ACE BRITISH PRODUCER REFLECTS ON MOMENTS FROM HIS SONG-FILLED LIFE AND SPECIAL CAREER
GREAT BRITISH music hero Rishi Rich has blazed a trail and left a permanent mark with his impressive song-filled legacy.
The impressive journey that started during his teenage years in the 1990s has included globally successful hits, launching incredible talent, crossing new horizons, and inspiring a generation with his creativity. Achieving a lot on a global stage hasn’t lessened his passion for music, which means he is still giving a platform to new talent, running a record label, and creating top tracks that are being enjoyed by cross-cultural listeners around the world.
This was apparent with his stunning 2021 releases, including the EP 3 Chapters, explosive single Zakham, and recent release Over You, which features the vocal talents of Roach Killa and long-time collaborator Kiranee. That is because music has very much become a part of him.
Eastern Eye got great British icon Rishi Rich to take a trip down memory lane and tell us about his life in music.
My earliest musical memory is…I think the joyous family parties and everyone singing. Eventually, my cousin Amit (Mentor) and I starting to join in, with me on the Casio keyboard and Amit on the dholak. And this wonderful tradition lasted for years. Music was a part of every family party, and it was great.
The first music I remember buying…is still very clear in my memory. My mum took me to Southall Broadway. I was in ABC music, and I remember hearing the Johnny Zee (Taz) Hit The Deck album and that was my first ever purchase with my pocket money.
There are many musical memories connected to my childhood…and they were the beginning of my journey. One which has always stuck with me is getting my first Casio keyboard and then joining Khalsa college in Harrow and learning Indian classical music.
A song very much connected to a happy memory is…not just one. I have many songs, which make me happy but if I had to pick one then it would be Soul II Soul classic Back To Life. That song really reminds me of being in college, around family and great friends. Just good times.
A song connected to a sad memory is…probably End Of The Road by Boyz To Men. Reminds me of my first heartbreak!
The first song I composed was…with my friends from school, Dharmesh and Hema. It was a track called Jab Se Hua Tumse Pyar, which eventually we recorded for Don Dee’s album.
The first music release I was involved with was…when I worked with San-j Sanj on the album Extra Hot 7. I played keyboards on one track, and it was the first time I went to a recording studio.
My first album release will…always be special. It was an album called BombayJungle with Audiorec. It was alongside Pankaj and Don Dee, and under the name 2 Kool. It was a very surreal time hearing my music on tape and vinyl.
The experience of hearing my music on the radio for the first time…is such a beautiful memory. I remember catching the 182 bus in Harrow to Brent Cross to meet Raj Ghai and Pedro at Spectrum Radio. And I handed over my demo of a remix of Dheere Dheere Se from the movie em>Aashiqui and they played it. I will never forget that.
My breakthrough music release was…when I worked with Don Dee all those years ago and we did Nahin Jeena with a ‘new artist’ called Juggy D! That really set my benchmark because then I had found my sound.
Working on the hit Dance With You record with Jay Sean and Juggy D was…just amazing! The beat for Dance With You is one I had worked hard on. I remember playing it to Jay and he loved it and wanted to go away to write the lyrics for it. A few days later he had come up with a song called Stuck In The Middle, which eventually we changed to Dance With You and featured Juggy on it. It was amazing the way it came together.
Taking Asian music into the western mainstream…was a matter of great pride for us. Dance With You released and entered the national charts at number 12. Then we performed on Top Of The Pops, which was such a proud moment for us to have taken our culture through music to the mainstream.
I have been fortunate enough to do some great remixes and honestly…I enjoyed all of them. But if I pick one it would be the Britney Spears Me Against The Music remix. That was a real turning point in my career. However, also getting Craig David to sing in Punjabi on the track Spanish was epic!
I have always loved launching new talent…and that has never changed. From when I started working on music in the early days in the industry until now, I’ve always loved and still love helping new talent. I think, as a producer, that it’s my duty to launch talent, support them and see our industry grow. All the artists who I have launched or developed/mentored have all been special in their own right and space.
My first Bollywood song…made a huge impact. Dance With You got into a film called Boom, but the song which I actually consider as my first in Bollywood was Hum Tum with Veronica and Juggy D. It was a great experience working with Avtar Panesar from Yash Raj Films, and we didn’t realise the impact of the song until we eventually travelled to India for promotions. It was huge.
The experience of working in Bollywood is…the same as creating music anywhere else. For me, I approach working in the studio the same way wherever I am. When I was working in London or when I moved to Atlanta, and now living and working in my studio in Mumbai. Being here in India is and has been a very enjoyable experience. And I have met some great people with great vibes, and my mind and vision are expanding.
The experience of working on the unique soundtrack of hit movie Gully Boy…was great. When I was told about Gully Boy, the film, it was really exciting. Ankur Tiwari, the music supervisor of the film, came to see me and listened to all my music. He played it to (director) Zoya Akthar and I ended up doing two songs, Doori and Ek Hi Raasta. I had the opportunity of recording with Ranveer Singh and Divine in the studio. That was a wonderful experience.
