Singer Kishore Kumar gifted the world with countless classics before his premature death on October 13, 1987, aged just 58. To mark his passing 30 years ago, Eastern Eye decided to take on the impossible task of creating a playlist of 10 key classic songs. The greatness of the singer is, however, perfectly illustrated by the fact no two people will have the same top 10 songs.
Eena Meena Deeka from Aasha (1957): This would become a cult classic, but why the catchy number makes the list is that it was one of the first to showcase his unique vocal range. This was pictured on the great man, who was also a great comic actor and perhaps the only leading man to sing his own songs at the time.
Chhod Do AanchalZamana Kya Kahe Ga from Paying Guest (1957): Kishore delivered magnificent duets over the years and this one with Asha Bhosle was his first blockbuster with another singer. This track would later be sampled, covered and inspire musicians in following generations. It was particularly fresh because it was recorded at a time both future legends were trying to establish themselves.
Ek LadkiBheegiBhaagi Si from Chalti Ka NaamGaadi (1958): Bollywood has always loved the rain songs and this was one of the best. Apart from being a great composition, what made the song extra special was that it was the stand out moment in his biggest hit film as a leading man and pictured opposite his future wife Madhubala. A honourable mention goes to another of the film’s numbers Haal Kaisa Hai Janaab Ka, which was voted the most popular Bollywood song of that year.
Mere SamneWaliKhidki from Padosan (1968): The last truly great number he performed on screen before concentrating almost entirely on playback singing. He sings while a buffoon lip-syncs and pretends the voice is his to impress a hot neighbour. Many singers who followed in his giant footsteps performed the iconic number.
Roop Tera Mastana from Aradhana (1969): The soundtrack to this blockbuster turned him into the king of playback and won him the first of his record-breaking haul of Filmfare Awards for Best Singer. The sensual song remains popular today as do the other big hits from the soundtrack Mere Sapnon Ki Rani and Kora KagazThaYeh Man Mera.
Zindagi Ek Safar from Andaz (1971): This song swept through this romantic drama and across the globe like wildfire when it released. It became an anthem for a new generation and has since uplifted subsequent generations. The then king of Bollywood Rajesh Khanna loved the song so much that he agreed to make a cameo performing it. The most popular Bollywood song of 1971 was such a blockbuster that it turned the movie into a huge hit.
MeraJeewan Kora Kagaz from Kora Kagaz (1974): The king of the 1970s had another resounding hit with what would become his first solo song to be voted the most popular of the year in the main chart show of the day. What made this extra interesting is that it was used as a background score to show the plight of the female protagonist. Listen carefully to the lyrics and it is a gift that keeps giving.
O Saathi Re from Muqaddar Ka Sikander (1978): This song showed there was a lot to more to the singer’s repertoire than fun, energetic and dance numbers. He also did slow emotion-filled love songs really well and this is a perfect illustration of that. The love song grabs hold of your heart and doesn’t let go even after it has ended.
KhaikePaan Banaras Wala from Don (1978): The magnificence of this award-winning song is such that it still lights up the dance floors today. It showed that no one did a fun number better than the late great singer and was the most popular Bollywood song of that year. (We won’t talk about the cover version that appeared in the 2006 remake of Don).
ManzileinApniJagah Hain from Sharaabi (1984): There aren’t too many certainties in life, but one thing is for sure, Kishore Kumar would win the Filmfare Best Male Singer award in 1985 because he got all four nominations for songs featured in Sharaabi. Although many would argueInteha Ho GayiIntezaar Ki deserved to win because, let’s face it, nearly all Indians are late and everyone has experienced the subject of this song.
Acclaimed Scottish-Pakistani theatre-maker Lubna Kerr returns to the Edinburgh Fringe with Lunchbox – the final instalment of her deeply personal and widely praised ‘BOX’ trilogy, following Tickbox and Chatterbox.
Inspired by her own upbringing as a Pakistani immigrant girl in Glasgow, Lunchbox is a powerful one-woman show that tackles themes of identity, race, bullying and belonging through the eyes of two teenagers growing up on the same street but living vastly different lives. With humour, honesty and heart, Kerr brings multiple characters to life, including her younger self and a troubled classmate, as she explores whether we are shaped by our environment or capable of breaking the cycle.
