The use of technology cannot be "gimmicky" and should be done with proper permissions, says music maestro AR Rahman, who has used AI software to recreate the voices of late singers Bamba Bakya and Shahul Hameed for a new track.
Rahman is happy that artificial intelligence technology, which is a hot-button issue in the world with many looking at it with a mix of awe and fear, allowed him to bring back the voices of his friends and past collaborators of many songs.
"(You should do it) Only when you really need it and only when you can do it. It should not be half-baked. It is not a gimmick, it's an effect and has to serve the purpose," Rahman told PTI in a virtual interview.
Bakya and Hameed are credited as playback singers for the track "Thimiri Yezhuda" in Lal Salaam, directed by Rajinikanth's daughter Aishwarya Rajinikanth. The film is scheduled to be released in theatres on February 9.
The Oscar-winning musician said when he and his team decided to use AI, they knew it was important to have the consent of the two singers' families.
"We went to the families, asked permission, and they were overwhelmed and the compensation was given. These are all personality assets that they've given to the family. It's their right to say yes or no. In this case, they said yes and we used it. There's nothing objectionable for me because we took the legit permission," he added.
The Internet is full of people recreating old songs with new technology and Rahman has also seen videos of AI versions of political leaders singing songs that are available on TikTok and Instagram.
"... It was fun to see and some of them are so real. But when you do something commercially and it's a money-making thing, it's legit to go and take permission. It's important to compensate for it. So, a method has to be set and if nobody sets it, people will misuse it," he said.
"It was one of the reasons why I asked the director (Aishwarya), 'Can we do this?' And she said, 'Yes' for the movie Laal Salaam, starring Rajinikanth. She was really happy hearing the results. In fact, now a lot of people are asking for other singers, like SP Balasubramaniam..."
Bakya, who crooned popular numbers such as the latest "Ponni Nadhi" in Mani Ratnam's Ponniyin Selvan, died in September 2022 at the age of 42. He had also sung the tracks "Pullinangal" from Rajinikanth's 2.0, "Kalame Kalame" from Vijay's Bigil, and "Simtarangaran" from Sarkar.
Before he died in 1998, Hameed worked extensively with Rahman for films such as Gentleman, Jeans, and Kadhalan.
The 57-year-old musician said his attempt is similar to how cinema brings back historical figures on the big screen.
"This is not a permanent solution. I felt what if we bring them back, like movies? We brought back Gandhiji and Subhas Chandra Bose. It is very similar to that. We bring back a voice to say an expression by taking permission and being very careful about the sentiments.
"The family is very important, the kids are important, their partners and soulmates are important. If they had said no, I wouldn't have done it. I would have said, 'No scrap it'."
The music maestro is aware of the debate surrounding artificial intelligence with the common fear being that it may lead to job losses in different industries.
He cautioned that people in leadership positions should be careful about the ethical use of technology.
"Any technology should not harm humanity. It should only enhance or better our way of work. Even if it takes one job away, it's not worth it. There will be good people and there will be bad people. Good people will do it in a legit way, the bad people would think, 'How can I avoid all the stuff and take that money?' So there is conscience involved.
"And especially people in leadership should be very careful not to take away jobs from this. It should add more jobs for human beings,"
Lahore-based alt-jazz band fuses South Asian classical, jazz, and hip-hop.
Sarangi virtuoso Zohaib brings centuries-old tradition into modern grooves.
UK debut at Union Chapel won over South Asian diaspora audiences.
Barbican show promises richer textures, extended improvisation, and cinematic moments.
Collaboration with legends like Ustad Noor Bakhsh bridges generations and heritage.
Let's get one thing straight: you can't pin Jaubi's sound down. It's a mash-up, sure: Hindustani classical rhythms, the freefall of jazz, hip-hop's grounding beat. But for them, it's never about genre. It's all gut feeling. Speaking exclusively to Eastern Eye ahead of their Barbican show on 3 October, the Lahore-based band opened up about their philosophy, their roots, and why improvisation feels like a conversation, not a performance.
Why “whatever” is more than a name, it’s their musical philosophy
It all starts with the name: Jaubi. It's Urdu for "whatever." Or "whoever."
"It's a philosophy," they say. "It means that when we sit down to create, we're not thinking, this has to be jazz, or this needs to sound like traditional South Asian classical music. We're just expressing what feels true in that moment." In an industry that feeds on neat boxes, that's not just a name; it's a rebellion.
