Asha Bhosle







Asha Bhosle
Fast Facts
Born: September 8, 1933
Sign: Virgo
Birthplace: India


Asha Bhosle (born September 8, 1933) is one of the leading singers of the Indian subcontinent. She is chiefly known as a playback singer for films. She is the most versatile singer and sings ghazals, bhajans, traditional Indian Classical music, pop and film music. For a long time she had to play second fiddle to her elder sister Lata Mangeshkar, but in the last two or three decades of her half a century career she made her mark as the leading female 'Pop' singer in Hindi film music and her variety is unequalled. Asha is very popular in India and has sold over 40 million records.
Asha has sung over 20,000 (yes, you read it right) in 14 languages for three generations of Indians, from O P Nayyar's breezy, songs of the 1950s to A. R. Rahman's modern tunes. Asha has the sweetest voice in all of playback, and no singer has never even come close to hitting the sweet spot like she has.

Asha is the ageless diva. She says - "I sang for Tanuja (Bollywood actress of yesteryears) over 30 years ago and I have sung for her daughter Kajol. I am sure I will be around to sing for Kajol's daughter."

Asha was born in the musical family of Pandit Dinanath Mangeshkar. Asha was extremely shy as a child. Her father died when she was very young. Her elder sister Lata started singing in films. Asha eloped with her 31-year old lover, when she was a teenager.

Few years after her marriage, Asha's husband died. She followed in her elder sister's footsteps and took to singing in films. Music director O P Nayyar's association with her is part of Bollywood lore. When her talent was not recognized by anybody in the Bollywood, O P recognized her potential and gave patronage to her. He gave her a big break in CID (1956). Asha became his favorite after he fell out with Lata Mangeshkar. O P Nayyar and Asha Bhosle will be remembered for the breezy songs with galloping beats. They recorded songs for many hit movies like Naya Daur (1957), Tumsa Nahin Dekha, Howrah Bridge, Kashmir ki Kali etc. Some of their famous songs include 'Aaiye meherbaan' from Howrah Bridge picturized on sensuous Madhubala, 'Yeh Hai Reshmi Zulfon ka Andhera' from Mere Sanam and Aao huzur tumko from Kismat, 'Main pyaar ka rahi hoon' from Ek Musafir Ek Haseena. 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 wasn't included in the movie.

B R Chopra, the producer of Naya Daur (1957) another person, who recognized Asha as a great singer in 1950s. He got her to sing in many of his films like Waqt and Gumraah.

Music director Khayyam's partnership with Asha dates back to his first movie Biwi (1948). But he recorded his most memorable songs with Asha in the superhit movie Umrao Jaan. They recorded four ghazals: Dil cheez kya hai, In aankhon ki masti ke, Ye kya jagah hai and Justju jiski thi. The film won her the first National Award of her career. Khayyam says - "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.

Composer Ravi (Ravi Shankar Sharma) got Asha to sing for his first movie Vachan (1955). The melodious lullaby 'Chandamama door ke' became overnight hit. Ravi got her to sing bhajans in Grihasti and Kaajal, in an age when most of the composers preferred Lata Mangeshkar for classical songs. He and Asha recorded a variety of songs, including the funny duet with Kishore Kumar - 'C A T...Cat maane billi' for Dilli Ka Thug. He also recorded songs for other movies like 'Waqt' with her.

Kishore Kumar worked as a music composers in few films like 'Door Gagan ki chhaon mein' and Asha was his first choice.

Sachin Dev Burman, one of the most famous Bollywood composers and Lata Mangeshkar fell out with each other in 1957. After that, S D Burman used Asha as his lead female voice. They recorded many songs together. Most famous of these songs were Asha's duets with Mohammed Rafi and Kishore Kumar. Some of the famous Rafi-Asha duets with S D Burman are 'Achchha ji, main haari chalo' from Kala Paani, 'Gunguna rahe hain bhanwre' from Aradhana(1969 etc. Some of the Kishore-Asha duets include 'Haal kaisa hai janaab ka?' from Chalti ka naam gaadi, 'Chhod do aanchal' from Nau Do Gyarah. Asha sang a lot of hit songs under S D Burman's baton - 'Raat Akeli Hai' from Jewel Thief (1967) - picturized on Tanuja, 'Kali ghata chhaye' from Sujata, 'Koi aaya dhadkan kehti hai' from Laajwanti etc.

