This book also tells us a little more about the famous tugs of war between sisters Lata Mangeshkar and Asha Bhosle. As his music became richer, Burman underwent inner transformations owing to the Bengal famine of 1943, independence and Partition, as did contemporaries and collaborators like Bimal Roy, Sahir Ludhianvi and O.P. Through BurmanвЂ™s experiments, we come to know also about Dev Anand, the blossoming Manna Dey and his вЂњtruant son', the Indian PeopleвЂ™s Theatre Association (Ipta), the beginning and end of creative ferment at 41, Pali Hill (Dev AnandвЂ™s residence), and why Rabindranath Tagore was less of a diva than those who worked for him. The authors accumulate numerous minute details of BurmanвЂ™s musical trajectory, while deviating for broad brushes of the social and political canvas against which he progressed to a serious, unpredictable, un-pinnable and gifted musician. His love of music took him to Kolkata, where he sang and composed all kinds of songs-for the aesthete as well as the philistine. Burman was born to a big family, perennially feuding about land and fiefdoms. The book begins with Hill Tipperah and Plains Tipperah (now Tripura), and the Murungs of Arakan in Burma (now Myanmar), who were supposedly the ancestors of TipperahвЂ™s residents. It is as much a history of Hindi film musicвЂ™s gratifyingly mongrel roots as it is the story of the great musician who moved like the rivers of his childhood and became a master of the sublime mishmash. Burman: The Man, The Music (2011) and Gaata Rahe Mera Dil: 50 Classic Hindi Film Songs (2015)-is important. ThatвЂ™s why their book, following two previous ones-R.D. But they found no rivers, only a derelict legacy. Bhattacharjee and Vittal travelled to Tripura as well as Bangladesh to follow BurmanвЂ™s geographical roots.

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