This philosophy manifests in a sound that connects cosmic dots. It's the yearning of John Coltrane crashing into the beat science of J Dilla and the narrative flow of Nas. At its heart is the soulful cry of the sarangi, played by Zohaib, a seventh-generation carrier of that rare lineage.
So how do you honour centuries of tradition while plugging it into a modern context?
"We're conscious of honouring the tradition," they explain. The goal isn't forced modernisation. "The goal isn't to modernise the sarangi, but to create a dialogue between past and present, showing it can exist alongside a bassline or drum loop without losing its soul. In that way, the tradition is protected by being kept alive and relevant, not locked away."
Jaubi brings centuries-old sarangi to modern beats
The intimate, human centre of Nafs at Peace
This dialogue is captured perfectly on their album Nafs at Peace. The album cover, a photo of Ali Riaz Baqar's mother praying, is its intimate, human centre. The title track sonically maps an inner journey. "It begins sparse and unsettled—loose rhythms, open spaces, almost like a mind in turmoil... By the end, everything locks together in harmony. It's not triumphant, but a calm and quiet resolution."
This raw, honest sound wasn't lab-grown. Their seminal session with UK jazz figure Tenderlonious and pianist Marek Pędziwiatr was a one-day, improvised gamble.
Jaubi: the band proving South Asian music can break every rule
"We weren't sure how these worlds would meet: Marek's piano, Tenderlonious' sax, our tabla, guitar, and sarangi." The initial anxiety was palpable. But then, the first notes. A response. An instinctive conversation began. "About halfway through the day, we hit a deep groove, a moment where everyone locked in and that's when we knew it was working. From there, the sessions flowed effortlessly."
For Jaubi, the path of a song is never pre-destined. "The melody always leads for us and everything else builds around it," they say of their writing process. "When I write, I usually start with a melodic idea... From there, the vibe naturally takes shape. We never force it into a category but we just follow where the melody wants to go."
Lahore’s sound goes global with Jaubi’s improvisation
Finding a sense of pride in heritage
This 'whatever' philosophy is resonating powerfully far from home. Nobody knew how their UK debut at Union Chapel would go over. But the reaction? It cracked the place open. "The response was overwhelming, particularly from the South Asian diaspora. Many people came up after the show saying it felt like hearing the sounds of their childhood reimagined in a new way." One conversation crystallised their mission: "Someone who said they'd never seen the sarangi on a stage like that before. They felt proud and emotional, like their heritage was being celebrated rather than just preserved."
Now, they're preparing for the Barbican. "We are expanding the live setup with richer textures, more percussion, deeper bass, and space for extended improvisation. It will feel bigger and more immersive, almost cinematic at times." The moment they want to etch into memory? "If there is one moment I hope people carry with them, it is A Sound Heart. When we play it live, there is a point where everything aligns, and you can feel the whole room breathing with the music."
Sharing the bill with legends like Ustad Noor Bakhsh and Amrit Kaur is a lesson in itself. "Playing alongside them feels like being part of a living tradition… What we take away most is their sense of presence. They do not rush, they let the music breathe. It reminds us to listen closely and to focus on expression rather than complexity."
Jaubi: redefining South Asian music, one note at a time
Looking to the future
This entire journey is rooted in Lahore, a city they describe as "alive with sound right now," pointing to a vibrant underground scene and artists like Maanu, Natasha Noorani, and the Mekaal Hasan Band.
Looking ahead, the legacy they want, true to their name is about opening doors. "In the next decade, we hope Jaubi's legacy is about possibility." It always comes back to doors left unlocked. A way for traditions to breathe new air, for jazz maps to include Lahore, and for some kid somewhere to think, "I can do that too."
Their final word on it? "We want younger musicians to feel free to experiment, whether they pick up a centuries-old instrument or make beats on a laptop. If our journey inspires even a few people to take risks and create something honest, then we have done our job."
Catch them on 3 October at the Barbican. Listen for the point where it all clicks into place. It's the sound of "whatever" finding its perfect, unforgettable voice.
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His status not only as a cinematic icon but also as a successful entrepreneur
Shah Rukh Khan’s net worth reaches approximately £1.04 billion, marking his entry into the billionaire club.
Tops the Hurun India Rich List for Bollywood stars.
Wealth primarily driven by Red Chillies Entertainment and IPL franchise ownership.
Global real estate holdings and luxury lifestyle complement his business ventures.
From actor to billionaire
Bollywood superstar Shah Rukh Khan has officially joined the billionaire club for the first time, according to the Hurun India Rich List 2025. With a net worth of approximately £1.04 billion, Khan now holds the top spot among Bollywood actors, cementing his status not only as a cinematic icon but also as a successful entrepreneur.