Asha also sang for Sachin Dev Burman's assistant, Jayadev in Hum Dono, Mujhe Jeene Do and other movies.

Asha also worked with many other famous music composers including Shanker-Jaikishan, Madan Mohan and Salil Chaudhary, whose favorite singer was Lata. Shanker-Jaikishan created few hits with Asha, including the seductive 'Parde mein rehne do' from Shikar(1958). Asha got her first Filmfare Award for the song. Asha recorded one of the Bollywood's first rock and roll numbers with Chitalkar Ramchandra - 'Eeena Meena Deeka'. Madan Mohan recorded quite a few songs with Asha, inlcuding the famous 'Jhumka gira re' from Mera Saaya. In Chhoti Si Baat (1975), Asha Bhosle recorded the popular 'Jaaneman Jaaneman' number with K J Yesudas for Salil Chowdhury.

A new era embarked in Bollywood music history, when S D Burman's son, Rahul Dev Burman (aka Pancham) made his entry in the films. Pancham and Asha Bhosle created together, just more than music. Asha later married Pancham. Asha rendered hit songs for Pancham's first successful movie - Teesri Manzil. These songs included popular duets with Rafi - 'Aaja Aaja', 'O Haseena' and 'O mere sona re'. In the 1970s, Asha and Pancham's youthful, western songs took Bollywood music by storm - the raunchy cabret 'Piya tu' from Caravan (1971), the rebellious 'Dum Maro Dum' from Hare Krishna Hare Rama (1972), the sexy 'Duniya mein' from Apna Desh (1972) the romantic 'Chura liya hai' from Yaadon Ki Baarat. About 'Dum Maro Dum', Kishore Kumar said "the song is powerful enough to bring a dead person to life".

Pancham recorded many hit duets with Asha and Kishore Kumar - 'Jaane jaa dhoondhta phir raha' from Jawani Diwani, 'Bhali bhali si ek soorat' from Buddha Mil Gaya. In 198Os, Pancham and Asha recorded beautiful ghazals for films like Izaazat (1987)- 'Mera kuch saaman', 'Khaali haath shaam aayi hai' and many more songs - 'O Maria' (Sagar).

Anu Malik and Asha recorded many hit songs together, including 'Filhaal' (Filhaal). In fact, Anu's first hit film 'Soni-Mahiwal' had songs sung by Asha. The South Indian maestro, Ilayaraja worked with Asha in Kamal Haasan's Hey! Ram. The film flopped, but Asha's song 'Janmon ki' went well with audience. Sandeep Chowtha got Asha to sing 'Kambakth ishq' from Pyaar Tune Kya Kiya (2001), which got youngsters grooving.

Young A. R. Rahman got Asha to sing 'Tanha tanha' for Rangeela. Rahman went on to record many more hits with Asha including 'Rang de' (Thakshak), 'Radha kaise na jale' with Udit Narayan (Lagaan) and 'Kahin aag lage' (Taal), 'O Bhanware' with K J Yesudas (Daud). Rahman once said - "I approach Asha ji only when I compose something that would fit her stature."

In 1980s, Asha went globe-trotting, staging concerts in USA, Canada and UK.

In the mid-1980s, she sang with Boy George and Stephen Lauscombe. In 1997, she sang a love song with Code Red, a boy band. In 1997 Asha did a private album with Leslie Lewis - 'Janam Samjha Karo' that won her 1997 MTV Award.

Asha Bhosle also worked with the Pakistani singer Adnan Sami for 'Kabhi to Nazar Milao', which went on to became the best-selling album.

She contributed a stand-out song to the recording "Womad Talking Book Volume Four: An Introduction to Asia 1" on Womad Records. The song is "Yuhn Na Thi" and showcases Bhosle's vocal abilities. She also worked with Ustad Akbar Ali Khan on Legacy, an outstanding album.

