LEICESTER based rapper Kerfew (UK) recently released his latest single On Fire, which is produced by Hooliyo Beats. He is looking forward to releasing a seventrack Gujarati/English EP next year.
Eastern Eye got British talent Kerfew (UK) to select 10 songs he loves. “When I was asked to do a top 10 music list, I thought how am I going to shortlist to just 10 when I love hundreds of songs. In the end, I’ve selected songs that mean something to me or ones that impacted me in my life.”
On And On by Erykah Badu: The super talented artist’s album Baduism is one of the best I’ve ever heard. The On And On production has everything I love in a beat, including a melody with plenty of space for the artist to execute some niceness. The lyrics are great and overall, this song uplifts me.
Nature Of The Threat by Rass Kass: This track got me to love a rapper’s lyrics. When the phrase ‘deeper than rap’ is used, it’s referencing songs like this one. Rhythm and street poetry, no chorus just one continuous verse. Taken from his 1996 album Soul On Ice, you’ll need to listen to Nature Of The Threat a few times to absorb all he’s saying.
Kal Ho Naa Ho by Sonu Nigam: Great song from a great film. I loved this from the moment I heard it. It has a great piano melody, strings and emotion. Although some may find it sad, it makes me want to live today to the max. I spin this when I need a kick and yes, I sing along.
93 Til infinity by Souls of Mischief: This is a time stamp song. The year I started to DJ. When this song came out, I just started learning to mix and scratch. I rinsed this track. The production is musically rich, complicated, yet easy on the ear. Add to that, four rappers who deliver effortless, effervescent flows and the result is a 90’s classic.
Tu Tu Hai Wahi by Asha Bhosle and Kishore Kumar: A song that takes me back to my infancy. I remember loving this song when my mum played it. Years went by and I forgot about this song, until one day I heard it again. The singers on this are simply perfect for the production of a timeless classic.
On Fire by Kerfew (UK): My new single. My brother produced this beat many years ago and it’s an r’n’b production, so I never thought I’d rap on this. I was inspired by Raxstar, who is great at fusing Asian/British raps. I wanted to do something similar and thought I would drop a little Gujarati in this song.
Original Nuttah UK by UK Apache and Shy FX: For British Asian artists trying to make urban music, this absolute classic was the boost we needed. The moment you hear the famous Goodfellas movie sample ‘one day some of the kids from the neighbourhood’, you know it’s about to kick off. That warm up part where you’re loosening your bones and then bang. The song was played at every party I danced my socks off at.
Bohemian Rhapsody by Queen: Freddie Mercury rewrote what making a hit was about with this and it became massively successful. It is absolute genius. I know this song from start to finish. I also read somewhere that in many parts, the vocals are layered numerous times and in total there are about 180 vocal recordings.
Mundian To Bach Ke by Panjabi MC: Everyone loves this song right? Biggest crossover track ever. I mean even Jay-Z featured on a remix. Sampling Busta Rhyme’s Fire It Up, which in turn uses a sample from Knight Rider. This production is epic, from when the tumbi starts to the dhol, singing and infectious chorus.
Return Of The Mack by Mark Morrison: One of the best r’n’b songs to come out of the UK, but on here because it’s the best song to come out of my city, Leicester. All time classic. From the off, the beat is bouncing and gets your head knocking. Mark finishes his introduction adlib, there’s a scratch sound and then the drop that puts you in the zone.
Facebook: @kerfewmusic, Instagram: @kerfew and YouTube: @kerfew01
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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