Asha Bhosle, who changed face of Indian commercial music, turns 90
The iconic singer celebrates her 90th birthday this week and to mark the landmark occasion, Eastern Eye decided to present 90 magic moments from her phenomenal life
By Asjad NazirSep 08, 2023
IN TERMS of ability, longevity, versatility, body of work and global impact, Asha Bhosle is regarded by most as India’s greatest singer of all time.
Born on September 8, 1933, the most recorded artist in history changed the face of commercial music in India and entertained countless people across different generations, in a career that has lasted more than 70 years. She has also inspired singers and musicians, been part of formidable moments in history and performed at major venues around the world. The iconic singer celebrates her 90th birthday this week and to mark the landmark occasion, Eastern Eye decided to present 90 magic moments from her phenomenal life.
The legendary singer was born as Asha Mangeshkar on September 8, 1933. The nine-year-old started working as a singer and actress with her elder sister Lata Mangeshkar to support the family soon after their father died.
The 10-year-old Asha sang her first film song Chala Chala Nav Bala for the Marathi film Majha Bal (1943).
She made her Hindi film debut with the song Saawan Aaya for the film Chunariya (1948), as a teenager.
Asha delivered her first solo Hindi film song for the movie Raat Ki Raani (1949).
She inspiringly became a single working mother at a young age after separating from her much older husband, to provide for her children. Asha had said: “After my marriage ended, I saw a lot of poverty. I raised three children all by myself. I would get up early, do household chores and leave home by 7am for work.”
By walking away from an abusive marriage, she showed great inner strength and became an early role model for single mothers.
During her early days of struggle in the 1950’s Asha only got songs top singers like Geeta Dutt, Shamshad Begum and Lata Mangeshkar turned down, but used that to prove her ability.
She got recognition after singing for the film Sangdil (1952).
The singer teamed up with future composing legend Khayyam for songs in cult classic Footpath (1953). They would team up decades later for the Umrao Jaan (1981) songs.
Bimal Roy was the first major filmmaker to take a chance on Asha by getting her to sing for his award-winning film Parineeta (1953).
She gained further recognition for her songs in cult classic Boot Polish (1954). Her duet with Mohammed Rafi (above), Nanhe Munne Bachcha became a huge hit.
She sang the patriotic song Sabarmati Ke Sant, which was dedicated to Mahatma Gandhi and helped the film Jagriti (1954) win a coveted National Award.
The singer had a star-making moment with CID (1956) song O Leke Pehla Pehla Pyar (1956) and formed a dream team with ace composer OP Nayyar.
Her popular song Eena Meena Deeka from Aasha (1957) is one of Hindi cinema’s first rock ‘n’ roll numbers. It shows no one could do upbeat numbers in the golden era of Bollywood quite like Asha.
Blockbuster hit Naya Daur (1957) established Asha as a force to be reckoned with after she delivered hit songs like Uden Jab Jab Zulfen Teri.
Songs from path-breaking rock ’n’ roll classic Tumsa Nahin Dekha(1957) further established the singer. Like Naya Daur, OP Nayar brought out the best in her.
Many top music producers refused to work with Asha out of loyalty to her sister Lata Mangeshkar, who she was estranged from at the time, but it did not stop the singer from succeeding.
Asha sang her first Bengali songs in 1958 under the banner of HMV.
She continued the dream run of soundtracks with OP Nayyar (above) by singing unforgettable classics in Howrah Bridge (1958), including Aaiye Meherbaan.
The film Phagun (1958) was panned by critics but became a huge hit thanks to the soundtrack, which has Asha singing every song, including the iconic duet Ek Pardesi Mera Dil Le Gaya.
Asha’s hit qawwali inspired songs in Barsaat Ki Raat (1960) showed another dimension of her immense talent.
She skillfully delivered songs for the classic film Chaudhvin Ka Chand (1960) after established singer Geeta Dutt backed out.
Asha dominated the soundtrack of all-time classic Sahib Bibi Aur Ghulam (1962).
Asha won the 1962 Maharashtra government best singer award for the Marathi film, Manini.
She helped power Phir Wohi Dil Laya Hoon (1963) to big success with hit songs.
Her Kashmir Ki Kali (1964) songs became massively popular.
She dominated the soundtrack of the pathbreaking film Phool Aur Patthar (1966).
Asha won her first Filmfare best female playback award for Garibon Ki Suno from Dus Lakh (1966).
She collaborated with ace composer Madan Mohan for the iconic song Jhumka Gira Re from Mera Saaya (1966).
Asha teamed up with RD Burman (above) for smash hit Teesri Manzil (1966) soundtrack. The game-changer would become the beginning of one of Bollywood’s greatest partnerships.
Her song Yako Eno from Kannada film Yako Yeno Seraga Nillavaldu (1967) was a big hit.
Asha won her second Filmfare best female playback award for Parde Men Rahne Do from Shikar (1968).
Asha sang the hit song He Dhol Dhamakya for one of the first Gujarati colour films Liludi Dharati (1968).