Asha has received many awards inlcuding six Filmfare Awards and also the Filmfare Lifetime Achievement Award. She won only six Filmfare awards because after getting her sixth award, she had asked not to be considered for the Filmfare Awards. Asha received the Dadasaheb Phalke Award in 2001.

Asha's stint as a music composer - Aap Ki Asha (2002) didn't go well with the audiences. But her popularity as a singer remains untouched.

Cooking is a favorite hobby of Asha, who also runs a restaurant in Dubai.

We dont claim to be writer of this above matter.

Source of this article :

Thanks Nirasji for the long article. We should all think of some dhamakedaar things to do on the forum that day. Wish there was some way we could wish Ashaji.

Nimu tera dimag to theek hai? First u tell me to call Asha as if woh din bhar isi intezaar mein baithi hai ki Priya kab phone karegi.
Then U call Asha a cat!!!!!!!!

Ladies:

Having a bouquet handed over in person would pose a problem. Unless it is pre-arranged by prior request and consent obtained. There are "security" hurdles to overcome, too.

But sending a bouquet should be easy. Asha-ji's address is common knowledge and any good florist's would take care of the delivery order.

In the meantime, for Asha-ji's fans who have not come across this on the internet:

Saturday's Child
(By Rediff columnist Varsha Bhosle on her mother, singing legend Asha Bhosle)

At the time, I put it down to fate. The jubilation of having scored decent marks after a bare minimum attendance, the ensuing wrath of the hallowed Mrs Dossal who ran the political science department of Elphinstone College, the flaring tempers, the thinly-veiled threats -- it nearly brought my academic life to a stand-still. Her words still ring in my ears; and they bring with them the same blinding fury: "I can well imagine how you managed to get these marks. It's no big secret what can be bought and sold. I know what kind of a family you come from. Miss a single lecture, and we'll see." The comedy of it all was that it never was a big secret that Mrs Dossal's 'prepared notes' were almost verbatim from the Sabine textbook. Besides, it has never needed a genius to pass bona fide our university exams without attending lectures.

At that time, I found it hard to believe that her rage may have been goaded by envy, pettiness or prejudice. Against what, and against whom? I certainly couldn't picture her as a frustrated diva. It took me many more such instances to divine exactly what I was up against. From "what kind of family" do I come? A chosen family, a special family, a family gifted with music since three generations.

For people who -- after having ground away the stipulated years in university, higher studies, apprenticeships, etc -- trudge up and down the steep ladder of seniority, it must be extremely galling to see the seemingly uneducated, tasteless, loose-living, filthy-rich upstarts of the Indian film industry leave them yards behind in the rat-race. Predictably, the female singer was consigned to the bottom rung of their esteem. Depending upon the sensibilities of the person, and regardless of actualities, she was labelled bai-ji, gaayika, gaanewali, kothewali, devdasi, etc. The list is quite endless; I had to learn to cope with it.

The earliest memory I have of my mother, Mrs Asha Bhosle, is a fleeting montage of doorbells rung very late in the night, a sobbing woman hugging me back to sleep, the strains of strange, repetitive singing emanating from behind a closed door... I bang on the door wanting to go in, but am roughly pulled away by a man when the music threatens to cease. Later, I learned that that was a routine day in the life of my father: guarding Aai against all impediment which may have prevented her from singing for their supper. I have erased my father from my memory, and with him, some of my own childhood: a defence mechanism, people call it. From the sordid tales I hear from our old cook, I must have desperately needed to do it. Suffice to say that it is the stuff which has fed scriptwriters and novelists from time immemorial, of indignities heaped upon submissive womanhood.

Aai came into her own quite suddenly. One day it struck her that her third and advanced state of pregnancy may not be able to sustain the daily dose of bashing that was her lot. The next day, she left behind every single paisa she had earned, her bungalow, her car, even her clothes, and sought refuge with Mai Mangeshkar, the grand old materfamilias. (It's a sore point in my life that she found the courage to do so only when my younger brother Anand was to be born). Of course, there were instant theories in the industry about this 'desertion', and I'm sure that there were many who were disappointed when Anand grew up to be (fortunately, only in appearance) a replica of our father.

