertaking a physical transformation, she has been featured as a sex symbol in the Indian media.[2]
Rekha has acted in over 180 films in a career spanning over 40 years. Throughout her career, she has often played strong female characters and, apart from mainstream cinema, appeared in arthouse films, known in India as parallel cinema. She has won three Filmfare Awards, two for Best Actress and one for Best Supporting Actress, for her roles in Khubsoorat (1980), Khoon Bhari Maang (1988) and Khiladiyon Ka Khiladi (1996), respectively. Her portrayal of a classical courtesan in Umrao Jaan (1981) won her the National Film Award for Best Actress. Though her career has gone through certain periods of decline, she has reinvented herself numerous times and has been credited for her ability to sustain her status.[3]
Rekha was born in Chennai (then Madras) to Tamil actor Gemini Ganesan and Telugu actress Pushpavalli. Her father enjoyed considerable success as an actor and Rekha was to follow in his footsteps.[4]
Her parents were not married, and her father did not acknowledge his paternity during her childhood.[4] It was in early 1970s, when she was looking for a footing in Bollywood, that she revealed her origins. Later, at the peak of her career, Rekha told a magazine interviewer that her father's neglect still rankled and that she had ignored his efforts at reconciliation.[4] Rekha quit school in order to start a career in acting. She did not have any personal aspirations in this direction, but the troubled financial state of her family compelled her to do so.[5]
[edit]Film career
[edit]1970s
Rekha appeared as a child actress (credited as Baby Bhanurekha) in the Telugu film Rangula Ratnam (1966). Rekha made her debut as heroine in the successful Kannada film Goa dalli CID 999 with Rajkumar in 1969.[4] In that same year, she starred in her first Hindi film, Anjana Safar. She later claimed that she was tricked into a kissing scene with the leading actor Biswajit for the overseas market,[6] and the kiss made it to the Asian edition of Life magazine.[7] The film ran into censorship problems, and would not be released until almost a decade later in 1979 (retitled as Do Shikaari).[8]
As she had no interest in acting and was basically forced to work in order to sustain her family financially, this was a difficult period in her life. Still a teenager, acclimatizing herself to her new surroundings was an uneasy process. Coming from the South, she did not speak Hindi and struggled to communicate with co-workers, and was constantly missing her mother, who was critically ill. Moreover, she was required to follow a strict diet. Recalling this phase, Rekha was later quoted as saying (Reacting to it, many years later, she said, "I'm healed, I am not bitter anymore, I don't think I ever was."),
“ Bombay was like a jungle, and I had walked in unarmed. It was one of the most frightening phases of my life... I was totally ignorant of the ways of this new world. Guys did try and take advantage of my vulnerability. I did feel,"What am I doing? I should be in school, having an ice-cream, fun with my friends, why am I even forced to work, deprived of normal things that a child should be doing at my age?" Every single day I cried, because I had to eat what I didn't like, wear crazy cloths with sequins and stuff poking into my body. Costume, jewelery would give me an absolute terrible allergy. Hair spray wouldn't go off for days even despite all my washing. I was pushed, literally dragged from one studio to another. A terrible thing to do to a 13 year-old child.[9] ”
She had two films released in 1970: the Telugu film Amma Kosam and the Hindi film Sawan Bhadon, which was considered her acting debut in Bollywood. She had to learn Hindi, as that was not her naturally spoken language.[10][11] Sawan Bhadon became a hit, and Rekha — a star overnight.[4] Despite the success of the film, she was often scorned for her looks. She subsequently got several offers but nothing of substance, as her roles were mostly just of a glamour girl.[5] She appeared in several commercially successful films at the time, including Raampur Ka Lakshman (1972), Kahani Kismat Ki (1973), and Pran Jaye Par Vachan Na Jaye (1974), yet she was not regarded for her acting abilities and—according to Tejaswini Ganti—"the industry was surprised by her success as her dark complexion, plump figure, and garish clothing contradicted the norms of beauty prevalent in the film industry and in society."[5][4] Rekha recalls that the way she was perceived at that time motivated her to change her appearance and improve her choice of roles: "I was called the ‘Ugly Duckling’ of Hindi films because of my dark complexion and South Indian features. I used to feel deeply hurt when people compared me with the leading heroines of the time and said I was no match for them. I was determined to make it big on sheer merit."[12]
This period marked the beginning of Rekha's physical trasformation. She started paying attention to her make-up, dress sense, and worked to improve her acting technique and perfect her Hindi-language skills. In order to lose weight, she followed a nutritious diet, led a regular, disciplined life, and practiced yoga, later recording albums to promote physical fitness. According to Khalid Mohamed, "The audience was floored when there was a swift change in her screen personality, as well as her style of acting."[13] She began choosing her film roles with more care; her first performance-oriented role came in 1976 when she played Amitabh Bachchan's ambitious and greedy wife in Do Anjaane.[14] An adaptation of Nihar Ranjan Gupta's Bengali novel Ratrir Yatri, the film was directed by Dulal Guha and became a reasonable success with audiences and critics.[4]
Her most significant turning point, however, came in 1978, with her portrayal of a rape victim in the movie Ghar. She played the role of Aarti, a newly married woman who gets gravely traumatised after being gang-raped. The film follows her character's struggle and recuperation with the help of her loving husband, played by Vinod Mehra. The film was considered her first notable milestone,[5] and her performance was applauded by both critics and audiences. Dinesh Raheja from Rediff, in an article discussing her career, remarked, "Ghar heralded the arrival of a mature Rekha. Her archetypal jubilance was replaced by her very realistic portrayal..."[7] She received her first nomination for Best Actress at the Filmfare Awards.[4][15]
In that same year, she attained fame with Muqaddar Ka Sikander, in which she co-starred once again with Amitabh Bachchan. The movie was the biggest hit of that year, as well as one of the biggest hits of the decade, and Rekha was set as one of the most successful actresses of these times.[16] The film opened to a positive critical reception, and Rekha's performance as a courtesan named Zohra, noted for a "smouldering intensity", earned her a Best Supporting Actress nomination at the Filmfare.[4][15]
[edit]1980s
In 1980, Rekha appeared in the comedy Khubsoorat, directed by Hrishikesh Mukherjee, with whom she had developed a strong father-daughter bond during their previous collaborations. In a role written specially for her, she played Manju Dayal, a young vivacious woman who visits her recently-married sister at her in-law's house and tries to bring joy to the wide family, much to the displeasure of the matriarch of the household.[17] Rekha said she easily identified with the bubbly nature of her character, calling it "quite a bit me".[18] Khubsoorat was a success and Rekha was appreciated for her comic timing.[14] It won the Filmfare Award for Best Movie and Rekha won her first Best Actress award. The Tribune described the film as "a lively comedy," noting that "Rekha’s spunky performance gives the film its natural zing."[19] Film World magazine reported in that same year, "Rekha's done it. Smoothly, successfully. From a plump, pelvis-jerking, cleavage-flashing temptress, she has metamorphosed into a sleek, accomplished actress. Gone are most of the inane mannerisms, pouts, wiggles and giggles." It further noted that her career prospects had begun to improve significantly, as leading filmmakers had started taking more notice of her and become more keen to cast her in their films.[20]
Rekha went on to star opposite Bachchan in a number of films, most of which were hits. She also had an alleged off-screen relationship with him, which was widely reported on in the media, as well as sharply criticised, as he was a married man.[21] This relationship ended in 1981, when they starred in Yash Chopra's drama Silsila.[21] The film was the most scandalous of their films together; Rekha played Bachchan's love interest, while Bachchan's real-life wife, Jaya Bhaduri, played his wife. This was their last film together.[21]
Rekha in Silsila (1981)
Critics noted Rekha for having worked hard to perfect her Hindi and acting, and media reporters often discussed how she had transformed herself from a "plump" duckling to a "swan" in the early 1970s. Rekha's credits to this transformation were yoga, a nutritious diet, and a regular, disciplined life. In 1983, her diet and yoga practice were published in a book called "Rekha's Mind and Body Temple".[22]
In 1981, she starred in Umrao Jaan, a film adaptation of the Urdu novel Umrao Jaan Ada (1905), written by Mirza Hadi Ruswa. Rekha played the title role of a courtesan and poetess from 19th century Lucknow. The film follows Umrao's life story right from her days as a young girl named Amiran when she is kidnapped and sold in a brothel. Rekha once confessed, "After reading the script, I had a strange feeling that I had Umrao in me." In preparation for the role, Rekha, who at the beginning of her career did not speak Hindi, took the task of learning the finer nuances of the Urdu language.[10] Director Muzaffar Ali later noted that "Rekha has given more than my conception of the role."[17] The response to her work was universally positive. Her portrayal is considered to be one of her career-best performances, and she was awarded the National Film Award for Best Actress for it.[14][23] She played a courtesan with a heart of gold in several of her films; Muqaddar Ka Sikandar and Umrao Jaan were followed by a number of films which had her playing similar roles.