The singer won her third Filmfare best female playback award for the iconic song Piya Tu Ab To Aja from Caravan (1971).
At a time when very little independent music was released away from cinema, she teamed up with composer Jaidev for a 1971 album of devotional songs and ghazals titled An Unforgettable Treat. Later when Jaidev died in 1987, she released a compilation album of lesser-known songs he had composed.
She sang a version of Zindagi Ek Safar Hai from Andaz (1971), which was the most popular song of that year on radio show Binaca Geetmala.
Asha won another Filmfare best female playback award for the iconic song Dum Maro Dum from Haré Rama Haré Krishna (1971), which was the most popular song of that year on Binaca Geetmala.
It was three Filmfare best female playback awards in a row for Asha as she won for the song Hone Lagi Hai Raat from Naina (1973).
The singer made it a fabulous four Filmfare best female playback awards in a row for the song Chain Se Ham Ko Kabhi from Pran Jaye Per Vachan Na Jaye (1974). It was her sixth trophy overall.
The acclaimed singer has seven Filmfare best female playback awards out of 18 nominations. That number would have been higher, but after receiving the award in 1979, Bhosle emulated her elder sister Lata Mangeshkar and requested that her name should not be considered for further nominations.
She was later given a special Filmfare award for Rangeela in 1996 and the Filmfare lifetime achievement award in 2001.
In 1979, Asha delivered a stunning concert (above) at the Royal Albert Hall in London, which has been made available as an LP. She would return to the iconic venue for shows in subsequent decades.
Her songs for the iconic film Umrao Jaan (1981), including Dil Cheez Kya Hai and In Aankhon Ki Masti Ke became legendary and earned her a National Award.
She teamed up with legendary singer Ghulam Ali for the iconic 1983 album Meraj E Ghazal, which was digitally re-released decades later.
The versatile singer delivered many private albums away from Bollywood long before it was popular to do so. A notable one was the pathbreaking 1987 album Dil Padosi Hai, which saw her team up with her music director husband RD Burman and ace lyricist Gulzar.
Asha discovered Adnan Sami. She first spotted the talent of the chart-topping singer, songwriter and musician when he was just 10 years old.
Adnan Sami later collaborated with Asha on his star-making album Kabhi To Nazar Milao. Talking about Bhosle, Sami said: “She is like a mother to me. As a singer I think she is one of the most phenomenal artists India has ever witnessed with the ability to make any genre her own.”
Asha won another National Award for the song Mera Kuchh Saamaan from Ijaazat(1987).
Asha’s many international collaborations include the 1991 song Bow Down Mister with Boy George.
To mark her 60th birthday, EMI India released the albums Bala Main Bairagan Hoongi(devotional songs), The Golden Collection: Memorable Ghazals (non-film ghazals), and The Golden Collection: The Ever Versatile Asha Bhosle (44 popular film songs)
The brilliance of Bhosle on the Rangeela (1994) soundtrack helped AR Rahman gain global fame. They would team up for subsequent film soundtracks like the Oscar nominated Lagaan (2001).
Asha became the first Indian singer to get a Grammy award nomination, for Legacy, a 1996 album with Ustad Ali Akbar Khan.
She released the album Rahul & I Personal Memories, which has remixes of her late husband RD Burman’s songs, including a collaboration with Apache Indian, which he described as the most precious moment of his career.
British group Cornershop released chart-topping song Brimful Of Asha in 1997. Their track dedicated to the Bollywood great was a huge worldwide success.
In 1997, she teamed up with Lesle Lewis for the hit pop album Janam Samjha Karo, which won multiple honours including an MTV award.
Asha collaborated with nineties boyband Code Red for the English language song We Can Make It.
She teamed up with legendary pop producer Biddu for the album Asha Once More, which features stunning remixes of her greatest hits.
Asha sang the important song Nee Partha Paravai for the Tamil version of the political film Hey Ram (2000). She also sang Janmon Ki Jwala in the Hindi version.
The Indian government gave her their highest cinematic honour, the Dadasaheb Phalke Award for 2000.
In 2001 Nelly Furtado’s single I’m Like a Bird included a Nellie vs. Asha Remix created by Digital Cutup Lounge.
She turned music composer with the 2002 eight-track album Aap Ki Asha.
In October 2002, she performed a charity concert in London for Help the Aged to raise funds for the elder
In 2002, the legendary singer received a BBC Lifetime Achievement Award, which was presented to her by then UK prime minister Tony Blair.
Electronic music duo 1 Giant Leap brought together REM lead singer Michael Stipe and Asha for the song The Way You Dream, which featured on a star-studded album filled with international artists.
In 2003, legendary British singer Sarah Brightmansampled her song Dil Cheez Kya Hai on her album Harem, for the song You Take My Breath Away.
In 2005 Asha released a self-titled album as a tribute to ghazal maestros Mehdi Hassan, Ghulam Ali, Farida Khanumand Jagjit Singh, which included their respective greatest hits like Aaj Jaane Ki Zid Na Karo and Chupke Chupke.