From now, I am on safe ground: I do not have to rely on hearsay. My memory miraculously returns with our surreptitious flight to the home of my grandmother, my three aunts and uncle. However, my memories of Aai are still not all that bright. Initially, there's just a smattering of her, for she has to work twice as hard, since she has to rebuild from scratch, and there is one more mouth to feed. Although she was always there to make our home, put us through school and spoil us with luxuries, I never had enough of her. How a single parent manages to merge the roles of provider and home-maker is still beyond my comprehension. Much later, I asked her, "Aai, you had the security of the roof of your own mother, your sisters -- what was the big rush to set up your own house? Instead, couldn't you have given us more time?" Without missing a beat, she replied, "Never again did I want to be at the mercy of anyone else. It would have been equally harmful for you three. You had to grow up in your own home, and with the freedom I alone could sanction". We did, we did.

After setting up independently, Aai rebelled a textbook kind of rebellion. Much more than today, the film industry -- like our society at large -- was saturated with prejudice, hypocrisy and factionism -- and Asha Bhosle had tacitly been branded a fallen woman. It certainly didn't help when the closest comparable rival was her own sister, the ethereal Miss Lata Mangeshkar. Soon, choice assignments were withdrawn, and a conspiracy of silence manifested itself into Aai's musical career... But, if anyone so much as suggested something to alleviate the situation, you could bank on Asha Bhosle to do the opposite. After more than a decade of suppression, and of keeping the shame of her squalid married life from her family and colleagues, she simply revelled in her absolute freedom. What still fascinates me is the total honesty and fearlessness with which she lived, as if to say, "My life is an open book, make of it what you will."

It's accepted that one needs to humanise a hero in order to understand and truly appreciate him; the corollary to which may be that an idol admitting to be made entirely of clay, as they all must be, is soon relegated to the tar-pits. Whatever others may say, I'm convinced that her being typecast by music directors as the perennial cabaret/ mujra/ qawwali singer is a fallout of her early life. I'm not quite qualified to comment on music, but one fact is undeniable -- like any other extraordinary singer, she excelled in all genres, but Hindi film-makers were ticklish about giving their on-screen epitomes of Indian womanhood the voice of this rather camp personality. If the character was 'westernised', her voice was that of Asha. And this label stuck just at the time when the most memorable music was being composed for the Indian heroine.

Curiously, the Marathi, Bengali and Gujarati music industries were totally unaffected by any of these tags: some of her best heroine-songs of that period are in these languages. Since being politically correct has never been my forte, I may as well say that it speaks volumes about regional cultures and sensitivities. Moreover, what a coincidence that just around the time of her marriage to R D Burman, the "cabaret singer" label was miraculously replaced by the respectable "versatile". I grit my teeth each time I hear it. Just another label signifying nothing.

If I were to sum up my mother in one word, it would have to be zidd: 'wilfulness' or 'obstinacy' doesn't connote the shades of determination and the readiness to toil that I associate with it and her. The more formidable the task, the harder she applies herself to it. Like her venture into the Western music world as a member of the pop-group The West India Company, formed with Steven Luscombe of Blancmange. One fine day, Anand casually informed her that he had finalised the deal and that, in a month, she would have to compose, sing, interact with British musicians and technicians, give live interviews on radio, appear on television... and all this in English, in England.

For a middle-aged woman who had never been to school, let alone spoken a complete English sentence, this, I thought, was an impossibility. I was appalled. What happened was, I had the stomach runs for a month, while she diligently rose at 4 am, donned her Walkman, and heard 'Spoken English' cassettes for hours. Well, she did it all: entered the Top-20 charts with her song Ave Maria,, appeared on British and German television, spoke lucidly on radio interviews, addressed the British press -- all with her usual unfazed panache.