In that same year, Rekha starred in Ramesh Talwar's family drama Baseraa, which saw her playing a woman who marries her sister's husband, after the latter loses her mental balance. She appeared as Sadhna in the commercially successful Ek Hi Bhool (1981), opposite Jeetendra, playing the role of a betrayed wife who leaves her husband. In 1982, she received another Filmfare nomination for Jeevan Dhaara, in which she played a young unmarried woman who is the sole breadwinner of her extended family. In 1983, she took the supporting role of a lawyer in Mujhe Insaaf Chahiye, garnering another Filmfare nomination in the Supporting Actress category.
During this period, Rekha was willing to expand her range beyond what she was given in mainsteam films. She started working in arthouse pictures with independent directors, mostly under Shashi Kapoor's production, in what was used to be referred to as parallel cinema, an Indian New Wave movement known for its serious content and neo-realism. Her venture into this particular genre started off with Umrao Jaan, and was followed by other such films as Shyam Benegal's award-winning drama, Kalyug (1981), Govind Nihalani's Vijeta (1982), Girish Karnad's Utsav (1984) and Gulzar's Ijaazat (1987), among others. Benegal's Kalyug is a modern-day adaptation of the Indian mythological epic Mahabharat, depicted as an archetypal-conflict between rival business houses. Rekha's role was that of Supriya, a character based on Draupadi. Benegal said he decided to cast her in the role after seeing her work in Khubsoorat, besides noticing that she was "very keen, very serious about her profession".[17] Critic and author Vijay Nair described her performance as "a masterful interpretation of the modern Draupadi".[24] In Vijeta she played a woman who struggles through her marital problems and tries to support her adolescent son, who, undecided about his future plans, eventually decides to join the Indian Air Force.[14] She described her performance in the film as one of her favourite from her own repertoire. For her portrayal of Vasantsena in Utsav, an erotic comedy based on the fourth-century Sanskrit play Mrichhakatika (The Little Clay Cart), she was acknowledged as the Best Actress (Hindi) of the year by the Bengal Film Journalists' Association. Maithili Rao wrote for "Encyclopaedia of Hindi Cinema", "Rekha — forever the first choice for the courtesan's role, be it ancient Hindu India or 19th-century Muslim Lucknow — is all statuesque sensuality..."[25] In Gulzar's drama Ijaazat, Rekha and Naseeruddin Shah star as a divorced couple who meet unexpectedly for the first time after years of separation at a railway station, and recall together their life as a married couple and the conflicts which brought to their ultimate split.
Apart from parallel cinema, Rekha took on other increasingly serious, even adventurous roles; she was among the early actresses to play lead roles in heroine-oriented films, one such film being Khoon Bhari Maang in 1988. She won her second Filmfare Award for her performance in the film. Rekha went on to describe Khoon Bhari Maang as "the first and only film I concentrated and understood all throughout."[26] One critic wrote about her performance in the film, "Rekha as Aarti is just flawless and this is one of her best performances ever! In the first half as the shy and not so sexy Aarti she is excellent and after the plastic surgery as the model and femme fatale she is excellent too. Some scenes show that we are watching an actress of a very high calibre here."[27] M.L. Dhawan from The Tribune, while documenting the famous Hindi films of 1988, remarked that Khoon Bhari Maang was "a crowning glory for Rekha, who rose like a phoenix ... and bedazzled the audience with her daredevilry."[28] Encyclopædia Britannica's Encyclopædia of Hindi Cinema listed her role in the film as one of Hindi cinema's memorable female characters, noting it for changing "the perception of the ever-forgiving wife, turning her into an avenging angel."[29] In a similar list by Screen magazine, the role was included as one of "ten memorable roles that made the Hindi film heroine proud."[30]
In later interviews, Rekha often described the moment she received the Filmfare Award for this role as a turning point, explaining that only then did she start genuinely enjoying her work and seeing it as more than "just a job": "...when I went up on the stage, and received my award for Khoon Bhari Maang... Boom, it hit me! That's the first time I realised the value of being an actor and how much this profession meant to me." In 2011 she further stated, "I felt even more charged to give my best and knew right then, that this was my calling, what I was born to do, to make a difference in people's lives, through my performances."[31][32]
[edit]1990s
The 1990s saw a drop in Rekha's success and she began gradually losing her stardom. She was part of several commercially and critically unsuccessful films, in spite of doing even more challenging roles. Critics, however, noted that unlike most of the actresses of her generation, like Hema Malini and Raakhee, who began playing character parts of mothers and aunts, Rekha was still playing leading roles, at the time when heroines such as Madhuri Dixit and Raveena Tandon rose to fame.[10]
Some of her most notable films during the decade include Kama Sutra: A Tale of Love and Khiladiyon Ka Khiladi (1996). Kama Sutra, a foreign production directed by Mira Nair, was an erotic drama and many felt it would damage Rekha's career, as Rekha played a Kama Sutra teacher in the film.[3] Khiladiyon Ka Khiladi, an action film directed by Umesh Mehra, was a major financial success, becoming one of the highest-grossing Indian films of the year.[33] It featured Rekha in her first negative role as Madam Maya, a vicious gangster woman running a secret business of illegal wrestling matches in the US, who, during the course of the film, romances the much younger Akshay Kumar. Her portrayal earned her several awards, including the Filmfare Award for Best Supporting Actress and the Star Screen Award for Best Villain. In spite of the positive response to her performance from both fans and critics, she often maintains she did not like herself in the film, noting that her work was not up to her own, personal standards.[34][35]
Another controversial film at that time came in the form of Aastha: In the Prison of Spring (1997), where Basu Bhattacharya, making the last film of his career, cast her as a housewife who moonlights as a prostitute. While her performance earned her positive notices and a Star Screen Award nomination, she was criticised by the audience for the nature of the part, to which she later replied, "...people had a lot to say about my role... I don't have problems playing anything. I've reached a stage where I could do justice to any role that came my way. It could be role of a mother, a sister-in-law; negative, positive, sensational or anything."[36]
[edit]2000s
In the 2000s, Rekha appeared in relatively few movies, usually in supporting mother roles. She started the decade with Bulandi, directed by Rama Rao Tatineni.