International band The Black Eyed Peas sampled her 1970s film songs Ae Naujawan Sab Kuchh Yahan and Yeh Mera Dil Pyaar Ka Diwana in their 2005 hit single Don’t Phunk with My Heart.
In 2005 American string group Kronos Quartet teamed up with Asha Bhosle to re-record songs composed by her late husband RD Burman. Their subsequent album You’ve Stole My Heart: Songs From RD Burman’s Bollywood received great global acclaim and a 2006 Grammy Award nomination in the best contemporary world music album category.
She recorded the 2006 album Asha & Friends, singing duets with celebrities including Sanjay Dutt, Urmila Matondkar and Brett Lee.
She released the album Precious Platinum to great acclaim in 2008.
Asha received a Padma Vibhushan in 2008, which is India’s second highest civilian award.
The singer was given an IIFA Lifetime Achievement Award in 2011 at a ceremony in Toronto, Canada.
Asha made her full-fledged lead acting debut in 2013 drama Mai (above), where she beautifully portrayed a mother suffering from Alzheimer’s disease, who is abandoned by her children.
The singer featured as a judge on popular musical reality TV series including Sur Kshetra, Indian Idol and Sa Re Ga Ma Pa.
In 2014, Asha honoured her late husband RD Burman’s 75th birth anniversary with the album Pancham Tumi Kothay, where she sang eight songs previously composed by him in Bengali.
She sang the song Dil Lagane Ko Dil Jab for a special International Women’s Day album in 2014.
The incredible icon topped Eastern Eye’s definitive list of the greatest Bollywood playback singers of all time in 2015 and received great media coverage. She proudly shared the achievement on social media.
In 2016, she recorded the album 82, which features six ghazal of Marathi poet Suresh Bhat, mixed with influences that include pop, reggae, blues and rock.
The legendary singer used her immense culinary skills to successfully open restaurants in Dubai and the UK. She personally trains the chefs to prepare good food. In 2021, Hollywood superstar Tom Cruise ate at the Birmingham branch of her restaurant Asha’s.
In 2017 she unveiled her wax figure at the Madame Tussauds museum in New Delhi.
In May 2020, the cool grandma launched her YouTube channel named Asha Bhosle Official. It has nearly 300,000 subscribers.
The singer launched the series Moments In Time on her YouTube channel. The short videos contain recollections from her amazing life.
During lockdown she launched the online show Asha Ki Asha, which is a talent hunt for aspiring singers, based solely on talent.
Asha received the Maharashtra Bhushan Award in 2021, which is the highest civilian award presented annually by the Government of Maharashtra state in India.
The legendary live singer has been delivering sell-out shows around the world for decades, which includes many in the UK. She has also delivered charity concerts and inspired others with her stage brilliance.
She entered the Guinness Book Of World Records for singing more than 12,000 songs, which consolidates her position as the queen of Bollywood music.
The massive number of views her songs get on video sharing sites shows the enduring appeal of the singer. On YouTube alone her songs have clocked up more than a billion views.
Asha’s biggest strength has always been her incredible versatility. This has won her many admirers and fans including late actor Shammi Kapoor, who once said: “If I did not have Mohammed Rafi to sing for me, I would have got Asha Bhosle to do the job.”
The most prolific singer of all time, Asha has sung in over 14 languages including Assamese, Hindi, Urdu, Telugu, Marathi, Bengali, Gujarati, Punjabi, Tamil, English, Russi an, Czech, Nepali, Malay, and Malayalam.
If you look at the variety, number of songs, the work she did outside Bollywood, influence and her prolific live career, then Asha is undisputedly the greatest singer India has ever produced. She continues to inspire everyone in unbelievable ways, from her music talent to her work ethnic, longevity, incredible life story and being arguably the coolest granny on the planet. We salute her.
Qawwali remains popular with cross-cultural audiences, but very few get the chance to experience one of the world’s oldest music genres in its purest form. Whether it is the diluted style seen in Bollywood adaptations or fusion with contemporary sounds, the tradition is often watered down.
Najmuddin Saifuddin & Brothers Qawwali Group stand apart from that commercialised crowd, presenting the Sufi genre in its most authentic style. The five talented brothers – sons of the late qawwali icon Ustad Bahauddin Khan Qawwal – belong to a remarkable lineage that traces directly back to the first group formed by the genre’s founding father in the 13th century.
Currently on a UK tour, the group delivered a stunning stage performance that confirmed their brilliance. Unlike most qawwali ensembles that rely on one or two lead singers, all five brothers took turns leading, gracefully exchanging vocal passages to produce a timeless, mesmerising sound. The power, passion and grace of their high-energy performance shone through as they delivered beloved classics such as QaulQalbana, Rang and Naat Shareef. The concert opened in high gear and gained momentum with each composition, before culminating in a thunderous rendition of Mast Qalandar.