Khan’s journey from modest beginnings in Delhi to international superstardom is well documented, but it is his business acumen that has pushed him into billionaire territory. Over the years, he has leveraged his fame into multiple ventures, spanning production, sports, and luxury lifestyle investments, making him a notable figure in both the entertainment and business worlds.
Red Chillies Entertainment: The backbone of wealth
A significant portion of Khan’s fortune stems from Red Chillies Entertainment, the production company he co-founded in 2002. The company has produced numerous critically acclaimed and commercially successful films while expanding into visual effects, animation, and digital media. Today, Red Chillies employs over 500 people and is considered one of India’s leading production houses.
“The company was always about creating quality cinema while embracing technology,” industry insiders say. “Khan’s vision and persistence have made it a business as well as a creative hub.”
Sports ventures and global assets
Khan’s wealth is also supplemented by his ownership of the Kolkata Knight Riders (KKR) in the Indian Premier League, which has become one of the league’s most successful and valuable franchises. The team’s success has provided both financial gains and a strong cultural presence.
In addition to cinema and sports, Khan owns luxury properties around the world. His Mumbai residence, Mannat, is valued at approximately £16.7 million. He also owns homes in London, Beverly Hills, Dubai, and a farmhouse in Alibaug. His luxury car collection includes a Bugatti Veyron (£1 million), Rolls-Royce Phantom (£790,000), and Bentley Continental GT (£273,000). These assets reflect his global lifestyle while complementing his business portfolio.
Bollywood’s wealth landscape
The Hurun India Rich List 2025 shows a growing trend of actors transforming their fame into substantial financial empires. Following Khan are Juhi Chawla and family (£649 million), primarily from Knight Riders Sports; Hrithik Roshan (£180 million), through his fitness brand HRX; Karan Johar (£156 million) of Dharma Productions; and Amitabh Bachchan and family (£136 million) from various investments.
A personal perspective
Despite his immense wealth, Khan remains grounded. Close collaborators note that his happiness is derived from family and the joy of creating stories that connect with people, rather than from material possessions. His rise to billionaire status underscores how creativity, perseverance, and business acumen can intersect, inspiring both aspiring actors and entrepreneurs alike.
Shah Rukh Khan’s inclusion in the billionaire club marks a landmark in his illustrious career, illustrating the evolution of a film star into a global business icon, while highlighting the potential for success beyond the silver screen.
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Formulaic Hindi films lose ground as Telugu cinema delivers spectacle and authenticity that resonate with UK desi audiences
Telugu blockbusters like RRR and Pushpa are drawing UK crowds.
Bollywood flops have pushed audiences to look elsewhere.
British Asians connect with stronger, rooted Telugu heroes.
Pawan Kalyan’s They Call Him OG smashed overseas records.
More UK cinemas now screen Telugu films to meet demand.
The queue for a new Bollywood film was quiet. But around the corner, snaking down the street in a British city, a different queue was buzzing. It was not for a Hollywood blockbuster. The chatter was not in Hindi. It was in Telugu, English, and regional British Asian dialects, all waiting for a Pawan Kalyan film. This scene is becoming the new normal.
Formulaic Hindi films lose ground as Telugu cinema delivers spectacle and authenticity that resonate with UK desi audiences AI generated
When the default setting broke
For years, Bollywood was the default. It was the comforting, familiar voice of 'home' for millions in the diaspora. The formulas started to feel tired. We'd grown up watching those Bollywood stars, trusting them to deliver. But something broke, and suddenly, they couldn't get people through the door. When films like Laal Singh Chaddha and Bachchhan Paandey arrived, they just failed to connect. It felt like we were being shown a plastic-wrapped India, scrubbed clean for an international crowd we no longer recognised. That old thread that tied us to them? It snapped. And in the quiet that followed, you could hear something else roaring to life.
Formulaic Hindi films lose ground as Telugu cinema delivers spectacle and authenticity that resonate with UK desi audiences AI generated
The pan-Indian quake
The rise of Telugu cinema in the UK is not an accident. It started with movies that spoke the language of sheer scale fluently. Baahubali wasn't just a movie. It was a proper legend, the kind that felt ancient and massive. It proved, without a doubt, that a story spun in India could stand tall on any screen in the world. You could feel the rumble in your seat. Then you had RRR and Pushpa crash in. They took that energy, the spectacle, and turned it into something you could chant along to. They weren't apologising for what they were, and this was the undiluted escapism fans were starving for. This was what they called "maximum entertainment," and it was a gut punch of fun.