In 2001, Rekha appeared in Rajkumar Santoshi's feminist drama Lajja, an ensemble piece inspired by a true incident of a woman being raped in Bawanipur two years before.[37] The film follows the journey of a runaway wife (Manisha Koirala) and unfolds her story in three main chapters, each one presenting the story of a woman at whose place she stops. Rekha was the protagonist of the final chapter, around which the film's inspiration revolves, playing Ramdulari, an oppressed Dalit village woman and social activist who becomes a victim of gangrape. Speaking of the film, Rekha commented, "I am Lajja and Lajja is me".[38] Highly praised for her portrayal, she received several nominations for her work, including a Best Supporting Actress nomination at Filmfare. Taran Adarsh wrote that "it is Rekha who walks away with the glory, delivering one of the finest performances the Indian screen has seen in the recent times."[39][40]
In Rakesh Roshan's science-fiction film Koi... Mil Gaya, Rekha played Sonia Mehra, a single mother to a developmentally disabled young man, played by Hrithik Roshan. The movie was a financial and critical success and became the most popular film of the year; it won the Filmfare Award for Best Movie, among others.[41] Rekha received another Best Supporting Actress nomination at the Filmfare for her performance, which Khalid Mohamed described as "astutely restrained".[42]
In Bachke Rehna Re Baba (2005), Rekha played a con woman who, along with her niece, uses one scheme to rob men of their property. The film was a major critical failure.[43] Mid Day remarked, "why Rekha chose to sign this film is a wonder," noting that she is "riddled with bad dialogue, terrible cakey makeup and tawdry styling".[44] This was followed in 2006 by Kudiyon Ka Hai Zamana, a poorly-received sex comedy about four female friends and their personal troubles. In a scathing review, Indu Mirani noted that "Rekha hams like she was never going to do another film."[45] In a 2007 article by Daily News and Analysis, critic Deepa Gahlot directed an advice to Rekha: "Please pick movies with care, one more like Bach Ke Rehna Re Baba and Kudiyon Ka Hai Zamana and the diva status is under serious threat."[46]
In 2006, she reprised the role of Sonia Mehra in Krrish, Rakesh Roshan's sequel to Koi... Mil Gaya. In this superhero feature, the story moves 20 years forward and focuses on the character of Sonia's grandson Krishna (played again by Hrithik Roshan), whom she has brought up single-handedly after the death of her son Rohit, and who turns out to have supernatural powers. Krrish became the second-highest grossing picture of the year and, like its prequel, was declared a blockbuster.[47] It received mostly positive notices from critics, and Rekha's work earned her another Filmfare nomination in the supporting category. Ronnie Scheib from Variety noted her for bringing "depth to her role as the nurturing grandmother".[48]
In 2007, she once again portrayed a courtesan in Gautam Ghose's Yatra. Unlike the initial success she experienced in playing such roles in the early stages of her career, this time the film failed to do well. In 2010, Rekha was awarded the Padma Shri, the 4th highest civilian award given by the Government of India.
[edit]Personal life
In 1990, Rekha married Delhi-based industrialist Mukesh Aggarwal. A year later—while she was in the US—he committed suicide, after several previous attempts, leaving a note, "Don't blame anyone".[49] She was pilloried by the press at that time, a period which one journalist termed as "the deepest trough in her life."[50] She was rumoured to have been married to actor Vinod Mehra in 1973, but in a 2004 television interview with Simi Garewal she denied being married to Mehra referring to him as a "well-wisher". Rekha currently lives in her Bandra home in Mumbai.[51][52]
[edit]Image and artistry
In 2011, Rediff listed her as the ninth-greatest Indian actress of all time, noting, "It's hard not to be bowled over by Rekha's longevity, or her ability to reinvent herself... the actress took on a man's job and did it stunningly well, holding her own against all the top actors and being remembered despite them."[53] Filmfare described her acting style, writing, "...when it comes to style, sexiness or sheer onscreen presence, she's unparalleled... [she is] a fierce, raw, flinty performer with unbridled honesty. Her acting isn't gimmicky."[54] Critic Khalid Mohamed commends her technical control: "She knows how to give and to what degree. She has all that it takes to be a director. There is a kind of vulnerability in her control. She explores when she is acting."[55] Shyam Benegal, who directed her in two movies, believes she is "a director's actress".[56] M.L. Dhawan from The Tribune wrote, "Rekha's flowering as an actress post Ghar and Khubsoorat climaxed in [...] Umrao Jaan. As a tragic courtesan she gave a performance of consummate artistry, adopting a much-admired huskiness and despondency of tone. Rekha communicated much with a delicately raised eyebrow.[57] In 2010, Filmfare included two of her performances—from Khubsoorat (1980) and Umrao Jaan (1981)—in their list of "80 Iconic Performances".[58]
Rekha has often been compared to Greta Garbo, and has been cited by media as her Indian equivalent.[22][36] Hindustan Times described her physical change and loss of weight as "one of cinema's and perhaps real life's most dramatic transformations," arguing that "Rekha morphed from an overweight, dark ordinary girl into a glamorous and beautiful enigma, shrouding her life in an intriguing Garbo-like mystery."[59] According to Rediff, "Rekha's reclusive nature has gone a long way towards building an aura of mystery around her."[60] Rekha rarely gives interviews, and she mostly avoids parties and events. Asked once about her mysterious image, she denied several times trying to live up to this image, asserting it is press-created: "What mystery? The media is the one that creates this image. It's just that I am basically shy by nature, an introvert and fiercely private."[61] Film journalist Anupama Chopra, who visited Rekha in 2003, wrote that while tabloids had portrayed her as "a reclusive woman twisted bitter by lecherous men and loneliness", in reality Rekha was "none of these", describing her as "chatty and curious, excited and energetic, cheerful and almost illegally optimistic".[56]
Writing for The Tribune, Mukesh Khosla spoke of her transformation, writing, "From the giggling village belle in Saawan Bhadon to one of country’s reigning actresses, Rekha has come a long way."[62] According to critic Omar Qureshi, "the term diva (in India) was coined for Rekha."[22] Mira Nair, who directed Rekha in Kama Sutra (1997), likens her to a "Jamini Roy painting" and says, "Like Marilyn Monroe is shorthand for sex, Rekha is shorthand for charisma". Filmmaker Sanjay Leela Bhansali labels her the "last of the great stars".[56]
source:http://en.wikipedia.org/wiki/Rekha

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Hollywood Actress Biography

Carole Landis (January 1, 1919 – July 5, 1948) was an American film and stage actress, who worked as a contract-player for Twentieth Century-Fox in the 1940s. Her breakthrough role was as the female lead in the 1940 film One Million B.C., with United Artists. She died mysteriously at the age of 29 in 1948. After her death, newspapers headlined stories about the actress, some with the title "The Actress Who Could Have Been...But Never Was." Landis has a star on the Hollywood Walk of Fame,[1] at 1765 Vine Street.

Landis was born Frances Lillian Mary Ridste in Fairchild, Wisconsin. Her mother was a Polish farmer's daughter.[2] A Time magazine article published the month of her death identifies her father as a "drifting railroad mechanic";[2] according to a 2005 biography, the mother was married to Norwegian Alfred Ridste, who abandoned the family before Carole was born, and it was Charles Fenner, her mother's second husband, who most likely was Carole's biological father.[3] Carole was the youngest of five children, two of whom died in childhood. Her early years were filled with poverty and sexual abuse.[4] She was raised Roman Catholic.[5]
In January 1934, 15-year-old Landis married her 19-year-old neighbor, Irving Wheeler, but the marriage was annulled in February 1934. They later remarried on August 25, 1934. Wheeler named Busby Berkeley in an alienation of affections lawsuit in 1938 involving Landis,[3] and they divorced in 1939.
[edit]Career
[edit]Early years
Landis dropped out of high school at age 15 and set forth on a career path to show business. She started out as a hula dancer in a San Francisco nightclub and later sang with a dance band.[2] She dyed her hair blonde and changed her name to "Carole Landis" after her favorite actress, Carole Lombard. After saving $100 she moved to Hollywood.[2]
[edit]Film career
Her 1937 film debut was as an extra in A Star Is Born; she also appeared in various horse operas.[2] She posed for hundreds of cheesecake photographs.[2] She continued appearing in bit parts until 1940 when Hal Roach cast her as a cave girl in One Million B.C.. The movie was a sensation and turned Carole into a star. A press agent nicknamed her "The Ping Girl" (because "she makes you purr").[2]
Carole Landis at Armed Forces Radio Studio, ca.1940s
Landis appeared in a string of successful films in the early forties, usually as the second female lead. In a time when the singing of many actresses was dubbed in, Landis's own voice was considered good enough and was used in her few musical roles. Landis landed a contract with 20th Century Fox and began a sexual relationship with Darryl F. Zanuck. She had roles playing opposite fellow pin-up girl Betty Grable in Moon Over Miami and I Wake Up Screaming, both in 1941. When Carole ended her relationship with Zanuck, her career suffered and she was assigned roles in B-movies.
Her final two films Noose and Brass Monkey were both made in Britain.
[edit]USO Tours
In 1942, she toured with comedienne Martha Raye, dancer Mitzi Mayfair and actress Kay Francis with a USO troupe in England and North Africa. Two years later, she entertained soldiers in the South Pacific with Jack Benny. Landis traveled more than 100,000 miles during the war and spent more time visiting troops than any other actress. Landis became a popular pin-up with servicemen during World War II.