They also performed khayal and tarana-style qawwalis, alongside pieces deeply rooted in mysticism. Accompanied by a superb percussionist, their sound remained untouched by modern influences, yet felt completely relevant and accessible to audiences of all ages and backgrounds. Their tour continues across the UK until mid-July, and they are certain to keep transporting audiences back in time through a forward-looking, spiritually rich performance – the kind few qawwali acts worldwide can deliver. The only downside? The show had to end. It felt as though the group were just getting started – they could have easily played for several more hours.
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The year 1975 was significant in Indian cinema for newly crowned superstar Amitabh Bachchan
The year 1975 was significant in Indian cinema for newly crowned superstar Amitabh Bachchan, as he starred in the two biggest films of that year, and also his career, Deewaar and Sholay.
These blockbusters cemented his position at the top. In between their releases came Mili, Hrishikesh Mukherjee’s decidedly different tearjerker.
Known for his non-starry social dramas, the acclaimed producer-director delivered a message-driven story about Mili (Jaya Bhaduri), a terminally ill but bubbly young woman, and the profound impact she has on those around her – including depressed alcoholic Shekhar, played by Bachchan. The real-life couple headlined a multi-layered film anchored by subtle, deeply emotive performances.
Eastern Eye marks 50 years of the underrated classic on June 20 by presenting the 10 best scenes from this story of hope, anguish and learning how to live.
Enter the grouch: Known for her pranks and cheerful attitude, Mili is taken aback by new neighbour Shekhar’s aloofness. His introduction, during the haunting Badi Sooni Sooni Hai song, shows him as a tormented alcoholic. It establishes the contrast between the two main characters – she smiles through life’s challenges, while he seeks refuge in alcohol.
Visual highlights from MiliRotten Tomatoes
Confrontation: Unable to understand Shekhar’s solitude and unfriendliness, Mili ropes in the children from their building to disturb his peace in protest. What begins as an immature territorial clash soon reveals Mili’s intuitive response to the darkness surrounding him. Her inner child recognises and challenges the negativity threatening their otherwise pleasant environment.
Their innocence and kindness melt his hardened exteriorIMDb
Compassion: After provoking Shekhar, the children apologise sincerely. Their innocence and kindness melt his hardened exterior, and he invites them, along with Mili, to play on his terrace. In the song Maine Kaha Phoolon Se, Shekhar, glass still in hand, watches them dance and smiles for the first time. The warmth of this moment even leads him to request tea instead of whisky in the next scene, to his servant’s delight.
Visual highlights from Mili
In the song Maine Kaha Phoolon SeIMDb
Crossroads: In a drunken breakdown, Shekhar slashes his wrist and is saved by Mili. For the first time, she shows visible anger and tears. Her outburst marks a new level of closeness in their friendship and signals the beginning of something deeper. In his vulnerable state, Shekhar is moved by Mili’s scolding – a sign of care he desperately craves.
The raw emotions of every characterInstagram/ hindifilimography
Romance: Shekhar’s growing vulnerability draws him closer to Mili. He begins confiding in her about childhood trauma, his mother, and the root of his pain. He is receptive of her solace and outlook on life. Their bond strengthens as they exchange notes when Mili falls ill. He experiences joy for the first time, unaware of the seriousness of her condition.
The heart-rending scene between father and daughterInstagram/ hindifilimography
Tragedy: The film reaches its most emotional point when Mili’s father (Ashok Kumar) learns that she has only days to live. The harrowing scenes that follow reveal the raw emotions of every character, from shock to grief to quiet acceptance. The heart-rending scene between father and daughter, with Kumar and Bhaduri in each other’s arms, delivers an emotional poignancy audiences can relate to.
The woman who taught him how to liveRotten Tomatoes
Role reversal: Initially unable to process the truth about Mili’s illness, Shekhar has a change of heart about leaving after confronting some hard realities. The woman who taught him how to live is dying, and he feels betrayed by fate. Determined not to give up, he sets out to explore every possible option that might offer her a chance of recovery.
He sets out to explore every possible option Rotten Tomatoes
Selfless love: Unaware that Shekhar already knows the truth, Mili urges her father not to tell him about her illness. Having changed him for the better, she fears that the news will undo his progress and send him back into despair. In that moment, she puts his well-being above her own.
Having changed him for the betterInstagram/ hindifilimography
Proposal: In the film’s penultimate scene, its message becomes clear – the purpose of life is happiness. Shekhar realises he can fulfil one of Mili’s dreams by marrying her. He proposes not out of pity or obligation, but love. Their decision to embrace a short but meaningful life together speaks volumes.
Fifty years later, those sentiments still ring trueInstagram/ hindifilimography
Farewell: The story, told in flashback, returns to its starting point as the newlyweds leave for Switzerland in search of a cure. Mili’s father waves to their aircraft, perhaps knowing she may never return. As the plane takes off, the audience is left with a lasting message – that hope should never die. Fifty years later, those sentiments still ring true.
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William Dalrymple with his artist wife Olivia Fraser
EASTERN EYE is supporting this year’s Jaipur Literature Festival (JLF) at the British Library next Friday (13) to Sunday (15) as its media partner.