An artist that has always inspired me is…Veronica. She is someone who has and keeps on inspiring me. We started together and her strength through being in the industry, and everything she has been through really inspires me.
A memorable musical encounter is…definitely meeting Gurdas Maan Ji. H Dhami took my mum and I to meet him, and it was such a beautiful experience.
What made me set up my new record label Break The Noise is…that it was a natural next step. I think that I reached the stage where I wanted to be in control of the music I release. And by running a label in London it was a no-brainer. So, alongside Kiranee and RDV, we set up Break the Noise Records in 2020 (during lockdown).
Musically, the future is…exciting. I have been working on some great new Netflix dramas where I am scoring the full series and also, of course, I’m also always working on new music for the label and developing new artists. We recently released a single called Over you featuring, Roach Killa and Kiranee. It was great to finally work with Roach after all these years. Great Vibes! We also recently released Gone (The Lost Remix), featuring Mumzy Stranger and Jagtar. There are great tracks on the way throughout 2022.
What does music mean to me…today? Music has been the closest thing to me. It’s something which I take very seriously, and have and will continue to give it my all.
Father’s Day is often seen as a time for cards, tools or a family lunch, but across the globe, it carries a much deeper significance. Beyond the commercial promotions, Father’s Day reflects a wide range of traditions shaped by history, culture and emotion. While some mark the occasion with grand gestures, others focus on quiet reflection, respect and the bonds that define fatherhood.
Thailand’s day of respect
In Thailand, Father’s Day is celebrated on 5 December, the birthday of the late King Bhumibol Adulyadej. The day is as much about honouring the nation’s former monarch as it is about celebrating fatherhood. Citizens wear yellow, the king’s birth colour, and present canna lilies to their fathers as a symbol of gratitude and respect. It’s a cultural blend of familial and national reverence.
Germany’s tradition of brotherhood
Germany takes a different approach. Known as Vatertag, or Father’s Day, it coincides with Ascension Day and is often marked by groups of men going on hiking trips, pulling wagons of food and drink. While it may appear more social than family-oriented, the tradition is rooted in camaraderie and shared responsibility among men and father figures.
Remembering fathers in Mexico
In Mexico and across parts of Latin America, Father’s Day is a time to honour both the living and the departed. Families often visit cemeteries to pay tribute to late fathers and gather to share stories and memories. It’s a day that highlights legacy over materialism, where the emotional role of a father is celebrated beyond life itself.
The expanding meaning in India
In India, Father’s Day doesn’t have deep historical roots, but its popularity is growing among urban families. Influenced by Western customs, it is increasingly used to recognise not only biological fathers, but also mentors, guardians and elders who provide support and guidance. The day is evolving into a broader celebration of male role models across generations.
A shared message worldwide
Though celebrated in different ways, Father’s Day across cultures shares a central idea: appreciation. Whether through a gift, a walk, a meal or a memory, the day is about acknowledging the role fathers and father figures play in shaping lives. In a time when traditional family structures are changing, this occasion also highlights that fatherhood is defined not just by biology, but by love, responsibility and care.
A thoughtful reminder
Rather than focus on finding the perfect present, Father’s Day offers an opportunity to be present. A simple message, a phone call or a shared moment can mean more than any physical gift. In a fast-moving world, slowing down to recognise those who’ve quietly supported us is perhaps the most meaningful tribute we can give.
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Drawings by Victor Hugo on display include Ecce Lex
The moment I walked into the Royal Academy to see Astonishing Things: The Drawings of Victor Hugo, I thought of Rabindranath Tagore.
Both men were giants of literature, but they were visual artists as well.
Victor-Marie Hugo (February 26, 1802- May 22, 1885) is best known for his novels The Hunchback ofNotre-Dame (1831) – many will have seen the 1939 film adaptation starring Charles Laughton and Maureen O’Hara – and Les Misérables (1862), which BBC TV adapted in 2018, with a starring role for Adeel Akhtar.
The Cheerful CastleParis Musees
Rabindranath Tagore (May 7, 1861-August 7, 1941) was a Bengali poet, writer, playwright, composer, philosopher, social reformer and painter. He was the first non-European to win the Nobel Prize for Literature in 1913, for the poetry of Gitanjali.
Gallery owner Sundaram Tagore, who had flown over from New York to attend Eastern Eye’s Arts, Culture & Theatre Awards (ACTAs) at the May Fair Hotel on May 23, said: “Before leaving London, I managed to visit the Victor Hugo exhibition, which moved me deeply.”
Sundaram’s father, Subhogendranath Tagore (1912-1985), was the grandson of Hemendranath Tagore, the third son of Debendranath Tagore and the elder brother of Rabindranath Tagore.
The Victor Hugo exhibition is definitely worth seeing before it ends on June 29.
Giving a tour of the exhibition, Andrea Tarsia, director of exhibitions at the Royal Academy, said Hugo left behind some 4,000 works on paper, of which 70 were chosen for display.
“But they really are 70 of his most remarkable drawings,” commented Tarsia. Hugo often used brown ink and wash and graphite on paper.