[edit]Broadway
In 1945 she starred on Broadway in the musical A Lady Says Yes with Jacqueline Susann, with whom she reportedly had an affair.[6] Susann purportedly based the character Jennifer North in her book Valley of the Dolls on Landis.
[edit]Writing
Landis wrote several newspaper and magazine articles about her experiences during the war, including the 1944 book Four Jills in a Jeep, which was later made into a movie, costarring Kay Francis, Martha Raye, and Mitzi Mayfair. She also wrote the foreword to Victor Herman's cartoon book Winnie the WAC.
[edit]Personal life
Busby Berkeley, director-choreographer, proposed to her in June 1939, but later broke it off. In 1940 she married yacht broker Willis Hunt Jr., a man she called "sarcastic" and left after two months.[2] Two years later, she met an Army Air Corps captain named Thomas Wallace in London, and married him in a church ceremony; they divorced a couple of years later. Carole wanted to have children but was unable to conceive due to endometriosis.[2]
She nearly died from amoebic dysentery and malaria she contracted overseas while entertaining American troops.
In 1945, Landis married Broadway producer W. Horace Schmidlapp. By 1948, her career was in decline and her marriage with Schmidlapp was collapsing. She entered into a romance with actor Rex Harrison, who was then married to actress Lilli Palmer. Landis was reportedly crushed when Harrison refused to divorce his wife for her; unable to cope any longer, she committed suicide in her Pacific Palisades home at 1465 Capri Drive by taking an overdose of Seconal.[7][8] She had spent her final night alive with Harrison. The next afternoon, he and the maid discovered her on the bathroom floor. Harrison waited several hours before he called a doctor and the police.[9] According to some sources, Landis left two suicide notes, one for her mother and the second for Harrison who instructed his lawyers to destroy it.[10] During a coroner's inquest, Harrison denied knowing any motive for her suicide and told the coroner he did not know of the existence of a second suicide note.[11]
Carole Landis was interred in Forest Lawn Memorial Park Cemetery in Glendale, California in plot 814 of the "Everlasting Love" section. Among the celebrities at her funeral were Cesar Romero, Van Johnson, and Pat O'Brien.[12] Harrison attended with his wife.[2] Her family's official web site claims that Carole was murdered.[13]

source:http://en.wikipedia.org/wiki/Carole_Landis

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This name uses Spanish naming customs; the first or paternal family name is Perroni and the second or maternal family name is Beorlegui.
Maite Perroni
Maite Perroni
Born     Maite Perroni Beorlegui
(1983-03-09) March 9, 1983 (age 29)
Mexico City, Mexico
Occupation     Actress, Singer
Years active     2004–present
Relatives     Adolfo and Francisco Perroni (siblings)
Website
http://www.maite-perroni.com/
Maite Perroni Beorlegui (born March 9, 1983)[1] is a Mexican actress and singer/songwriter, who is best known for starring in Rebelde, Cuidado con el Ángel, Mi Pecado with Triunfo del Amor and Cachito de Cielo. She gained international fame as a member of the Latin Grammy nominated pop group RBD. Univision named Maite Perroni as the new Queen of the Telenovelas in 2009.[2]
Maite Perroni Beorlegui was born in Mexico City but she grew up in Guadalajara, until the age of 12,when her family moved back again in Mexico City.[3]  She has two siblings, Adolfo and Francisco, who are three and nine years younger than she is.[4]
Perroni studied acting at Televisa's Centro de Educación Artistica (CEA) in the year 2000, completing two years of a three year course.
[edit] Career
[edit] Acting career
Perroni made her acting debut in Rebelde, a remake of the acclaimed Argentinean novela Rebelde Way. She portrayed Guadalupe "Lupita" Fernández, a teenage girl from a lower class family who gets the opportunity to study at the fictitious Elite Way School. Rebelde ran from 2004 to 2006, filming 440 episodes.
Following the success of Rebelde, in 2007, Televisa released RBD: La Familia, which starred the members of RBD. The characters of the sitcom were not based on the band's characters in Rebelde, but intended to be similar to the actors' real personalities. RBD: La Familia was the first Mexican show shot entirely in high definition and ran from March 14, 2007 to June 13, 2007, and only lasted 13 episodes.
In 2008, Maite starred as the lead character in Cuidado con el Ángel, opposite William Levy. The show had great success around the world. She starred in her second leading role in Mi Pecado opposite Eugenio Siller. She was part of the third season of Mujeres Asesinas in the sixth episode called Las Blanco, Viudas along with Diana Bracho, Luz Maria Aguilar, and Mark Tacher.
In 2010, Perroni was confirmed to star with her previous co-star, William Levy, in Triunfo del Amor, a remake of the Venezuelan classic Cristal.
Maite was nominated for best actress in History.
In 2012, Perroni was confirmed to star with Pedro Fernandez in Cachito de Cielo.
Perroni was engaged to Guido Laris, the musical director for RBD, but the pair split, in August 2008.[10]  On November 2010, she officially announced she was dating singer and composer Mane de la Parra.[11][12]
[edit] Products and endorsements
Maite is the Spokemodel for NYX Cosmetics.[13] In 2007, a Barbie doll version of Perroni was released, based on her character in Rebelde.[14]
In June 2009, Perroni announced her support for the Ecologist Green Party of Mexico.[15] She has starred in several commercials promoting the party.
She started in commercials for Giraffas, Pepsi, Helato de Bonice, Asepxia, Teleton, Wal Mart, Ades Class, Hinds, Pantene.
[edit] Awards and honors
In 2006, she won her first award at the Premios TVyNovelas, along with her RBD bandmates, for "Best Theme Song". In March 2009, Maite won "Best Young Actress in a Leading Role" for her performance in Cuidado con el Ángel.`\
She won Premio Juventud for most beautiful telenovela actress,`Chica que me quite el sueno`, in 2009 and 2011.
In 2009, she topped 5O Most Beautiful list from People en Español, sharing the front cover with Eva Longoria and Ana Bárbara. She was part of the same list in 2010 and 2011. Same magazine named her one of `Most Influential Women`in Latin America in 2011. She was named `Queen of telenovelas` by her fans and Univision channel.[16]
source:http://en.wikipedia.org/wiki/Maite_Perroni

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Kerala Film Actress Biography
Biju Menon is an Indian film actor who has mainly worked in Malayalam, Tamil, and Telugu films. He appears mostly in supporting roles, but has also acted in antagonistic  roles. He made his debut in 1995 in Mannar Mathai Speaking. He is noted for his performance in films such as Meghamalhar, Madhuranombarakattu, Shivam, Krishnagudiyil Oru Pranayakalathu, Kannezhuthi Pottum Thottu and Marykkundoru Kunjaadu.
Biju Menon started his acting career through Malayalam television serials such as Ningalude Swantham Chanthu and Mikhayelinte Santhathikal. He made his debut in films with Puthran, the sequel of Mikhayelinte Santhathikal. He acted in a number of movies as villain and second hero. During the second half of nineties, he was considered to be the superstar in making. But most of the films with Biju Menon as hero failed in box office though his roles as second hero were very popular. He acted with Suresh Gopi in a number of super hit movies like Pathram, F. I. R., and Chinthamani Kolacase. During the later 1990s and early 2000s he appeared in a few offbeat movies with directors like T. V. Chandran, Lenin Rajendran, and Kamal in the films Mazha, Madhuranombarakkattu, Anyar, and Meghamalhar.
He is considered to be one of the favorite actors of director Lal Jose, as he has appeared in the majority of movies directed by him, including Oru Maravathoor Kanavu, Chandranudikkunna Dikhil, Randaam Bhavam, Rasikan, Chanthupottu, Pattalam and Mulla.
In 1997, he won the Kerala State Film Award for Second Best Actor for his role as Akhilachandran in Krishnagudiyil Oru Pranayakalathu. He also acts as an antagonist in Tamil films as well and has been successful in films like Majaa and Thambi.