“We are happy to do so as we aim to be ‘the voice of British Asians’, as we say on our masthead,” said Shailesh Solanki, executive editor of the newspaper.
JLF also seeks to attract all sections of the community in the UK.
Many of the speakers in this year’s event have featured in Eastern Eye in recent years.
For example, Sheela Banerjee won Eastern Eye’s Arts, Culture & Theatre Award (ACTA) in the non-fiction category last year for What’s in a Name: Friendship, Identity and History in Multicultural Britain.
Vaseem Khan, the first Asian chairman of the Crime Writers’ Association in 70 years, won an ACTA in the fiction category in 2018 for The Strange Disappearance of a Bollywood Star.
The BBC’s Reeta Chakrabarti was named best presenter in ACTA this year. She was also shortlisted in the fiction category for her debut novel featuring schizophrenia, Finding Belle.
In the newly introduced category for crime fiction, the winner was Ram Murali, author of Death in the Air, which has been described as “a love letter to Agatha Christie”.
Eastern Eye has also written about Sushma Jansari, who has curated the British Museum’s new exhibition, Ancient India: Living traditions.
Among the headline speakers this year is Banu Mushtaq, whose book Heart Lamp, translated from Kannada by Deepa Bhasthi, is the first short-story collection to win the International Booker Prize.
Ram Murali
Hanif Kureishi will be discussing his book, Shattered: “After a devastating fall in Rome, Hanif Kureishi was left immobile. From his hospital bed, he began to dictate powerful reflections on illness, identity, love, and writing. Shattered is the result: an odyssey of survival.”
JLF 2025 is bringing together some established authors from India, such as the MP Shashi Tharoor. His latest book, Our Living Constitution, “offers a masterful analysis of India’s constitutional framework, highlighting how it transcends political rhetoric to reflect the nation’s core ideals”, according to the festival organisers.
Although Tharoor belongs to the opposition Congress party in the Lok Sabha, India’s lower house of parliament, he expressed strong support for Narendra Modi’s Operation Sindoor military action against Pakistan. He was picked to lead one of seven Indian government delegations explaining New Delhi’s foreign policy in countries around the world, including Panama, Guyana, Colombia, Brazil and the US.
Other authors from India include William Dalrymple, whose Eastern Eye lecture on The Golden Road: How Ancient India Transformed the World at the Bhavan in London last October was attended by nearly 250 people.
His son, Sam Dalrymple, will be speaking at JLF on his book, Shattered Lands: Five Partitions and the Making of Modern Asia. This was shortlisted for an ACTA this year in the history category.
JLF describes his book as “a sweeping narrative of how the once-unified Indian empire splintered into 12 modern nations. Drawing on rare archives, untranslated memoirs, and interviews across multiple languages, Dalrymple excavates five key partitions that reshaped the political, cultural, and emotional geography of the region. From boardroom deals and battlefield lines to personal stories of loss, resistance, and reinvention, the session reflects on how borders are drawn and the human cost they carry.”
His father, William, one of the founding directors of the festival, said: ”At JLF London at the British Library, we bring together some of the finest minds from across the world to explore the great questions of our time – from the rise of AI to the legacies of empire, from the pleasures of food and art to the complexities of geopolitics.
“This year’s edition reflects the festival’s commitment to rich, nuanced discourse, bridging cultures and offering a truly global literary experience.”
Namita Gokhale, a festival co-director – she will be talking about the re-publication of her novel, Paro, which came out in 1984 – commented: “At this volatile moment of change and transformation, we seek to make sense of our fractured world, and to explore and understand it through our shared stories.”
The éminence grise behind JLF is Sanjoy K Roy, managing director of Teamwork Arts, which describes itself as “a highly versatile production company with roots in the performing arts, social action and the corporate world”.
Sanjoy K Roy
He said: “We celebrate the power of literary thought to foster meaningful conversations and build bridges between cultures through our sessions at JLF London. The 12th edition of JLF London hosts diverse themes ranging from history and artificial intelligence to culture and geopolitics, food and art.”
Incidentally, Roy will be speaking to Bafta-winning playwright David Hare, celebrated as “the finest living British dramatist”.
Hare will provide “a peek into his remarkable career that has redefined contemporary theatre. Renowned for iconic works such as Skylight, Plenty and Racing Demon, Hare’s plays explore the intricacies of politics, power, and human relationships with unflinching honesty and wit. His innovative storytelling, blending sharp dialogue with profound moral inquiry, has left an indelible mark on stage and screen.”
Support for the festival was expressed by Jamie Andrews, the British Library’s director of public engagement: “The British Library looks after one of the world’s most significant south Asian collections, and international collaboration is at the heart of our mission as a library.”
The British Library had a message for Asians in the UK and typically Eastern Eye readers:
“We are the national library of the UK and we are here for everyone. Our shelves hold over 170 million items – a living collection that gets bigger every day. Although our roots extend back centuries, we aim to collect everything published in the UK today, tomorrow and far into the future.