For British Asian audiences, many with roots in smaller towns and villages, this felt more authentic than Bollywood’s increasingly urban, Western-facing stories. It was a sensibility that translated perfectly, speaking a visual language of spectacle that needed no translation.
Telugu films, by contrast, doubled down on identifiable emotion and a kind of unapologetic heroism. Their protagonists are often loud, rooted, and purposeful; they fight, they sing, they love on camera without irony.
But the shift goes deeper than just spectacle. It is about the kind of hero you want to see on screen. For a long time, mainstream British Asian representation often came with a side of comedy. The culture was sometimes the punchline: the accented parents, the generational clashes played for laughs. It was a representation that could feel limiting.
There is also a practical reason: a bigger, better diasporic infrastructure. Telugu speakers are numerous in the UK and beyond; distributors and cinemas have responded. Once theatres start screening Telugu films regularly, community momentum builds.
If there is a risk, it is twofold: Tollywood must be careful not to trade complexity for bravado, and Bollywood must decide whether to listen. For British Asians, cinema is a resource, a way to rehearse belonging.
He is almost a phenomenon in Telugu cinema. His influence doesn't end there. He's the Deputy Chief Minister of Andhra Pradesh, a leader who talks about Hindu culture with a fighter's intensity. When you combine that with a fanbase whose loyalty feels less like admiration and more like a fundamental belief, you get a force that's hard to ignore. The release of They Call Him OG proved it. Tickets for the world's second-largest IMAX screen, all the way in Melbourne, vanished in two flat minutes. Across international markets, the film was running circles around Bollywood's biggest offerings.
So, you sit back and look at all that, and the question just forms itself: Why does this resonate so powerfully?
For a younger British Asian generation navigating dual identities, Kalyan represents an unapologetic cultural confidence. He is not diluted. He is not a stereotype. He is power and agency wrapped in a star’s persona. He offers an "oppositional gaze," a direct challenge to the narratives where their identity was the source of conflict, not strength, and choosing him is maybe a way of reclaiming a narrative.
Pawan Kalyan’s OG breaks overseas records with sold-out shows days before release Instagram/ogmovieofficial
The end of passive viewing?
This is not just about swapping one industry for another. It is a sign of a community maturing, of knowing what it wants to see reflected in the stories it consumes. They are no longer passive recipients of whatever cinema is handed down to them. They are active choosers. They are voting with their tickets for stories that feel epic, heroes that feel powerful, and a cultural voice that does not ask for permission to be loud, proud, and entirely itself.
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Bollywood’s queen meets Bridgerton’s star: South Asian stardom on the Paris runway
A backstage selfie of Aishwarya Rai Bachchan and Simone Ashley went viral.
Aishwarya Rai walked the runway in a dramatic Indian sherwani.
Her outfit featured 10-inch diamond-embellished cuffs.
Ashley represents the rising power of the diaspora.
She is best known for her lead role in Bridgerton.
That photo wasn’t planned. It was a quick snap backstage in Paris. Two women, Aishwarya Rai and Simone Ashley, leaned together for a second. One is a titan of Bollywood, a global icon for decades. The other is a British star who smashed her way into one of Netflix’s biggest shows.
The image went viral instantly. But why did this particular picture hit so hard? It’s because it shows a fracture in the old rules. For years, these two paths to fame, one from the heart of Indian cinema, the other from the Western diaspora, ran on separate tracks. That selfie is the moment the tracks collided.
Bollywood icon Aishwarya Rai and Bridgerton’s Simone Ashley shared a rare backstage moment at Paris Fashion WeekInstagram/simoneashleyworld
The sovereign and the storm
You have to understand, Aishwarya Rai didn't just show up in Paris. She owned the room, wearing a custom Manish Malhotra sherwani. This was no accident. It was a message. The outfit, with those massive 10-inch cuffs embroidered with diamonds, screamed what everyone already knew: she doesn't just represent herself, she was bringing an entire culture with her. Her journey was one of sovereign expansion: from Miss World, to Bollywood royalty, to a Cannes fixture and being a global ambassador for over twenty years.
Aishwarya stuns in a Manish Malhotra sherwaniGetty Images
Then there’s Simone Ashley. She didn't emerge from a system that anointed her. In fact, she crashed into one. Her role as Kate Sharma in Bridgerton can be called as a 'cultural detonation’. In a genre built on white European fantasy, she became the lead, the object of desire, the "storm" that upended the entire ton. Simone took the role that, for generations, nobody thought a woman like her could have and made diaspora the main character.