Her spirit reaches dizzying heights during concert tours. In 1989, during the US tour, she underwent the most rigorous schedule ever devised. We had to play 13 cities in 20 days, which entailed cross-country red-eyes taken barely a few hours after the completion of each show. Every musician was sapped by the time we boarded the plane immediately after the last concert in Houston, Texas. But were we going home? No. We were on our way for yet another gig -- in Stockholm, Sweden. This journey was the proverbial last straw: Aai suffered a massive attack of colitis, together with fever, cough and weakness. The very first result of even one of these complaints is trembling of the voice, which then 'splits' into two, and Aai had 'em all.

At the pre-concert crisis meeting in Stockholm, it was decided by Anand and the sponsors that short of cancelling the gig, the only way out was that the orchestra should play umpteen instrumental tracks, the accompanying singers (Suresh Wadkar and yours truly) shoulder the load, and the billed star make a cursory appearance. Which would, no doubt, have led to a riot. Hereupon, my multiple visits to my favourite place commenced.

At the stage-wings that evening, our band conductor approached me with the news that Ashaji had rejected all such 'insane' proposals, that she would sing exactly what the audience had come to hear. I must add here that most of Asha's hits, like Dum maro dum, O mere sona re, Jaiye aap kahan jayenge, Duniyan mein logon ko, etc, sound 'frothy' and 'airy'. It's only when a lesser singer attempts them that one can gauge the tremendous breath-control and pitch modulation required for these non-classical, hence 'lightweight', songs. It's solely her mastery that makes them seem so easy to execute. Anyway, I had been clutching at the misguided belief that the turn-out in any city of continental Europe would be less than moderate. But, as it must happen at such times, that evening, the show was a sell-out...

The hall was packed with Indian and Pakistani expats when Aai started with her first set of six songs. I could recognise the strain in the moments when she suddenly dropped the volume or signalled the violinist to join in. All I could do was deliver glasses of glucose to the stage. At best, it was an indifferent performance; and I couldn't even blame the audience for its lack of response. Before the start of the second set of songs, a lone voice cried out from the audience, "Asha-taiiii, please sing a Marathi song. We've come a long way for it." Aai softly hummed, Naach-naachuni ati mi damale... the opening lines which roughly translate as "I'm so very tired of this endless dancing, oh Lord..."

I have yet to accept what happened in that flash. Perhaps, it was a case of putting mind over matter. Or, perhaps she heard, understood and experienced the words like never before. Or, maybe the Great Conductor in the sky decided that she had been tried enough. Her eyes closed, and both hands clenching the microphone, she crooned or belted out the stanzas as the mood gripped her. The notes and words seemed to swirl in a lazy vortex around the stage, gently eroding even the mildest defence in their path, till all was one pristine, homocentric entity. I remember crying unashamedly, and a moist-eyed Suresh hugging me whilst murmuring things like, "There will never be another like her; how can she conjure up such magic against such odds? How does she do it?"

There was absolute silence when the song finally ended. And then, very slowly, as if gradually awakening from a stupor, the claps and encores started, gradually building up to such a crescendo that the auditorium virtually erupted. I was in shock -- after all, it wasn't a predominantly Marathi audience. But, that's the power of music. It's the last remaining frontier where complete harmony exists amongst people of all religions, castes and languages. From that point of time, the concert gained a momentum all of its own: we could do nothing to curb it, and Asha Bhosle could do nothing wrong.

What did happen to the colitis, fever, etc? Back home, Aai was in bed for a full month, recuperating from overexertion. But that was afterwards... After ALL the commitments had been honourably discharged...

My mother is my entire family, Mrs Dossal. This is the family to which I proudly belong.