“Our trusted experts care for this collection and open it up for everyone to spark new discoveries, ideas and to help people do incredible things.
Sheela Banerjee’s award-winning book
“We have millions of books, and much more besides. Our London and Yorkshire sites hold collections ranging from newspapers and maps to sound recordings, patents, academic journals, as well as a copy of every UK domain website and blog.
“Our public spaces provide a place to research, to meet friends, to start up a new business or simply to get inspired by visiting our galleries and events. We work with partners and libraries across the UK and the world to make sure that as many people as possible have the chance to use and explore our collections, events and expertise. And we’re always open online, along with more and more of our digitised collection.”
After this year’s London Book Fair, Eastern Eye reported that the British Library republishes crime novels, which first came out decades ago.
This year, Shobaa De is likely to prove a big draw at JLF, which says that the celebrity writer and columnist “is unapologetically bold, fiercely candid, and never afraid to stir the pot. Her popular column, Politically Incorrect, and her bestseller novels like Socialite Evenings and the more recent Insatiable, have won her global acclaim. She has spent decades challenging conventions with her sharp wit and candid observations. Her upcoming book, The Sensualist, is a provocative look at passion, power, and the private lives of modern Indians. In an unfiltered conversation with Yasser Usman, De talks about writing, relationships, and the art of being unapologetically herself.”
Dr Deborah Swallow, an expert on Indian art, will take part in a session on “libraries, museums and archives”, and Asma Khan, founder of the restaurant Darjeeling Express, will talk about food.
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Aamir Khan’s iconic transformation in Bollywood over the decades
Aamir Khan returns to the big screen this month in Sitare Zameen Par, a heart-warming Bollywood remake of the Spanish comedy-drama Campiones. He plays a disgraced basketball coach who takes on an unexpected challenge with a team of individuals with special needs.
Sporting a look unlike any from the past decade, the film – due out on 20 June – adds to the many transformations he has embraced over his career, from shifting hairstyles to dramatic facial hair.
Eastern Eye uses this new role as a chance to revisit the superstar’s evolving on-screen appearances.
Yaadon Ki Baarat (1973): An eight-year-old Aamir Khan made his film debut in a song sequence of this smash hit, produced and directed by his uncle Nasir Hussain. It marked the first time cinema audiences saw him on screen.
The actor’s evolving style from youth to maturity getty images
Qayamat Se Qayamat Tak (1988): After working in further films as a child star and assistant director, the baby-faced actor was launched as a leading man with the hit romantic musical. He established himself with that same clean-cut look in subsequent films.
Aamir Khan embracing vintage looks with classic charmgetty images
Baazi (1995): This action thriller failed at the box office but is remembered for Khan dressing in drag. The striking female get-up was arguably the only memorable aspect of an otherwise forgettable film.
Rangeela (1995): In this musical hit, Khan played a street-smart ruffian and debuted a rugged new look with heavy stubble. The image shift helped him fully inhabit the role and showcased a different side of him to audiences.
Bold and dramatic changes defining Aamir Khan’s careergetty images
Ghulam (1998): Heavily inspired by the 1954 Hollywood classic On the Waterfront, this film saw Khan blend ruggedness with a more heroic edge. His portrayal of a hoodlum with boxing skills left a lasting impact.
Dil Chahta Hai (2001): With its fresh haircuts and urban styling, Farhan Akhtar’s directorial debut introduced a new wave of contemporary cool to Hindi cinema. Khan’s image underwent a complete makeover as part of the film’s trendsetting aesthetic.
From rugged to refined Aamir Khan’s versatile appearancesgetty images
Mangal Pandey The Rising (2005): After a four-year hiatus, Khan returned with his most dramatic transformation yet – long hair and an epic moustache that brought to life the spirit of the 19th-century freedom fighter.
Rang De Basanti (2006): This story of youthful defiance gave Khan a refreshed haircut. In historical flashbacks, he adopted other appearances inspired by the past, adding further layers to his portrayal.
Ghajini (2008): In this remake of a Tamil film – itself inspired by Hollywood drama Memento – Khan adopted a dramatic new look with a muscular physique and buzz cut that intensified the film’s emotional and action-driven edge.
Memorable film moments showcasing Aamir Khan’s unique stylegetty images
3 Idiots (2009): Khan turned back the clock in this record-breaking film, transforming his appearance to convincingly play a young engineering student. He changed his weight, hairstyle and mannerisms to suit the role.
Delhi Belly (2011): Producing this crime caper, Khan made a cameo in a song sequence where he donned a retro disco look. Funky glasses, glittery costumes and exaggerated 70s flair helped him stand out in yet another memorable appearance.
Talaash The Answer Lies Within (2012): As a serious police officer, Khan adopted a subdued look – short hair, a neatly trimmed moustache and a haunted expression, completed by a simple police uniform.
Dhoom 3 (2013): To play identical twins with different personalities, Khan adopted a muscular physique, sharp haircut, tight outfits, a bowler hat and intense expressions. This gave him another memorable identity.