Ahead of the show’s run at this year’s Edinburgh Fringe, she speaks to Eastern Eye about her creative journey, the inspiration behind the trilogy and why she believes now is the time to share these stories.
Lunchbox is a powerful one-woman show that tackles themes of identity, race, bullying and belongingInstagram/ lubnakerr
How do you reflect on your creative journey?
When I started writing my first play Tickbox, I doubted myself – would anyone come to see it? But it has since been staged all over the UK and is still touring. I have come so far in my creative journey and love being able to find new stories to tell the world.
How much are you looking forward to returning to the Edinburgh Fringe? I love the Fringe. It is my favourite part of the year.
Tell us about your new show. Lunchbox is a one-woman show and is the final part of the ‘BOX’ trilogy of my life as a Pakistani immigrant girl growing up in Glasgow. There are eight characters – some familiar and some new.
How does this compare to your other shows Tickbox and Chatterbox?
It is similar but different. It explores the next stage of my school life, but this time through the eyes of the bully, Steven.
How have you felt going on a journey with this unique trilogy?
It was never meant to be a trilogy when I first started writing, but as the stories came out, I realised I had so much to share that I could not do it all in one play.
What is the biggest challenge of doing a solo show?
Keeping well and pacing your energy. There is no understudy, so I need to make sure I get enough rest and can be fresh for my shows every day.
She says, ''do not assume you know what is going on in people’s lives behind closed doors''Instagram/ lubnakerr
Who are you hoping to reach with this show?
Those who were bullied, those who stood by and did nothing, and those who were the bullies.
Is there a key message you want to convey with this show?
Do not assume you know what is going on in people’s lives behind closed doors. I want audiences to think about who they wrote off in life. Who could they have given a hand to? Whose life did they assume was a waste? Who will they be clapping for? Have they forgiven their bully?
What do you most love about live theatre?
I love performing and sharing unheard or untold stories about the diaspora. We have such a rich culture and heritage, and we need our voices to be heard. Theatre is the vehicle to do this.
How do you feel when you are on stage?
I love being on stage, whether performing a play or doing comedy. I love feeling connected to the audience – having them hold onto my every word and fall into a trance with my characters, helping them forget their worries for an hour.
Why should we all come and watch your new show Lunchbox?
Lunchbox has a universal theme of bullying and discrimination, but it is told by an older south Asian woman. How many of us are out there doing this? I want to inspire anyone of any age to come and share their stories on stage, and let the world know that we are more than just curries and cricket (though I do love both).
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Based on Khan’s lifelong proximity to immigration law
Tawseef Khan is a qualified immigration solicitor and academic who made his literary debut with the acclaimed non-fiction book Muslim, Actually. His first novel Determination, originally published in 2024 and now available in paperback, brings his legal and creative worlds together in a powerful, emotionally rich story.
Set in a Manchester law firm, Determination follows Jamila, a 29-year-old immigration solicitor juggling frantic client calls, family expectations and her own wellbeing. Based on Khan’s lifelong proximity to immigration law, including his father starting a practice from their living room, the novel explores the human cost of a broken system with compassion, wit and clarity.
In this interview with Eastern Eye, Khan reflects on the journey behind Determination, his inspirations and why writing about immigration is as much about love as it is about justice.
He says "immigrants are the lifeblood of this country"Instagram/ itsmetawseef
What first connected you to writing?
I've always been an avid reader, ever since I was a child. It helped that my parents were strict about everything except buying books. From there, I started watching TV shows and writing them out in my notebook. I loved the feeling of putting the story down on paper, making sense of what had happened.
What led you towards writing your debut novel?
I grew up with a dad who was an immigration solicitor. He started his practice from our living room when I was about six years old, so it is all I have ever known. I knew there was a strong story there. Immigrants and immigration lawyers are poorly understood but easily reviled. I wanted to explore what it was like to be inside the immigration system, navigating that bureaucracy and helping vulnerable people through the cruelty. It is a lot of pressure.