Uss bouquet mein aik phool meri taraf se bhi

aisa ho to main khud phool banjaaongi

N_da_Phool

Couple of years back had come across this email fwds , don't know if the numbers have changed or not since that time... but hey no harm trying out or asking MTNL for a newer number for older one....Asha Bhosle 4938070 ....Try it out

Actor's Name Telephone Number (Area Code 91-22)
Aamir Khan 6463744-6463930
Abbas Mustan C/o3716412-3752914
Aditya Pancholi 6288436
Aishwarya Rai 6054440
Ajay Devgan 6200253-6201977
Akshay Kumar 6292780-6460646
Alok Nath 6269378
Amit Khanna 6182467
Amitabh Bachchan 6207579-6206162
Amol Palekar 6204778
Amrish Puri 6211111
Amrita Singh 6266319
Anand Balraaj 6265177
Anil Kapoor 6209997/6203208
Anita Kanwar 6262048
Anjali Jathar 3806670
Annu Kapoor 6331773
Anu Agarwal 4952659
Anupam Kher 6140748/6115930
Anuradha Patel 6236880
Arbaaz Khan 6410395
Archana Puran Singh 6262221
Armaan Kohli 6143570/6151340
Aruna Irani 6491721-6140499
Asha Bhosle 4938070
Asha Chandra 6486545-6496660
Asha Parekh 6464062
Asha Sachdev 6464378
Ashok Kumar 5512976
Ashwini Bhave 5523696
Asrani 6204991/6201456
Atul Agnihotri 6401623
Avinash Wadhawan 6265629-6295139
Ayesha Jhulka 6269227
Aziz Sajawal 6270195
Basu Bhattacharya 6424727
Basu Chatterji 6464522-6460893
Bhagwan 4151519
Bhagyashree 6713666
Bindu 4941305-4974617
Bobby Deol 6184189
B R Chopra 6183101-6463134
B R Ishara 6200897
B Subhash 6146477-6130282
Chiranjeevi 8253751
Chunky Pandey 6496974-6486426
Dalip Tahil 6408158-6420264
Danny Denzongpa 6202042-6205992
Dara Singh 6200190/ of-6206720
David Dhawan 6460104-6495333
Deepa Sahi 3825564-3827568
Deepti Naval 6231671-6232020
Dev Anand 6202669-6200747 Office 6497550-6483891/6495778
Deven Verma 3867516
Dharmendra 6184189
Dilip Kumar 6496974-6486426
Dimple Kapadia 6148425-6149594
Ektaa 2151402-2150472
Farha O:6206720 R 6233456
Farida Jalal 6291076
Farooque Sheikh 6422626
Farough Siddiqui C/o 8821706
Feroz Khan 6105266-Bangalore 395231
Girish Karnad 6400935-6420988
G P Sippy 3879303/8 office 3821497-3821498-3882662 fax 3851492
Govind Nihalani 6428320
Guddu Dhanoa 6200705 R. 6203553
Gulshan Grover 6294649-6291789 Office 6270582
Gulzar 6498351-6461957
Hema Malini 6207619-6205950
Harmesh Malhotra 6319004
Himani Shivpuri 8401185
Hrishikesh Mukherjee 6424271
Ila Arun 6123774-6113805
Jackie Shroff 6437231-6331729
Javed Akhtar 6200066-6202602
Jaya Pradha 6491475
Jeetendra 6204335-6208764
Johny Lever 6267165
Jugal Hansraj 6498658
Juhi Chawla 6294517-2181364
Jyotin Goel 6248829
Kabir Bedi 6428464-8408113 fax 2080404-2088782
Kader Khan 6491314
Kalpana Iyer 6238871
Kamal Hasan (044)459145-451199
Kamal Sadanah 6427389
Kamini Kaushal 3624020
Karisma Kapoor 6265856
Kawal Sharma 6404483-6293960
K Bapaiah 451414 O:427437
K C Bokadia 6182958
Keshu Ramsay 6235119
Ketan Desai 3646661-3671981 Office 3862306-3862307
Kiran Kumar 6422133 Office 6421854
Kulbhushan Kharbhanda 6420667
Kumar Gaurav 6402710-6427429
Kunal Goswami 6207698-6207793
Lawrence D'Souza 6263212
