Born Maria Amarghioalei, the singer had fallen under the spell of actor Raj Kapoor as a youngster after seeing him in Shri 420 (1955). In the late 1960s, when Indira Gandhi visited Romania, she was entertained by a Hindi-speaking singer known as Naarghita. Over the years, as reputations of Bhosle and Pancham da (Burman) grew internationally, “Dum Maro Dum” became a source of inspiration for a slew of artists all over the world. The song remains one of Bollywood’s all-time favourites, as evergreen as eternal young man Dev Anand himself. Even Anand confessed he had fallen in love with his co-star. A young Zeenat Aman, on whom the song had been picturised, shot to “national sexpot” status overnight. The composer, RD Burman, used the song as a platform to fly at the loftiest levels of popular music for the next 15 years. Along with Asha Bhosle’s sultry vocals, the acrid smell of charas (hashish) seemed to seep out of radios all across North India. That this cultural milestone was designed by director and film lead Dev Anand to warn Indians about the loose, drug-addled lifestyle of hippies, rather than embrace it, is the very definition of irony. The exact moment that India finally embraced Flower Power is captured forever in the hypnotic and groping guitar riff that opens the hippie anthem “Dum Maro Dum” in the film Hare Rama Hare Krishna (1971).
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