[edit] Personal life
Menon was born on September 9, 1970 to Madathil PN Balakrishna Pillai and Malathi Amma. He has four brothers: Soman, Suresh, Rajendran and Sreekumar.[1] He is married to the former Malayalam actress Samyuktha Varma, who co-starred with him in Mazha, Madhuranombarakkattu and Meghamalhar.[2][3]
She started her career as an actress in the Malayalam film Anaswaram  (1991), directed by Jomon, playing the female lead opposite Mammootty, after which she focused on modeling.[3]  She competed in the Miss India contest in 1994 and finished second runner up behind Sushmita Sen and Aishwarya Rai.[2]  She became the first Gladrags female super model in 1994 (Kelly Dorjee was the male super model) and then, Miss Asia Pacific runner up in 1994 in Manila Cebu Island, Philippines.[2][4]  She is 5 feet, 7 inches tall. She subsequently made her debut in Bollywood  and appeared in over 30 films; some of her Bollywood films include, Asoka (2001), Maqbool  (2003) and Corporate (2006).
She returned to Malayalam in 2006 with Thantra and then went on to do famous Malayalam films such as Keerthi Chakra (2006) and the award-winning Paradesi. Her performance as Sarojini, a middle-class woman who fights against extreme odds, in the film, Madhya Venal earned her a special mention by Jury Chairman Bahman Ghobadi – famous Iranian director at the International Film Festival of Kerala. In 2010, she won the Kerala State Government's Best Actress for her portrayal of Cheeru, a village woman in the film Paleri Manikyam: Oru Pathirakolapathakathinte Katha directed by Ranjith. She also won Mathrubhumi-Amrita TV Special Jury Award and the Asianet Film Award for Best Supporting Actress for the same film. In 2011, Shweta Menon starred in the remake of Rathinirvedam, essaying the titular character, originally played by Jayabharathi.
Shweta recently approached a local court and the Women's Commission in Kerala after the distributor of her movie Kayam tied up with Musli Power, a sex stimulant drug, to jointly promote the movie. "Met with Womens' Commission regarding the Kayam ad and they offered me full backing. Thank you all and I hope justice will be done," she tweeted recently. While media profusely supported her with wide coverage, many saw it as a bold attempt by a female actor against what she perceived as gross injustice to her.
[edit] Television
Besides working in films, she has anchored several TV, stage and film awards shows. She rose to popularity after presenting the musical programme, Star Wars on Kairali TV in 2008.[5] She won the Asian Television Award for Best Anchor for the same program. In Hindi, she hosted the group band based show, Razzmatazz on Zee TV along with actor Arshad Warsi.[6] The next television show which she did was Dancing Queen in 2008 on Colors and later in 2010, she anchored the Malayalam reality show, Honeymoon Travels on Surya TV. The show became an instant hit for Shwetha's accented Malayalam and her attempts to read from the original script without a formal learning in the language. Recently, she appeared as a contestant with her father in game show, Deal or No Deal on Surya TV. She is at present the anchor of the family based reality show Veruthe Alla Bharya in Mazhavillu Manorama.[7]
[edit] Personal life
On 18 June 2011, she married Sreevalsan Menon, a native of Thrissur, who works in Mumbai. The ceremony took place at the Neythalappurath Sastha Ayappa temple, Valanchery, Kerala.[8]
source:http://en.wikipedia.org/wiki/Shweta_Menon

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Bollywood Actress Biography
Asha Bhosle[1] (born September 8, 1933) is one of most well-known Indian singers. She is best known as a Hindi playback singers, although she has a wider repertoire.[2][3][4] Bhosle's career started in 1943 and has spanned over six decades. She has done playback singing for over a thousand Bollywood movies. In addition, she has recorded several private albums and participated in numerous solo concerts in India and abroad.[5][6] Bhosle is the sister of playback singer Lata Mangeshkar.
Renowned for her voice range and often credited for her versatility,[2][7][8] Bhosle's work includes film music, pop, ghazals, bhajans, traditional Indian classical music, folk songs, qawwalis, and Rabindra Sangeets. Apart from Hindi, she has sung in over 20 Indian and foreign languages.[9] In 2006, Asha Bhosle stated that she had sung over 12,000 songs,[10] a figure repeated by several other sources.[9][11] The World Records Academy, an international organization which certifies world records, recognised her as the "Most Recorded Artist" in the world, in September 2009.[12] In 2011 she was officially acknowledged by the Guinness Book of World Records as the most recorded artist in music history.[13] The Government of India honoured her with the Dadasaheb Phalke Award in 2000 and the Padma Vibhushan in 2008.

Asha Bhosle was born in the small hamlet of Goar in Sangli, Bombay Presidency (now in Maharashtra), into the musical family of Master Deenanath Mangeshkar, who belongs to Gomantak Maratha Samaj. Her father was a theater actor and classical singer. When she was nine years old, her father died. The family moved from Pune to Kolhapur and then to Mumbai. She and her elder sister Lata Mangeshkar began singing and acting in films to support their family. She sang her first film song '"Chala Chala Nav Bala" for the Marathi film Majha Bal (1943). The music for the film was composed by Datta Davjekar. She made her Hindi film debut when she sang the song "Saawan Aaya" for Hansraj Behl's Chunariya (1948).[14] Her first solo Hindi film song was for the movie Raat Ki Raani (1949).
At the age of 16, she eloped with 31-year-old Ganpatrao Bhosle, marrying him against her family's wishes. Ganpatrao was Lata's personal secretary. The marriage failed miserably. Her husband and in-laws mistreated her. After a few years of marriage, Asha was turned out (around 1960) by a suspicious Ganpatrao[15] and she went to her maternal home with two children and pregnant with her third child. She continued to sing in films to earn money.
At that time, prominent playback singers like Geeta Dutt, Shamshad Begum and Lata Mangeshkar monopolized the singing for the female lead and the big films, whilst Asha used to get the assignments they refused: singing for the bad girls and vamps, or songs in the second-grade movies. In the 1950s, she sang more songs than most playback singers in Bollywood (not counting Lata). Most of these were in low budget B or C-grade films. Her earliest songs were composed by A R Qureshi, Sajjad Hussain and Ghulam Mohammed, most of which failed to do well.[14] Singing in Sangdil (1952), composed by Sajjad Hussain, she got reasonable recognition. Consequently, film director Bimal Roy gave her a chance to sing in Parineeta (1953). Raj Kapoor signed her to sing "Nanhe Munne Bachche" with Mohammed Rafi in Boot Polish (1954), which gained popularity.
O. P. Nayyar gave Asha a break in C.I.D. (1956). She first achieved success in B. R. Chopra's Naya Daur (1957), composed by him. Her duets with Rafi like "Maang Ke Saath Tumhara", "Saathi Haath Badhana" and "Uden Jab Jab Zulfein Teri", penned by Sahir Ludhianvi, earned her recognition. It was the first time she sang all the songs for a film's leading actress. Chopra approached her for several of his later prosuctions, including Gumrah (1963), Waqt (1965), Hamraaz (1965), Aadmi Aur Insaan (1966) and Dhund (1973). Nayyar's future collaboration with Bhosle also resulted in success. Gradually, she established her status and received the patronage of such composers as Sachin Dev Burman and Ravi. Bhosle and Nayyar had a professional and personal parting of ways in the 1970s.
In 1966, Bhosle's performances in the duets from one of music director R.D. Burman's first soundtracks, for the movie Teesri Manzil, won popular acclaim. Reportdly, when she first heard the dance number "Aaja Aaja", she felt she would not be able to sing this westernised tune. While Burman offered to change the music, she refused, taking it as a challenge. She completed the song after ten days of rehearsals, and "Aaja Aaja", along with such other songs as "O Haseena Zulfonwali" and "O Mere Sona Re" (all three duets with Rafi), became successful. Shammi Kapoor, the film's leading actor, was once quoted as saying– "If I did not have Mohammad Rafi to sing for me, I would have got Asha Bhosle to do the job". Bhosle's collaboration with Burman resulted in numerous hits and a marriage. During the 1960-70s, she was the voice of Bollywood's actress and dancer, Helen, on whom "O Haseena Zulfon Wali" was picturised. It is said that Helen would attend her recording sessions so that she could understand the song better and plan dance steps accordingly.[16] Some of their other popular numbers include "Piya Tu Ab To Aaja" (Caravan) and "Yeh Mera Dil" (Don), among others.