Tell us a little bit about the story of your book.
Jamila is a 29-year-old immigration solicitor who has inherited the family's precious law firm. She is prone to being woken in the middle of the night by frantic phone calls from clients on the cusp of deportation. She works every hour that God sends her, with no time for friends, family or even herself. Jamila’s life feels hectic and out of control. Then a breakdown of sorts forces her to seek change, to pursue her own happiness while navigating the endless expectations that others seem to have of her and still committing herself to a career devoted to helping others.
What inspired the story, and is any of it drawn from real-life incidents?
While it is inspired by my background, none of the stories or cases in the book are drawn from real life. That would be unethical and would probably get me into trouble since I am still a practising solicitor. But I borrowed a lot from the energies in our office. And since I have a PhD examining the British asylum system, I took a lot from my own research.
What is your own favourite passage of the book?
It is about a character called Nazish, who is appealing the Home Office’s decision to refuse her case. As she fights with Jamila to tell her story on her own terms, there is one part she has been keeping back – the experience of being sent to a detention centre.
Is there a key message you want to convey with this book?
Immigrants are the lifeblood of this country and deserve to be treated with more dignity and respect, as do the lawyers representing them.
What inspired the title Determination?
In immigration law, a final decision is often called a ‘determination’. So the book is constantly exploring the tensions in that term – the desire to build a life for yourself versus the right of the system to decide its outcome for you. It is about power and agency, really. And the term also contains the word ‘deter’, an important reference to Theresa May’s ‘hostile environment’.
This book is, in a way, a love letter to how they raised meInstagram/ itsmetawseef
How did you feel when the hardback was published last year?
Elated. The book was a hard one to write and it had a long road to publication: I had the idea at 23, I started writing it at 29, and I published it at 37. My parents were very proud too. This book is, in a way, a love letter to how they raised me and the life we have lived – in service to our clients.
Who are you hoping connects with your novel?
People who are interested in reading about the world and understanding it better. I did not write the book for any audience in particular, but there is no doubt that those who care about migration issues, about the world we currently live in, and who have some affiliation with south Asian communities will feel seen and represented in this book. How many times do we get to say a book is filled with smart, independent and unapologetic brown women?
What kind of books do you enjoy reading yourself?
I have always tried to read the ‘world’, using it to travel to places and lives I could not imagine visiting. Since I write both fiction and non-fiction, I tend to read both too.
What, according to you, makes for a great novel?
That is a hard question. I think it has to be some combination of complex characters, a compelling story and gorgeous prose – but I am open to it all.
What inspires you as a writer?
I find inspiration everywhere – in films, books, TV shows, paintings, my garden, and in my culture, community and family. These are the stories I am most interested in telling.
What can we expect next from you?
I never speak of the next project until it is a solid, confirmed thing – I am very superstitious. But also, publishing is such a difficult, unpredictable industry, you never know if you will be lucky enough to publish again.
Why should we pick up your new book? Because it is moving, enlightening, funny and hopeful, all in one. And it is written with a lot of love for South Asian communities in Britain – men and women, and the different generations of migrants that have come here.
A NEW play looks at the cultural divisions in society, especially in the West, and shows how people can still come together and build a community even if they don’t always agree, its playwright has said.
The Ministry of Lesbian Affairs, by Iman Qureshi, follows a group of women, mostly lesbians, who come together to sing in a choir, while sharing their lives, making new friendships, experiencing love, and finding humour during their time spent together. Themes of identity, politics and personal struggles are explored in the story.
“I hope everyone comes to watch it,” Qureshi, 38, told Eastern Eye.
“When I wrote this, I wanted to show how a minority community, like a group of lesbians, can represent a universal story that anyone can connect with. So, I hope the play reaches a broad audience. Of course, I’d love all the lesbians to come and see it, but I believe it has a much wider appeal. “
The play touches on issues that affect many people, especially women, today.”
First performed at Soho Theatre three years ago to a packed audience, the play has now been reworked for the Kiln Theatre by Qureshi and director Hannah Hauer-King.