Simone Ashley walks the runway during the "You're Worth It" L'Or\u00e9al Paris Womenswear Spring/Summer 2026 show as part of Paris Fashion Week Getty Images
Why the selfie mattered
Selfies don’t always shift industries. This one mattered because it compressed several stories at once: a veteran who built a bridge between Bollywood and the world, and a diaspora actor who rose inside Western storytelling. The image almost flattened geography, like it made Mumbai and London feel like neighbours for a moment.
So, what collapsed the chasm? Don't just credit the fashion houses, credit the algorithm. The true designer of this moment is the streaming revolution. Netflix, Amazon, Disney+ demolished cultural borders.
They created a new, shared reality. A teenager in London binge-watches Bridgerton the same weekend her cousin in Mumbai does. A family in Ohio discovers Aishwarya’s classic Devdas with a single click. This constant, fluid exchange has rewired our expectations. We no longer see "Indian cinema" and "British TV" as separate categories. They are just… shows. On the same screen. This is in fact the new, borderless territory where Aishwarya and Simone can finally meet as equals.
Beauty and fashion are commercial machines. Aishwarya’s long-term role as a global L’Oréal ambassador is a branded pipeline that benefits from moments like this. For brands, a shared image of two recognisable South Asian stars expands audience reach across markets in India, the UK, and diaspora communities, and creates headline value that’s cheaper than a campaign shoot.
There’s a less flashy truth under the glitter. The selfie is not a solution for structural gaps. Casting still leans on old networks; creative lead roles, production power, and money don’t shift overnight because an image goes viral. But the photograph is a lever, because it changes perception, and perception nudges hiring, and hiring changes stories. Two women sharing a frame doesn’t fix policy, but it nudges culture. That nudge matters faster now because audiences, not just executives, are watching.
It’s the moment we can finally see that the two separate, parallel struggles: the struggle for global recognition from within Bollywood, and the struggle for mainstream acceptance from within the diaspora, have, against all odds, merged into a single, powerful front.
The photo is a lie because it makes it look easy, like it was always destined to happen. But let's be real. That moment rests on the back of decades of quiet fights, of doors being forced open, and a tech revolution that finally gave us a screen, and a world big enough for all of our stories.
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Gary Oldman becomes Sir Gary in a Windsor Castle ceremony
Gary Oldman becomes Sir Gary in a Windsor Castle ceremony.
He once joked about the royals never giving him a nod.
The actor's career is a wild ride from Sid Vicious to Winston Churchill.
Fans know him best today as the grubby spymaster in Slow Horses.
This honour lands six years after his Oscar win for The Darkest Hour.
So, it is finally official. Gary Oldman has officially become Sir Gary after receiving his knighthood at Windsor Castle. This feels like a long time coming, does it not? The actor, famous for completely vanishing into his roles, received the recognition for his services to drama. It is a proper cap on a career where he has played everyone from a punk rocker to a prime minister and even mentioned a few years back that the royal honour had somehow passed him by.
Gary Oldman becomes Sir Gary in a Windsor Castle ceremony Getty Images
That time he wondered about a royal nod
Back in 2023, he was talking to the BBC and the subject came up. He said, pretty bluntly, "I do not know why. You should ask them. No nod from the royals, but there we are. Maybe it is in my future." It is what makes the whole thing feel so pointed.
Well, guess what? The future turned up on Tuesday. You have to think that moment, that little public wondering, made walking into that castle today feel a bit sweeter.
Gary Oldman receiving his knighthood at Windsor CastleGetty Images
What even is a defining Gary Oldman role?
Seriously, try to pick one. Is it the raw terror of Sid Vicious? The dark grandeur of Dracula? Or is it Harry Potter's godfather, Sirius Black, for a whole generation? For awards voters, it was his transformation into Winston Churchill that finally got him the Oscar. He is one of those rare actors who is not just playing a part, he seems to become someone else entirely. That is the sheer breadth this knighthood is acknowledging.
If you want a taste of his current genius, just switch on Apple TV. He is the star of Slow Horses, playing Jackson Lamb, the most brilliantly offensive MI5 agent ever put on screen. He is almost unrecognisable, and the show is a smash. Just as he receives this lifetime achievement award, he is also giving one of the most talked-about performances on television, proving he is nowhere near done.
This is not just another award to stick on the mantle. This is the one that etches his name into the official story of British drama. From his brutal, personal film Nil By Mouth to blockbuster Batman films and now a hit spy series, his path has been wildly unpredictable. The knighthood sort of pulls all those threads together. It is the final word on a career that has been anything but ordinary.