Aamir Khan’s blend of classic and contemporary fashiongetty images
PK (2014): Portraying an alien, Khan had to create an entirely unfamiliar look. He did this by pushing out his ears, widening his eyes and pairing innocent expressions with mismatched clothes to enhance the character’s quirky charm.
Dangal (2016): Although he appeared as a younger, muscular version of his character, Khan’s look in this record-breaking movie was defined by older age. He transformed himself with extra weight, grey hair and weather-worn expressions.
Secret Superstar (2017): In this acclaimed film, which he also produced, Khan played a flamboyant music director. Leather jackets, tight trousers, eccentric hairstyles, earrings, facial hair and a rockstar swagger made it one of his most over-the-top looks.
Thugs of Hindostan (2018): The actor pierced his nose for this swashbuckling period film. With long curly hair, a scruffy beard, old-fashioned clothes and roguish expressions, he embraced the character’s mischief and flair.
Aamir Khan’s dedication to authentic character portrayals getty images
Laal Singh Chaddha (2022): In this remake of Forrest Gump, Khan portrayed his character across different stages of life. From clean-shaven youth to a heavily bearded older man, he showcased a broad spectrum of looks in a single film.
Sitare Zameen Par (2025): In the Hindi remake of Campiones, Khan plays a short-tempered basketball coach. After decades of dramatic transformations, the 60-year-old returns to a look that closely mirrors his everyday appearance.
Rang De Basanti (2006): This story of youthful defiance gave Khan a refreshed haircut. In historical flashbacks, he adopted other appearances inspired by the past, adding further layers to his portrayal.
Ghajini (2008): In this remake of a Tamil film – itself inspired by Hollywood drama Memento – Khan adopted a dramatic new look with a muscular physique and buzz cut that intensified the film’s emotional and action-driven edge.
3 Idiots (2009): Khan turned back the clock in this record-breaking film, transforming his appearance to convincingly play a young engineering student. He changed his weight, hairstyle and mannerisms to suit the role.
Delhi Belly (2011): Producing this crime caper, Khan made a cameo in a song sequence where he donned a retro disco look. Funky glasses, glittery costumes and exaggerated 70s flair helped him stand out in yet another memorable appearance.
Talaash: The Answer Lies Within (2012): As a serious police officer, Khan adopted a subdued look – short hair, a neatly trimmed moustache and a haunted expression, completed by a simple police uniform.
Dhoom 3 (2013): To play identical twins with different personalities, Khan adopted a muscular physique, sharp haircut, tight outfits, a bowler hat and intense expressions. This gave him another memorable identity.
Cinematic milestones reflected in Aamir Khan’s on-screen imagegetty images
PK (2014): Portraying an alien, Khan had to create an entirely unfamiliar look. He did this by pushing out his ears, widening his eyes and pairing innocent expressions with mismatched clothes to enhance the character’s quirky charm.
Dangal (2016): Although he appeared as a younger, muscular version of his character, Khan’s look in this record-breaking movie was defined by older age. He transformed himself with extra weight, grey hair and weather-worn expressions.
Secret Superstar (2017): In this acclaimed film, which he also produced, Khan played a flamboyant music director. Leather jackets, tight trousers, eccentric hairstyles, earrings, facial hair and a rockstar swagger made it one of his most over-the-top looks.
Thugs of Hindostan (2018): The actor pierced his nose for this swashbuckling period film. With long curly hair, a scruffy beard, old-fashioned clothes and roguish expressions, he embraced the character’s mischief and flair.
Laal Singh Chaddha (2022): In this remake of Forrest Gump, Khan portrayed his character across different stages of life. From clean-shaven youth to a heavily bearded older man, he showcased a broad spectrum of looks in a single film.
Sitare Zameen Par (2025): In the Hindi remake of Campiones, Khan plays a short-tempered basketball coach. After decades of dramatic transformations, the 60-year-old returns to a look that closely mirrors his everyday appearance.
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The Ancient India: Living traditions exhibition at the British Museum
The British Museum’s Ancient India: Living Traditions is among the most significant displays for Hindus, Jains, and Buddhists living in the UK.
Eastern Eye was given a tour of the exhibition by its curator, Dr Sushma Jansari, the Tabor Foundation curator of South Asia at the British Museum, and Kajal Meghani, the project curator, who has completed a PhD on the contributions of South Asian collectors to the museum.
A seated Jain enlightened teacherAshmolean Museum, University of Oxford
Highlights in the exhibition include: Ardhanarishvara, “lord who is half woman” – Shiva and Parvati combined in one deity – dated about 1790–1810; the Bimaran casket, about 1st century; Gaja-Lakshmi (“Elephant Lakshmi”), goddess of good fortune, about 1780; Ganesha made in Java from volcanic stone, about AD 1000–1200; the head of a grimacing yaksha, about second or third century; Naga, about 17th century; a sandstone figure of Ganesha from Uttar Pradesh, about AD 750; a seated Jain enlightened teacher in meditation, about AD 1150–1200; and a silk watercolour painting of the Buddha from China, about AD 701–750.