The writer said, “It’s quite rare for a play to transfer, especially three years after its original run. We’ve worked hard to update it, so it feels fresh and relevant to 2025. During the initial performance, the audience laughed a lot, which actually surprised me. “
I kept telling the marketing team it was a drama, but they insisted it was a comedy. I didn’t realise it was that funny. During the performances, the actors had to pause because people were laughing so much. The response was very warm and joyful.”
Describing the changes for the Kiln production, Qureshi added, “The ending has changed a lot. We rewrote parts during rehearsals. At the Soho Theatre, the first half felt light and comedic, while the second half felt quite heavy. We wanted to bring more lightness and music into the second half, so it didn’t feel like we were switching genres. Now, the whole piece feels more unified in tone.”
Qureshi was born in Pakistan, grew up in Saudi Arabia, and moved to London at 16. She said her hope was that the word “lesbian” in the title will not stop south Asians from coming to see the play.
“I know the word ‘lesbian’ in the title might put off some in the Asian community, like aunties and uncles. But I really hope they come. My mum watched it the last time and loved it. Both my parents are coming this time. I hope others from south Asian backgrounds see that lesbians are human, too. There’s humour, love, and passion. I hope people are moved by it.”
The crew of The Ministry of Lesbian Affairs
Qureshi said the play reflects real issues faced by many Asian women and added that there is still “a lot of ignorance” in Britain about how hard it is to migrate. “People think you can just come here, get a job, a council house and benefits. But that’s not true,” she said.
According to her, the heart of the play is about listening. “We live in a world where it’s easy to avoid people who don’t think like us. Online, we only see what we agree with. But the theatre is different, you can’t switch it off. You have to sit and listen. You might not agree, but you can still understand and empathise,” she said.
Qureshi added that the play’s choir conductor has a line that sums up this message: “You sound best when we listen to each other.”
Another theme is about finding one’s voice, especially for those who have felt shame about who they are. “Many characters in the play have struggled with identity – gay shame, lesbian shame,” she said. “The choir gives them a safe space to be proud, to discover who they are, and to celebrate each other.”
Qureshi studied English literature, initially worked in journalism, law and the charity sector, and became a full-time playwright around six years ago. Her earlier play, The Funeral Director, won the Papatango Prize in 2018 and opened the door to more writing opportunities.
Reflecting on representation in British theatre, Qureshi said Asian stories are still underrepresented. “We struggle to get big names or access large stages. Often, when our stories are told, they’re negative – about terrorism or honour killings. That makes me angry. I wanted to prove I can write anything, not just ‘Asian’ topics.”
She believes Asian stories matter because they challenge racism and help people feel seen. “ G r o w i n g up, everyone I saw on TV was white. I remember wishing I was white. Today, I’m proud of my heritage, my skin, and my language. But young people shouldn’t have to feel like I did.”
Qureshi credits role models such as the National Theatre’s Indhu Rubasingham, and Asian playwrights Tanika Gupta and Anupama Chandrasekhar for paving the way for those like her.
The Ministry of Lesbian Affairs opened at Kiln Theatre on June 13 and will run until July 12.
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It was part of a global promotional campaign for Jackson's HIStory: Past, Present and Future, Book I album
Ten giant Michael Jackson statues were built in 1995 to promote his HIStory album
The 32ft figures appeared around the world and followed him on tour
Some remain visible in places like Switzerland, Italy, and South Africa
Others have been removed or stored due to controversy after Jackson’s death and allegations
Owners now face challenges selling, relocating or preserving the monuments
A colossal promotion campaign
In June 1995, Londoners witnessed an unusual spectacle: a 32ft statue of Michael Jackson being floated down the River Thames. It was part of a global promotional campaign for Jackson's HIStory: Past, Present and Future, Book I album. A total of ten fibreglass statues were made, all modelled on the album cover image, and they accompanied the singer on his worldwide tour.
The statues were the product of a transatlantic effort. American sculptor Diana Walczak worked closely with Jackson to design a clay prototype. In the UK, artist Stephen Pyle oversaw the construction of the fibreglass versions, assisted by sculptor Derek Howarth and a team based at Elstree Studios. Built in just four months, the statues bore some differences from the original prototype due to limited access.
