THE path-breaking DJ Redlox (aka Siri Adi Singh) is one of the original architects of the vibrant Chicago Bollywood, bhangra and dancehall scene. He has performed with world-famous artists and lit up explosive live sets for multicultural audiences. He is also co-founder of a Chicago-based meditation and yoga school, along with being a popular radio host.
The multi-genre DJ selected 10 desi songs he loves.
Hum Tum Ek Kamre Mein Band Ho by Lata Mangeshkar and Shailendra Singh: The song featured in classic 1973 Bollywood film Bobby, which marked the lead debuts of Rishi Kapoor and Dimple Kapadia. I can’t help but find the lyrics ‘you and I are both locked in a room’ timely as we live through the days of Covid lockdowns. One of my all-time favourite songs and movie.
Gur Nalon Ishq Mitha by Bally Sagoo and Malkit Singh: One of the biggest party anthems of all time. The infectious groove of Gur Nalon Ishq Mitha was created by sampling James Brown’s Funky Drummer and mixing it with Punjabi folk instruments (tumbi and dhol). It laid the groundwork for Malkit Singh to catapult the sounds of Punjabi folk music to the world stage.
Chok There by Apache Indian: Everything was crossing over in 1993, including British Asian artist Apache Indian. He was successfully channelling the Jamaican ‘rude boy culture’ with his bhangramuffin’ sound. He enjoyed enormous success by expertly mixing the styles and patterns of bhangra and reggae.
Tunak Tunak Tun by Daler Mehndi: This track smashed all records when it came out in 1998. The media claimed the success of his songs depended solely on the glamorous models in his videos, but Daler Mehndi clapped back and released a video of only him dancing to the song. The result was pure gold.
Mundian To Bach Ke by Panjabi MC ft Jay Z: Charting in over a dozen countries Mundian To Bach Ke could be heard on every radio, bar, and nightclub in my hometown Chicago when it was released in 2002. I remember experiencing a fever of excitement to finally have a bonafide international Punjabi hit I could introduce into my sets at my larger hip hop and reggae concerts.
Laung Laachi by Mannat Noor: The title track of the Punjabi movie has been viewed on YouTube nearly 1.5 billion times and holds the title for most-viewed commercial Indian song of all time. The story couldn’t be more romantic – a couple decide to live as strangers in their home to fulfil the wife’s desire to experience falling in love before marriage. This song proves that love is the greatest thing.
Chaiyya Chaiyya by Sukhwinder Singh and Sapna Awasthi: The Dil Se dance number became one of the biggest Bollywood songs to emerge from the 1990s. Chaiyya Chaiyya was adopted from the Punjabi Sufi folk song Thaiyya Thaiyya by Sufi poet Bulleh Shah. It would later be featured in Spike Lee’s Hollywood film Inside Man starring Denzel Washington.
Mustt Mustt by Nursrat Fateh Ali Khan: He had one of the most divine voices I’ve ever heard and Nusrat’s Mustt Mustt opened the doors for south Asian music across the globe. He was the first Urdu singer to claim a spot on the British and Billboard World Music charts. I also found myself DJing the swanky down tempo hypnotic remix from Massive Attack at Chicago’s most popular restaurants.
Lut Gaye by Jubin Nautiyal: The track debuted on the Billboard World Music Charts in February and has racked up over 950 million views on YouTube. The song has a great music video featuring Emraan Hashmi and Yukti, which tells a tragic story of Mumbai police officer and the bride he tries to save.
Teri Ore by Rahat Fateh Ali Khan and Shreya Ghoshal: The movie Singh is Kinng featured a number of dance songs, including one with Snoop Dog, but it was Teri Ore that I had on repeat. It has a soft romantic melody that is delivered in exquisite fashion by the singers, and always gets the dance floor packed.
Facebook and Instagram: @dj. redlox and www.djredlox.com
Forum brings UK and Chinese film professionals together to explore collaborations.
Emerging British-Asian talent gain mentorship and international exposure.
Small-scale dramas, kids’ shows, and adapting popular formats were the projects everyone was talking about.
Telling stories that feel real to their culture, yet can connect with anyone, is what makes them work worldwide.
Meeting three times a year keeps the UK and China talking, creating opportunities that last beyond one event.
The theatre was packed for the Third Shanghai–London Screen Industry Forum. Between panels and workshops, filmmakers, producers and executives discussed ideas and business cards and it felt more than just a summit. British-Asian filmmakers were meeting and greeting the Chinese industry in an attempt to explore genuine possibilities of working in China’s film market.
UK China film collaborations take off as Third Shanghai London Forum connects British Asian filmmakers with Chinese studios Instagram/ukchinafilm
What makes the forum important for British-Asian filmmakers?
For filmmakers whose films explore identity and belonging, this is a chance to show their work on an international stage, meet Chinese directors, talk co-productions and break cultural walls that normally feel unscalable. “It’s invaluable,” Abid Khan said after a panel, “because you can’t create globally if you don’t talk globally.”
And it’s not just established names. Young filmmakers were all around, pitching ideas and learning on the go. The forum gave them a chance to get noticed with mentoring, workshops, and live pitch sessions.
Which projects are catching international attention?
Micro-dramas are trending. Roy Lu of Linmon International says vertical content for apps is “where it’s at.” They’ve done US, Canada, Australia and next stop, Europe. YouTube is back in focus too, thanks to Rosemary Reed of POW TV Studios. Short attention spans and three-minute hits, she’s ready.
Children’s and sports shows are another hotspot. Jiella Esmat of 8Lions is developing Touch Grass, a football-themed children’s show. The logic is simple: sports and kids content unite families, like global glue.
Then there’s format adaptation. Lu also talked about Nothing But 30, a Chinese series with 7 billion streams. The plan is for an english version in London. Not a straight translation, but a cultural transformation. “‘30’ in London isn’t just words,” Lu says. “It’s a new story.”
Jason Zhang of Stellar Pictures says international audiences respond when culture isn’t just a background prop. Lanterns, flowers, rituals, they’re part of the plot. Cedric Behrel from Trinity CineAsia adds: you need context. Western audiences don’t know Journey to the West, so co-production helps them understand without diluting the story.
Economic sense matters too. Roy Lu stresses: pick your market, make it financially viable. Esmat likens ideal co-productions to a marriage: “Multicultural teams naturally think about what works globally and what doesn’t.”
The UK-China Film Collab’s Future Talent Programme is taking on eight students or recent grads this year. They’re getting the backstage access to international filmmaking that few ever see, including mentorship, festival organising and hands-on experience. Alumni are landing real jobs: accredited festival journalists, Beijing producers, curators at The National Gallery.
Adrian Wootton OBE reminded everyone: “We exist through partnerships, networks, and collaboration.” Yin Xin from Shanghai Media Group noted that tri-annual gathering: London, Shanghai, Hong Kong create an “intensive concentration” of ideas.
Actor-director Zhang Luyi said it best: cultural exchange isn’t telling your story to someone, it’s creating stories together.
The Shanghai-London Screen Industry Forum is no longer just a talking shop. It’s a launchpad, a bridge. And for British-Asian filmmakers and emerging talent, it’s a chance to turn ideas into reality.
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