OctopusParis Musees
Notable works include The Town of Vianden Seen Through a Spider’s Web, 1871; Mushroom, 1850; Lace and Spectres, 1855-56; The Cheerful Castle, 1847; The Town of Vianden, with Stone Cross, 1871; Mirror with Birds, 1870; Chain, 1864; Octopus, 1866–69; and The Lighthouse at Casquets, Guernsey, 1866.
There is also Ecce Lex (Latin for “Behold the Law”), 1854, done after the hanging of John Tapner in Guernsey; and The Shade of the Manchineel Tree (notes from a trip to the Pyrenees and Spain), 1856, where the shade is made to resemble a skull to denote the poisonous qualities of the fruit.
The Shade of the Manchineel TreeParis Musees
There is a photograph of Hugo seated on the Rocher des Proscrits (Exile’s Rock), Jersey, 1853, which was taken by his son, Charles Hugo.
“Hopefully, together, they will give you an intimate sense of Hugo’s remarkable, multifaceted imagination. Perhaps people are less familiar with his work as a visual artist. The exhibition is the first to be held in the UK with Hugo’s drawings in just over half a century.”
MushroomParis Musees
He explained it was “a rare chance to see these works because the inks and the paper are so fragile that once exhibited, even at these very low lighting levels, they then need to be kept in the dark for an extended period of time”.
The exhibition’s curator, Sarah Lea, said: “We made a decision to arrange these spectacular works in a thematic structure, because although Hugo drew across his lifetime, he often returns to similar motifs. And it’s really interesting to be able to see, for example, the collections of the castles, one of his great passions. Despite writing so much, he doesn’t leave us very much direct commentary on the drawings themselves. He was inspired by the way ink moves on paper. He was never intending to be an artist.”
She referred to his “mysterious” drawing of a mushroom: “Who knows what was really meant by the mushroom? It appears to us as a total enigma.”
“We have him exploring nature on the monumental level with mountains, and a minute level with spiders’ webs and birds’ nests,” she went on. “The drawings were largely private during his lifetime. Sometimes he made works that he would send to friends. But the drawings themselves weren’t exhibited until three years after his death. They’re first shown in a public exhibition in Paris in 1888.”
A photograph of Hugo taken by his son, CharlesParis Musees
Hugo lived in exile from 1856 to 1870 on the island of Guernsey, where he bought a house. “He redecorated it from bottom to top in a most extraordinary manner of eclectic collecting and reassembling different pieces of furniture and decorative arts. And it was from the lookout, which was a vast conservatory that he constructed at the top of this house, that he would be able, on a clear day, to see the coastline of France. And it was there that he completed some of his most important literary works. A profound source of inspiration for Hugo was the ocean.”
He strongly opposed the death penalty. After the execution by hanging of convicted murderer John Tapner in Guernsey in 1854, Hugo made many drawings of a hanged man, including Ecce Lex.
He also appealed – unsuccessfully – to the US to pardon John Brown, an abolitionist who had been sentenced to death in Virginia on charges of treason, murder and conspiracy to incite a slave insurrection. Hugo appeared to be an early supporter of Black Lives Matter.
Hugo’s brother-in-law, Paul Chenay, made print reproductions of his earlier Ecce drawings, which were published with a new title, John Brown, and circulated in protest at Brown’s execution.
In a letter to Chenay in 1861, Hugo said: “John Brown is a hero and a martyr. His death was a crime. His gallows is a cross. Let us therefore once again draw the attention of all to the lessons of the gallows of Charlestown. My drawing, which through your fine talent has been reproduced with striking fidelity, has no other value than this name: John Brown – a name that must be repeated unceasingly, to the supporters of the American republic, so that it reminds them of their duty to the slaves: to call them forth to freedom. I shake your hand.”
When Hugo died in 1885, aged 83, over two million people lined the streets of Paris to see his funeral procession. But many of Hugo’s admirers wouldn’t have been aware of his private love of drawing.
Incidentally, the Royal Academy last week announced that Simon Wallis, currently the director of The Hepworth Wakefield, will take over in September as its new secretary and chief executive. In his earlier career, he held curatorial positions at Kettle’s Yard, Cambridge, and Tate Liverpool. He was the director of Chisenhale Gallery, London.
Wallis, who succeeds Axel Rüger, said: “The Royal Academy of Arts is at a pivotal moment of development and positive change. The RA is the central London home for artists, art and art lovers, generating powerful experiences and innovative teaching about art in a rapidly changing society. As the UK’s oldest and foremost artist-led organisation, the extraordinary talent and vision of the Royal Academicians and their team lead the creative conversation on a national and international stage.”
Now that Hugo has been featured at the Royal Academy, maybe Tagore, too, will merit an exhibition one day under Wallis’s leadership.
The Royal Academy won the ACTA for community engagement last year. It was collected by Tarsia.
In Astonishing Things: The Drawings of Victor Hugo, at the Jillian and Arthur M Sackler Wing of Galleries at the Royal Academy, ends on June 29.
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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.