A statue above a Dutch McDonald's
One of the most well-known statues stood for years above a McDonald’s car park in Best, a village in the Netherlands. Restaurant owner Peter Van Gelder purchased the statue from Sony at a 1996 charity auction and installed it as a promotional feature.
The monument became a local landmark, drawing Jackson fans who visited regularly to celebrate the singer's birthday or commemorate his death. However, in 2019, following the release of the Leaving Neverland documentary which raised new allegations of child sexual abuse, McDonald's corporate headquarters in the US requested its removal. It now lies in storage, hidden under a tarp.
Van Gelder has considered donating it to a fan club, but due to its size, relocating it requires a building permit. “The interest in the statue is decreasing,” he notes.
From nightclub attraction to unsold collector’s item
In Austria, another statue stands in the courtyard of a closed nightclub west of Vienna. Franz Josef Zika, the former owner of The Baby'O, bought the statue at a radio charity auction in 1998 for around £9,300. Initially met with scepticism by family members, the statue eventually became a feature at the venue, placed in the smoking area and surrounded by bars.
The club closed in 2023 due to nearby residential development. Zika is now looking to sell the statue and has received interest from Sweden and Hungary but cites cost as a barrier. “Maybe I’ll send it to Mars. Elon will do this for me!” he jokes.
Fairground fixture in Switzerland
Another Jackson effigy resides with Luna Park, a long-running fairground event in Lausanne, Switzerland. Purchased in 2008 from a previous owner, the statue has been lightly refurbished, with gold accents added to its uniform. Although it has not been displayed in recent years, organisers confirmed it is not for sale.
Out of place in South Africa’s miniature world
Santarama Miniland in Johannesburg, once a popular educational park showcasing miniature replicas of South African landmarks, also hosts one of the Jackson statues. Despite the park being largely abandoned, the statue still stands, oddly juxtaposed against the park's "miniature" theme.
Blogger Heather Mason, who visited the park in 2013, described the scene as strange but memorable. “The MJ statue was the best photo op in the park,” she wrote.
Repainted and on sale in Italy
In Milan, Europark Idroscalo unveiled a freshly restored version of the Jackson statue in June 2019, just months after Leaving Neverland aired. A flash mob accompanied its reintroduction, and the statue was given new paint and sunglasses.
Park officials revealed the statue had previously been covered due to the allegations, and at one point modified to resemble a robot to distance it from Jackson's image. It is now up for sale once again.
Legacy in limbo
The statues were the product of a transatlantic effortGetty Iamges
While some of the statues remain visible in unlikely corners of the world, many have been removed or hidden due to shifting public sentiment. For others, storage, cost, and controversy have made preservation difficult. Thirty years after their creation, the towering monuments to Michael Jackson's legacy now stand as both relics of a global pop campaign and reminders of a career clouded by enduring debate.
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Each painting is visually vivid and scientifically supported
The exhibition Swara Raga Chitra by HN Suresh, Director of Bharatiya Vidya Bhavan, Bengaluru, was inaugurated on 14 June by Supreme Court advocate Sri Santhana Krishnan. Open daily until 22 June, the exhibition runs from 11 am to 7 pm at The Bhavan.
Artworks grounded in cosmology and music
The 50 digital paintings showcase a blend of cosmology and Indian classical music, with a focus on their scientific and metaphysical links. Featured works include Navagraha Mandala (nine planets) and Rashi Mandala (twelve zodiacs), grounded in astronomy and astrology.
Inspired by tradition, enriched by research
Each painting is visually vivid and scientifically supported, resulting from Suresh’s collaborations with leading scientists in India and abroad. Central themes of time and space tie the exhibition to deeper philosophical ideas.
The 50 digital paintings showcase a blend of cosmology and Indian classical musicThe Bhavan
The compositions accompanying the artworks were created by scholar-musician Dr. T. S. Sathyavathi, drawing inspiration from the Sri-Tatva-Nidhi of Krishnaraja Wodeyar III.