Ganesha from JavaAshmolean Museum, University of Oxford
Jansari said one of the aims of the exhibition was to connect the figures with visitors, especially practitioners of Hinduism, Jainism and Buddhism in the UK.
She said: “Most of them don’t know a great deal about Indian religions, so (this is) just to say that these might be ancient images, but they are and have always been under veneration. People do venerate them. This isn’t all about just one religious tradition. It’s about three of the indigenous religions of the subcontinent. You’ve got the Buddha, Ganesh and a Jain enlightened teacher (in close proximity).
A Chinese silk painting depicting the BuddhaAshmolean Museum, University of Oxford
“It was important for me, as a member of the South Asian diaspora, that I didn’t want to split up these traditions. I wanted very much to look at our collections and ask, what are the commonalities between Jainism, Hinduism and Buddhism.
“What are their artistic origins? Just as we live alongside each other, it was the same in the ancient past. It was even more fluid because you didn’t subscribe to just one particular religion. You would venerate at different shrines. You’d subscribe to different aspects of these different religions.”
ArdhanarishvaraAshmolean Museum, University of Oxford
She stopped at one point: “We wanted you to feel the atmosphere of ancient India. We’re in early India, maybe about the second century BCE. Most of the population live in the countryside. There are obviously some amazing cities as well, but we’re looking at the countryside.
Head of a grimacing yakshaAshmolean Museum, University of Oxford
You’re living in an agrarian society. The failure of your crops means famine, and the success of your crops means you are likely to survive another year with your family, and you will prosper. And we’re just trying to evoke that.”
In Indian mythology, a yaksha is a class of supernatural beings, often nature spirits or deities, that can be benevolent, mischievous, or even malevolent. They are frequently associated with water, fertility, trees, the forest, treasure, and wilderness. Yakshas are often depicted as guardians of places or treasures and can be found in Hindu, Jain, and Buddhist texts, as well as in temples throughout South and Southeast Asia.
“You can hear the sounds of nature,” continued Jansari. “Maybe you’re walking through a dappled forest, and then you encounter the yakshas, the yakshis and the (snake gods) nagas and the naginis. And these are some of the earliest images of deities in the subcontinent, shaped in human form, which is incredibly important, but it doesn’t mean that they’re consigned to the past. This is not ancient and long gone, like an exhibition of beautiful Greek or Roman art, but those deities are no longer under active worship. These have a long continuous life.”
NagaAshmolean Museum, University of Oxford
The yakshas and the yakshis were “not all lovely, happy figures,” said Jansari. “Actually, they need to be placated. You’ve got these grimacing yakshas here, and they’re clutching sacrificial animals.”
She pointed out a figure of “a voluptuous woman draped in jewellery. There’s lots of floral imagery. You are thinking about fecundity and plenty. But then you look a bit more closely at her hair, there are weapons emanating out. These are powerful, independent goddesses with a martial quality.”
The Bimaran casketAshmolean Museum, University of Oxford
Jansari spoke about snakes and why in many societies in India, particularly in rural parts, they tend not to be killed.
She explained: “The nagas and the naginis were independent, really powerful gods. And in a society where the monsoon is incredibly important for the success or failure of your crops, the snakes are vital. You’ve got lovely plenty of water, which means your crops are growing, which means there are more rodents and frogs. So having lots of snakes around is a really healthy sign. They were venerated. They were not killed. It was considered very bad karma to kill a snake. And even now, you still don’t kill snakes. Within nature spirits, it’s not only yakshas and yakshis and nagas and naginis it’s also animal-headed deities.” She talked about the genesis of the exhibition: “I really wanted to show the connections between this ancient religious art and nature, but also the religions themselves. There are so many similarities. There are also key differences. I wanted to make sure that this exhibition is not seen as ancient objects from abroad which have no meaning or purpose here in the UK. They absolutely do for large portions of our society. This is very much part of British culture. That’s how Belgrave Road (in Leicester) happens.”
Meghani looked at “how these faiths and the practices travelled, not just from India to the UK, but there is this weaving through East Africa and other places, and how these traditions change and are adapted to these spaces, how it allows people to maintain a sense of connection with their families and also their faith.”
The curators had consulted places of worship in the UK. They included the Buddhapadipa temple in Wimbledon, the BAPS Shri Swaminarayan Mandir in Neasden in north London, as well as the Oshwal Association of the UK in Potter’s Bar in Hertfordshire.
Meghani said: “This is one of the films we created with a community partner in Potter’s bar. Manjula Shah, who volunteers at Potter’s Bar, wakes up at the crack of dawn to get to the temple for 7 am. She’s preparing sandalwood paste, and she’ll use that in the ceremony.
“And we wanted to include sites in the UK to show how South Asians are still carrying on their veneration practices within Britain today.
” In Ancient India: Living traditions is at the British Museum until October 19, 2025.