By the 1980s, Bhosle, although highly regarded[by whom?] for her abilities and versatility, had sometimes been stereotyped[by whom?] as a "cabaret singer" and a "pop crooner". In 1981 she attempted a different genre by singing several ghazals for the Rekha-starrer Umrao Jaan, including "Dil Cheez Kya Hai", "In Aankhon Ki Masti Ke", "Yeh Kya Jagah Hai Doston" and "Justaju Jiski Thi". The film's music director Khayyam, had lowered her pitch by half a note. Bhosle herself expressed surprise that she could sing so differently. The ghazals won her the first National Film Award of her career. A few years later, she won another National Award for the song "Mera Kuchh Saamaan" from Ijaazat (1987).
In 1995, 62-year-old Bhosle sang for actress Urmila Matondkar in the movie Rangeela. The soundtrack featured songs like "Tanha Tanha" and "Rangeela Re" sung by her, and composed by music director A. R. Rahman, who would go on to record several songs with her. During the 2000s, several of Bhosle's numbers became chartbusters, including "Radha Kaise Na Jale" from Lagaan (2001), "Kambakht Ishq" from Pyaar Tune Kya Kiya (2001), "Yeh Lamha" from Filhaal (2002), "Lucky Lips" from Lucky (2005). In October 2004, The Very Best of Asha Bhosle, The Queen of Bollywood, a compilation album of songs recorded by Bhosle for albums and Bollywood films that were released between 1966 and 2003, was released.
Partnership with music directors
O.P. Nayyar
Music director O. P. Nayyar's association with Asha is part of Bollywood lore. He was the composer who first gave Asha her own identity. Many people have speculated about a romantic relationship between the two.
Nayyar first met Asha in 1952, at the music recording of Chham Chhama Chham.[17] He first called her for a film called Mangu (1954), and gave her a big break in CID (1956). However, it was the success of Naya Daur (1957), that made the duo very popular. After 1959, she was emotionally and professionally involved with Nayyar.
The team of O.P. Nayyar and Asha Bhosle is best remembered for their breezy and sometimes sirenish songs. Some good examples of their sensuous numbers are "Aaiye Meherbaan" picturised on Madhubala (Howrah Bridge, 1958) and "Yeh Hai Reshmi Zulfon Ka Andhera" picturised on Mumtaz (Mere Sanam, 1965). "Aao Huzoor Tumko" (Kismat) and "Jaaiye Aap Kahan" (Mere Sanam) were also popular. They also recorded songs for many hit movies like Tumsa Nahin Dekha (1957), Ek Musafir Ek Hasina (1962), Kashmir Ki Kali (1964). O.P. Nayyar used the Asha Bhosle-Mohammad Rafi duo for his most popular duets such as "Ude Jab Jab Zulfein Teri" (Naya Daur), "Main Pyaar Ka Rahi Hoon" (Ek Musafir Ek Haseena), "Deewana Hua Baadal" and '"Ishaaron Ishaaron Mein" (Kashmir Ki Kali).
Asha recorded her last song for O.P. Nayyar in the movie Pran Jaye Par Vachan Na Jaye (1974). The solo number "Chain Se" got many awards, but it was not included in the movie.
They split on August 5, 1972. It is not clear what made them part their ways. On being asked the reason for their parting, O P Nayyar once said, "I know astrology very well. I knew that one day I had to part with her. Something also happened, that upset me, so I left her."[17] Nevertheless, he also said "...now that I am seventy-six, I can say that the most important person in my life was Asha Bhosle. She was the best person I ever met."
The parting of Asha Bhosle and O.P. Nayyar was bitter, and probably therefore she has hesitated to give Nayyar his due. While talking about O.P. Nayyar in an interview with The Times of India, she once remarked - "Whichever composer gave me work, it was because my voice was suited to his music at that point. No one musician did me any favor by asking me to sing for him."[18] She gives the credit for her first big break to B. R. Chopra, the producer of Naya Daur.
Khayyam
Another music director who recognized Asha's talent early was Khayyam. Their partnership dates back to his first movie Biwi (1948). Khayyam gave her some good assignments in the 1950s, including Dard and Phir Subah Hogi. But the team is chiefly remembered for the songs of Umrao Jaan.
Ravi
Music composer Ravi considered Asha one of his favorite singers. She sang for his first movie Vachan (1955). The melodious lullaby from the movie, "Chandamama Door Ke! became an overnight hit among young mothers in India. Ravi got her to sing bhajans for the movies Gharana, Grihasti, Kajal and Phool Aur Patthar, at a time when most of the composers remembered her only when they needed to record B-grade songs picturized on the vamps or the side-heroines. Ravi and Asha recorded a variety of songs, including the popular funny duet with Kishore Kumar - "C A T...Cat. Cat Maane Billi" (Dilli Ka Thug). The bhajan "Tora Maan Darpan" (Kajal) is considered one of Asha's best songs.
They also recorded songs for many popular movies like Waqt, Chaudhvin Ka Chand, Gumrah, Bahu Beti, China Town, Aadmi Aur Insaan, Dhund and Humraaz. For Chaudhvin Ka Chand, Ravi wanted Geeta Dutt (the wife of actor and producer Guru Dutt) to sing the songs. But when she backed out, Guru Dutt insisted that Asha sing the songs.[14]
Sachin Dev Burman
One of Bollywood's most famous composers, Sachin Dev Burman and his favorite singer, Lata Mangeshkar, were not on good terms from 1957 to 1962.[19] During this period, S D Burman used Asha as his lead female voice. She and Burman gave many hit songs in movies such as Kaala Pani, Kaala Bazaar, Insaan Jaag Utha, Lajwanti, Sujata and Teen Deviyaan (1965). They recorded many songs together after 1962 as well. Most famous of these songs were Asha's duets with Mohammed Rafi and Kishore Kumar. The song "Ab Ke Baras" in Bimal Roy's Bandini (1963) consolidated her position as a lead singer. The seductive song "Raat Akeli Hai" from Jewel Thief (1967), picturised on Tanuja, became very popular.
Rahul Dev Burman (Pancham)
Asha first met Rahul Dev Burman (a.k.a. "Pancham") when she was the mother of two and he was in 10th grade having dropped out to pursue music. Their partnership was first noticed in Teesri Manzil (1966). She went on to record a variety of songs with him - cabarets, rock, disco, ghazals and classical.
In the 1970s, Asha and Pancham's youthful Western songs took Bollywood music by storm - the raunchy cabaret "Piya Tu Ab To Aaja" (Caravan, picturized on Helen), the rebellious "Dum Maro Dum" (Hare Rama Hare Krishna, 1971), the sexy "Duniya Mein" (Apna Desh, 1972) and the romantic "Chura Liyaa Hai Tumne" (Yaadon Ki Baaraat, 1973). Pancham also recorded many hit duets with Asha and Kishore Kumar such as "Jaane Jaan" (Jawani Diwani) and "Bhali Bhali Si Ek Soorat" (Buddha Mil Gaya).
In 1980s, Pancham and Asha recorded subtle numbers for films like Ijaazat (1987)- "Mera Kuch Saaman", "Khaali Haath Shaam Aayi Hai" and "Katra Katra". They also recorded the popular duet "O Maria!" (Saagar).
Asha used to call R D Burman "Bubs". She married him in 1980. Their partnership lasted until his death.
R D Burman made her sing some of the most legendary songs in Bengali language as well, namely "Mohuyae Jomechhe Aaj Mou Go", "Chokhe Chokhe Kotha Bolo", "Chokhhe Naame Brishti"(Bengali version of "Jaane Kya Baat Hai"), "Baanshi Sune Ki Ghore Thaka Jaye", "Sondhya Belae Tumi Aami" and "Aaj Gungun Gun Gunje Amar" (Bengali version of "Pyaar Deewana Hota Hai").
Ilaiyaraaja
Prolific south Indian film composer Ilaiyaraaja began employing Asha's vocals in the early 1980s, their earliest collaboration being for the film Moondram Pirai (1982) (remade in Hindi as Sadma in 1983). Their association continued, mostly through the latter half of the 1980s and early 1990s. Another notable song from this period is "Shenbagamae" (Enga Ooru Paattukkaaran, 1987, Tamil). In 2000, Asha sung the theme song for Kamal Haasan's political film Hey Ram. The song, "Nee Partha Parvai" (Janmon Ki Jwala in Hindi) (or Aparna's Theme), was a duet with singer Hariharan.