Laxmikant Berde 6211958
Mac Mohan 6234538-6230499
Madhuri Dixit 6202516-6202918
Mahesh Bhatt 6204324
Mala Sinha 6421443
Mamta Kulkarni 6292036
Mani Rathnam 456998
Manisha Koirala 6319200
Manoj Kumar 6207793 Office 6498920
Meenakshi Sheshadri 6464494
Mehul Kumar 6268077 Office 6150503
Mohan Kumar 6486788
Mohnish Behl 2150472-2151402
Moon Moon Sen 6235656
Moushumi Chatterjee 6490222
Mukesh Bhatt 6483245-6182171
Mukesh Khanna 2030198-2082033
Nagarjuna 451558/458010
Naghma 6436644-6443214
Nana Patekar 6269652
Naseeruddin Shah 6408487 Office 6404670
Nasir Husain 6460647-6323907
N Chandra 6202802
Neena Gupta 6290762
Om Puri 6237902-2620248
Paintal 6262808
Pallavi Joshi 458692-457299
Paresh Rawal 6148472
Partho Ghosh 8380658
Pooja Bhatt 6420194
Prakash Mehra 6184098-6184368
Pran 6462859-6046557
Prem Chopra 6486199-6485301
Priya Tendulkar 6406625
Pramod Chakraborty 8346379
Rahul Rawail 6202505
Rahul Roy 6482584
Raj Babbar 6492819-6288447 office 6492269-6492669
Raj Kanwar 6127762
Raj Kumar Kohli 6461882
Raj Sippy 6146768-6429622
Rajiv Kapoor 5563250
Rajeev Rai 4948396-3648065
Rajendra Kumar 6402710 Office 6427429-6407948
Rajesh Khanna 6463646-6405445
Rajnikant 4991291-4990278
Rakesh Roshan 6206453-6206357 office 6492352-6491171-6492778
Raakhee 6486559
Ramanand Sagar 8353473-6184315
Ramesh Sippy 6486372-6483216 office 6461154-6045487
Randhir Kapoor 5563250-5563533
Ranjeet 6200757-6203322
Raveena Tandon 6126465-6142785
Ravi Chopra 6183101
Ravi Tandon 6126465-6142785
Raza Murad 6294051
Reena Roy 6436460
Rekha 6437497-6484756
Rishi Kapoor 6483257-6481678 Fax 6499028 R 6481931-6496177
Ritu Shivpuri 6493179-6295955
Saawan Kumar Tak 6201210-6203082
Sachin O:6498792-6481982 R 6267499
Sadashiv Amrapurkar 6267439
Saeed Jaffrey 6267452
Saif Ali Khan 6266319
Salman Khan 6422476
Sanjay Dutt 6462357
Sanjay Kapoor 6261480-6264893
Sanjay Khan 6205619-6204990
Satish Kaushik 6261637
Satish Shah 3882578-3862049
Satyen Kappu 6266261-6264558
Shabana Azmi 6200066-6202602
Shahbaaz Khan 6265142-6291453
Shah Rukh Khan 6486116-6281413
Shakti Kapoor 6205970-6204589
Shammi Kapoor 3635353-3536161
Shashi Kapoor 6142922-6149546
Shatrughan Sinha 6048951-6497081
Shekhar Kapur 6204941-6209985
Shekhar Suman 8322592
Shilpa Shetty 5517667-5564738
Shilpa Shirodkar 6486323
Shreeram Lagoo 6428488
Simi Garewal 3628491
Somy Ali 6430948
Sonali Bendre 6295871-6317101
Sonu Walia 6234073
Sooraj Barjatya 4930954-4307688
Sridevi 4993053
Subhash Ghai 6429379-6407449
Sujata Mehta 4942362
Suman Ranganathan 531783Bangalore
Sunil Dutt 6462357 O:6404583
Sunil Shetty 3884160-3870681
Sunny Deol 6184189-6200713
Tabassum 6404068-6405565
Tabu 6332492
Tiku Talsania 8400120
Tinnu Anand 6202604-6150043
T Rama Rao 6293986-441556
Twinkle Khanna 6184233-6184921
Urmila Matondkar 6270370
Varsha Usgaonkar 6295333
Vijay Anand 6486348-6485320
Vinod Chopra 8370729-6484736
Vinod Khanna 3633456-3632569
Vivek Vaswani O: 2031779 R 2184074
Yash Chopra 6490268
Zeenat Aman 6442457

Jay, what a crazy list!! Are these real numbers?