A. R. Rahman
A. R. Rahman is credited with Asha's 'comeback' with Rangeela (1994). Songs like "Tanha Tanha" and "Rangeela Re" were chartbusters. She and Rahman went on to record more hits like "Mujhe Rang De" (Thakshak), "Radha Kaise Na Jale" (Lagaan, duet with Udit Narayan), "Kahin Aag Lage" (Taal), "O Bhanware" (Daud, duet with K. J. Yesudas), "Venilla Venilla" (Iruvar,1999) and "Dhuan Dhuan" (Meenaxi,2004).[14]
Jaidev
When S D Burman's assistant Jaidev started giving music independently, he got Asha to sing some of his songs as well. They worked in Hum Dono (1961), Mujhe Jeene Do (1963), Do Boond Pani (1971) and other movies. In 1971, the pair released an LP of eight non-film devotional songs and ghazals called An Unforgettable Treat. Asha considered Jaidev a close friend who stood by her when she was struggling personally and professionally. Upon his death in 1987, she released a compilation album of lesser-known songs he had composed for her, called Suranjali.
Shankar-Jaikishan
Shankar-Jaikishan worked relatively little with Asha. However, the trio produced quite a few hits including the seductive "Parde Mein Rehne Do" (Shikar, 1968). Asha got her second Filmfare Award for the song. She also sang "Zindagi Ek Safar Hai Suhaana" (Andaz) for Shankar-Jaikishan, in which she tried to yodel like Kishore Kumar, whose version of the song is more better known. When Raj Kapoor was not on speaking terms with Lata Mangeshkar, Asha got to sing the songs of Mera Naam Joker (1970), composed by Shankar-Jaikishan.
Anu Malik
Composer Anu Malik and Asha have recorded many hit songs together, including songs for his first movie Sohni Mahiwal (1984). Their most popular songs include "Ye Lamhaa Filhaal" (Filhaal) and "Kitabein Bahut Si" (Baazigar) among others. The four lines sung by Asha in Malik's "Jab Dil Mile" (Yaadein) stood out among voices of Sukhwinder Singh, Udit Narayan and Sunidhi Chauhan. Asha had also sung for Anu's father Sardar Malik in the 1950s and 1960s, most notably in Saranga (1960).
Other Composers
Madan Mohan recorded a number of songs with Asha, including the popular folk number "Jhumka Gira Re" from Mera Saaya (1966). In Chhoti Si Baat (1975), Asha sang the "Jaaneman Jaaneman" number with K. J. Yesudas for Salil Chowdhury. Salil's 1956 movie Jagte Raho also had a number recorded by Asha, "Thandi Thandi Saawan Ki Phuhaar". Another Asha patron is the young composer Sandeep Chowta, who got her to sing "Kambakht Ishq", a duet with Sonu Nigam for the movie Pyaar Tune Kya Kiya(2001). The song gained major popularity among the Indian youth.
Asha has worked with Lata-patrons like Laxmikant-Pyarelal, Naushad, Ravindra Jain, N Dutta and Hemant Kumar. When Naushad was asked to sum up the essential difference between Lata and Asha, he said that Asha "lacks certain something which Lata, and Lata alone has". Later he accepted in an interview, "May be I said it because I then had a closed ear on Asha".[20] Naushad, later in his life, also admitted that he has been unfair to Asha. Asha has also worked with other noted Bollywood composers like Jatin-Lalit, Bappi Lahiri, Kalyanji-Anandji, Usha Khanna, Chitragupt, and Roshan.
Non-Bollywood music
Private albums
In a rare feat, noted lyricist Gulzar, music director R.D. Burman and Asha Bhosle, came together in 1987, to create a double album, titled, Dil Padosi Hai, which was released on September 8, 1987.[21] In 1995, Asha underwent the gatha bandan (thread-tying) ceremony with Hindustani classical music maestro Ali Akbar Khan to learn a classical repertoire held within the Maihar gharana (stylistic school of Indian classical music), as handed down to Khan by his father Allauddin Khan (the guru of Ravi Shankar). Later, Asha and Ustad Ali Akbar Khan recorded eleven fixed compositions (or bandishes) in California for Legacy, a private album that earned them a Grammy Award nomination.
In 1990s, Asha experimented with remixed R.D. Burman songs. She was criticized by many, including Khayyam for tampering with old melodies. Nevertheless, albums like Rahul And I became quite popular. In 1997, Asha did a private Indipop album Janam Samjha Karo with Leslie Lewis. The album was hugely popular and won her many awards including the 1997 MTV Award.
Asha had been once asked by director B R Ishaara to compose music for one of his films, but she had politely declined. In 2002, she turned music composer with the album Aap Ki Asha, an eight-song music and video album. The lyrics were written by Majrooh Sultanpuri (his last lyrics). The album was released by Sachin Tendulkar on May 21, 2001 at a lavish party in Mumbai. The album received mixed reviews.
Asha had spotted Pakistani singer Adnan Sami's talent when he was about 10 years old. At that time, she was performing in London, with R D Burman. It was she who had asked him to pursue his interests in music seriously. When Adnan grew up and became a professional musician, Asha sang the title duet with him for his best-selling album Kabhi to nazar milao. The two came together again in the album Barse Badal. The album comprises eight songs, based on Indian Classical music. She contributed the song Yun Na Thi to the recording Womad Talking Book Volume Four: An Introduction to Asia 1 on Womad Records.
Asha has sung ghazals for many albums like Meraj-E-Ghazal, Aabshar-E-Ghazal and Kashish. In 2005, Asha released a self-titled album as a tribute to the four ghazal maestros - Mehdi Hassan, Ghulam Ali, Farida Khanum and Jagjit Singh. The album features eight of her favorite ghazals like Farida Khanum’s Aaj Jaane Ki Zid Na Karo, Ghulam Ali’s Chupke Chupke, Aawargi and Dil Mein Ek Lahar, Jagjit Singh’s Ahista Ahista and Mehdi Hassan’s Ranjish Hi Sahi, Rafta Rafta and Mujhe Tum Nazar Se. These classic ghazals were recreated with modern sounds by musician Pandit Somesh Mathur. The album was aimed at the younger generation, who, according to Asha, are "turned off" by the traditional sounds of tabla and sarangi.
Numerous compilations of Asha's songs have been released as well. To commemorate her 60th birthday, EMI India released three cassettes: Bala Main Bairagan Hoongi (devotional songs), The Golden Collection: Memorable Ghazals (non-film ghazals by composers such as Ghulam Ali, R.D. Burman and Nazar Hussain), and The Golden Collection: The Ever Versatile Asha Bhosle (44 popular film songs).
In 1996, Asha Bhosle sang Channeache Rati among several other songs in Rajendra Talak's Konkani album Daryachya Deger with Suresh Wadkar.
In 2006, she recorded an album Asha and Friends, singing duets, with film actors Sanjay Dutt and Urmila Matondkar and famous cricket player Brett Lee, with whom she sang, You're the One for Me (Haan Main Tumhara Hoon). All these songs composed by Shamir Tandon were shot on video by journalist turned director S Ramachandran.
Concerts and collaborations with foreign artists
In 1980s and 1990s, Asha went globe-trotting, staging concerts in Canada, Dubai, UK, U.S. and many other countries. In 1989, during a world tour, she performed in 13 US cities in 20 days. Immediately after this, she had an already sold-out concert scheduled in Stockholm, Sweden. Due to the stressful schedule, Asha suffered a massive attack of colitis, together with fever, cough and weakness. In Stockholm, a pre-concert crisis meeting was called, attended by Asha's son (and manager) Anand and the sponsors. It was decided that the orchestra will play many instrumental tracks, the accompanying singers like Suresh Wadkar will shoulder the load, and Asha will make a small appearance. But Asha rejected all such proposals, and sang at the concert with great difficulty, in a not-so-good voice. Her first set of six Bollywood songs did not receive any response from the audience, which consisted mostly of Indian and Pakistani expats. Before the start of the second set of songs, a fan in the crowd requested her to sing a Marathi song. Asha obliged and sang Naach-naachuni ati mi damale ("I'm very tired of this endless dancing"). When the song ended, the auditorium erupted with claps and the encores started. After the concert, Asha was in bed for a month, recuperating from overexertion. In October 2002, she did a concert with Sudesh Bhosle and others, in London, for "Help the Aged" to help raise funds for the elderly in India. In 2007 she toured the US, Canada, and West Indies in a tour called "The Incredibles". In this tour, she was accompanied by singers Sonu Nigam, Kunal Ganjawala and Kailash Kher. This tour, originally scheduled for only 12 concerts, went on to hold more than 20.
In the mid-1980s, Asha sang with Boy George (Bow down mister) and Stephen Lauscombe. In 1997, she sang a love song with the boy band Code Red, at the age of 64. She also recorded the song The Way you Dream (One Giant Leap, [1]) with Michael Stipe that was used in the English movie, Bulletproof Monk. The song was also released on the album 1 Giant Leap for 2002.
In 1997, the British band Cornershop paid tribute to Asha with their song Brimful of Asha, an international hit which was later remixed by Fatboy Slim. In 2001, the CD single of Nelly Furtado's "I'm Like A Bird" included a "Nellie vs. Asha Remix" created by Digital Cutup Lounge.
In 2003, British opera pop singer Sarah Brightman sampled her song "Dil Cheez Kya Hai" on her album Harem. It was used as the intro for her song "You Take My Breath Away".
In 2005, American string quartet Kronos Quartet re-recorded R D Burman compositions like Chura Liya, Piya Tu, Mera Kuchh Saaman among others and got Asha to sing them. Despite her age, she recorded three to four songs in a day, leaving the quartet members stupefied. On August 23, 2005, You've stolen my heart - Songs From R D Burman's Bollywood was released in US. The album was nominated for Grammy Awards 2006 in the category of "Best Contemporary World Music Album". In the 1990s, a friend had introduced David Harrington of Kronos Quartet to the song Aaj ki raat. Harrington was mesmerised, and the song ended up on the album Kronos Caravan.
Also in 2005, The Black Eyed Peas sampled her songs "Ae Naujawan Sab Kuchh Yahan" (Apradh, 1972) and "Yeh Mera Dil Pyaar Ka Diwana" (Don, 1978) in their hit single "Don't Phunk with My Heart". In late 2006, Asha collaborated with Australian test cricket star, Brett Lee. The single, You're the One for Me, debuted at number 4 on the charts and reached a peak position of number 2.
In 2006 Asha recorded one song for the soundtrack of Pakistani movie Mein Ek Din Laut Kay Aaaonga. She sang the song, titled Dil Key Taar Bajey, with famous Pakistani pop singer Jawad Ahmed. It was aired as part of the film's promotional campaign and became very popular, featuring on top music charts.
Personal life
Asha's house is situated in Prabhukunj Apt on Peddar Road area of South Mumbai. She has three children and five grandchildren. The eldest of her three children, Hemant Bhosle (named after Hemant Kumar), spent most of his early years as a pilot and quit to have a brief career as a music director. Asha's daughter Varsha worked as a columnist for The Sunday Observer and Rediff. Asha's youngest child, Anand Bhosle, has studied business and film direction. He manages Asha's career. Her grandson, Chaitanya (Chintu) Bhosle (Hemant's son) is a part of the world of music. He is a member of India's first & only boy band, "A Band of Boys". Her sisters Lata and Usha Mangeshkar are playback singers. Her other, sister Meena Mangeshkar and brother Hridayanath Mangeshkar are music directors.
Asha is an excellent cook and cooking is her favorite hobby. She often gets flooded with requests by Bollywood celebrities for kadai ghosht and biryani dishes and has rarely turned down a request. In fact, her paya curry, Goan fish curry and dal are very popular with the Kapoor family of Bollywood. Once, when asked in a Times of India interview, what if her singing career had not taken off, she said "I would have become a cook. I'd have cooked in four houses and made money."
Asha is a successful restaurateur and runs restaurants in Dubai and Kuwait, called Asha's. Asha's offers traditional north-western Indian cuisine. It has a presence in the Wafi City development in Dubai, as well as three restaurants in Kuwait, at The Avenues Mall, the Marina Mall and a brand new third outlet at the Spoons Complex. Other restaurants can be found in Abu Dhabi's Khaldiya Mall, Doha's Villagio and Bahrain's City Center Mall, with future outposts planned for Dubai's Mall of the Emirates and Cairo, Egypt. Asha Bhosle has a 20% stake in the business. Asha is not involved in day-to-day running of the restaurant which is looked after by the Wafi Group. She takes care of the kitchen and the décor. She personally trained the chefs for almost six months. According to a December 2004 report in the Menu Magazine,[22] Russell Scott, a former head of Harry Ramsden's (the fish and chips chain), secured the UK rights to the Asha's brand and planned to open up to 40 restaurants over the next five years. As part of her chain of restaurants, Asha has recently opened a new restaurant in Birmingham, UK.
Asha's fashion statement is white saree with sparkling embroidery, pearls around her neck and a touch of diamonds. Harrington said "The first time I met Ashaji she was dressed in the most beautiful sari with diamonds and looked very regal. Then I looked down and saw that she was wearing tennis shoes! I thought I love this woman."
Asha is a good mimicry artist as well. At a concert at World Trade Center in Dubai on April 22, 2004, she mimicked the song Kabhi To Nazar Milaao in the voices of Noor Jehan, Lata Mangeshkar and Ghulam Ali.
Nowadays, apart from singing and her restaurant, Asha is also working on her autobiography.
Rivalry with Lata Mangeshkar
Asha's sibling rivalry with Lata Mangeshkar is often talked about, in spite of their insistence that these are just tales.[18] As young children, they were very close. As a child, Lata used to carry Asha all the time. They were so inseparable that when Lata went to school she would take Asha with her. One day the teacher protested and said that they cannot have two students on one fee. Lata refused to return to school without Asha and quit her studies.[23]
Lata considered Asha's act of eloping with her lover as irresponsible, leaving her alone to sing and earn for the family. This led to tensions between them. Asha herself accepted in an interview[23] — "It was a love marriage and Lata didi did not speak to me for a long time. She disapproved of the alliance." At one time, their relationship was very adversarial and there have been periods of non-communication.
In her initial days in the industry, Asha always played second fiddle to her elder sister. Some say that Lata had once criticised Asha's relationship with O. P. Nayyar. This widened the rift between the two sisters and O P Nayyar also decided that he would never work with Lata. O.P. Nayyar had once revealed "Asha and Lata, staying in opposite flats at Bombay's Peddar Road, had a common maidservant. Now this maidservant had merely to come and tell the younger sister that Lata had just recorded something wonderful for Asha to lose her vocal poise. Such was her Lata phobia that it took me some months to convince Asha that she had a voice individualistic enough to evolve a singing style all of her own."[20] Asha once said that she has worked for years to create a voice and a style that was different from Lata, so that she could carve her own niche and not be banished to live in her sister's shadow.[23]
Asha and Lata have also sung together. Their first duet was for the film Daman (1951).[20] Some of their songs include Man Bhawan Ke Ghar aye (Chori Chori, 1956), Sakhi ri sun bole papihaa us paar (Miss Mary, 1957), O chaand jahaan woh jaaye (Sharada, 1957), Mere Mehboob Mein Kya Nahi (Mere Mehboob, 1963), Ai kash kisi deewane ko (Aaye Din Bahar Ke, 1966), Main Chali Main Chali (Padosan, 1968), Chhap tilak sab (Main Tulsi Tere Aangan Ki, 1978), and Man kyun behka (Utsav, 1984). While singing, Lata used to hold her notebook in her right hand, while Asha held hers in the left hand. This meant Lata had her face away from Asha, making it difficult for them to "anticipate" each other.[23]
The movie Saaz, was supposedly based on Lata and Asha's rivalry.[24] Asha said about the movie — "To have two women in long plaits, take a couple of incidents and exaggerate them into a 3-hour film is such a waste of time."[23] In the last few years, Asha and Lata have often been seen in public, enjoying each other's company. In an interview with The Times of India, Asha once said - "I remember, sometimes both of us would be at a function and some industry types would ignore me and interact only with her, as if to prove their loyalty. Later, didi and I would have a good laugh!"
source:http://en.wikipedia.org/wiki/Asha_Bhosle

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