HT City Delhi Junction: Catch It Live on 3 July 2025
What: Unedited Like An Afternoon Dream: Towards Abstraction and Towards Portraiture Catch It Live on Wednesday, 2 July 2025.(Photo: Anurag Mehra/HT)
Where: D-40 & 53, Defence Colony
When: June 11 to July 18
Timing: 10am to 6pm
Entry: Free
Nearest Metro Station: Lajpat Nagar (Violet Line) #TuneIn
What: Sufi & Bolly Rock ft Prateek Kapoor
Where: Home Delhi, Third Floor, Ambience Mall, Vasant Kunj
When: July 3
Timing: 9.30pm
Entry: www.bookmyshow.com
Nearest Metro Station: Vasant Vihar (Magenta Line) #Staged
What: IIC Double Bill | Hindustani Vocal Recital ft Sanika Kulkarni & Bharatanatyam Recital ft Divya Hoskere
Where: CD Deshmukh Auditorium, India International Centre (IIC), 40 Max Mueller Marg, Lodhi Road
When: July 3
Timing: 6pm
Entry: Free
Nearest Metro Station: Jor Bagh (Yellow Line) #TuneIn
What: Aarambh | Pakhawaj recital ft Rahul Bhattacharyya & Dhrupad Vocal recital ft Yakhlesh Baghel
Where: The Theatre, India Habitat Centre, Lodhi Road
When: July 3
Timing: 7pm
Entry: Free
Nearest Metro Station: Jor Bagh (Yellow Line) #JustForLaughs
What: Standup Comedy Show ft Manik Mahna & Aakash Gupta
Where: Happy High, 119, Sishan House, Shahpur Jat
When: July 3
Timing: 8pm
Entry: www.bookmyshow.com
Nearest Metro Station: Hauz Khas (Yellow & Magenta Lines) #FleaSpree
What: Chikankari Exhibition
Where: India Islamic Cultural Centre (IIIC), 87-88, Lodhi Estate, Lodhi Road
When: July 3 & 4
Timing: 10am to 8pm
Entry: Free
Nearest Metro Station: Jor Bagh (Yellow Line) & JLN Stadium (Violet Line) For more, follow HT City Delhi Junction
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KBC turns 25: Writer who gave Amitabh Bachchan lines like ‘lock kiya jaye' says actor ‘very charged up' about Season 17
He has vivid memories of the first day's shoot of Kaun Banega Crorepati with Amitabh Bachchan. 'It was the first time I was writing for such a big star and my heart was going dhak dhak wondering if the show would be accepted. We were all nervous, including Amitabh Bachchan who, turning a deaf ear to detractors who said it would diminish his stardom, was stepping into television for the first time. He even stopped us from shouting 'all the best', saying it was making him more tense. Then, he walked out, like a lion, and it was a dream come true for me,' reminisces RD Tailang, the writer behind KBC's lines, including the oft-quoted 'lock kiya jaye' which has become a part of our collective vocabulary today. Tailang was one of the lead writers of Shekhar Suman's chat show Movers & Shakers when he was approached for Kaun Banega Crorepati. He was aware many writers, including some senior journalists, were also auditioning, but having gone through a training course during Movers & Shakers, he had an idea what lines to give the host. 'I learnt later that Mr Bachchan said this was exactly what he wanted. Subsequently, brainstorming sessions with the channel, production house and him started, followed by rehearsals and shoots. One season led to another aur pata bhi nahin chala when 25 years flew by,' he smiles. A post shared by RD Tailang (@rdtailang) The game show premiered on Star Plus on July 3, 2000. In 2010, it moved to Sony Entertainment Television, the prize money increasing from Rs 1 crore in Season 1 to Rs 7.50 crore in Season 14 in 2022 to commemorate 75 years of India's Independence. The final episode of Season 16 aired on March 11, 2025. 'Personally, professionally and financially, KBC has been a huge career boost, giving me more than I could have hoped for. I've not only grown as a writer, but observing Mr Bachchan, I've tried to embrace his work ethics; the discipline, professionalism and dedication they don't teach in any school. He is a big brand, so is KBC, and by default I have become a brand too,' admits this modest man, who has underplayed his contribution to the show for over two decades, pointing out that it's Big B who elevated common phrases like 'Lock kiya jaye', 'Afsos galat jawab' and 'Main yun gaya, yun aaya', giving them an iconic status with his style, swag and distinctive baritone, the way he did with filmi dialogue like 'Hum jahan pe khada hote hain, line wahi se shuru hoti hai.' KBC moved away from the usual introductory greeting of 'Hello, Hi' to a more Hindustani opening phrase 'aadar aadab abhinandan aabhar'. However, Tailang agrees that lines changed as technology entered our lives in a big way and the language of the new generation became peppered with more English words. 'Vilambhana which was acceptable in 2000 will have people wondering what it means today,' he chuckles, quick to add that Bachchan too has constantly updated and reinvented himself and remained contemporary. Here are those of the team of 2021 who were there in Team KBC of 2000/1 (Season 1) While marking a continuity over 21 years, remembering & thanking each & every member of the teams of all 13 seasons who helped reach this milestone of 1000 episodes of a flagship show — Siddhartha Basu (@babubasu) December 5, 2021 While acknowledging that the original franchise, Who Wants To Be A Millionaire?, is a hit in every country where it's played, Tailang insists that the official Hindi adaptation is the most popular because the changes they brought in has helped the show connect with the common people in a big way. 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If you are a fan of the dialogic epistolary novel, where a story unfolds through an exchange of letters between two characters, or the jugalbandi in Hindustani classical music, where two performers create a unique blend with their individual styles, do consider reading poets John Kinsella and Jeet Thayil's new book The City Under the City. It is a compendium of what they refer to as 'call-and-response poems', birthed over two years across multiple cities. The collection is dedicated to 'cities that have welcomed us and turned us away', without allowing the specifics of autobiographical information to meddle with the reader's enjoyment. Bombay, New York, Perth, Amsterdam, Dhaka, Rome, Edinburgh, Jaffna, Wellington, Zurich, Paris, London, Galway, Johannesburg are among the cities that find a mention. On the one hand, this geographical expanse feeds the notion of the poet as a global citizen. On the other hand, it also underscores how the literary life creates opportunities for writers to travel and engage with unfamiliar worlds. The two poets push readers to open their eyes and see what the urban landscape has to offer beyond cement and concrete, loss and loneliness. In a poem titled 'Dead Fingers', Thayil writes, A blood moon pours raw honey/ over the dry land. The image is tantalising because of the sudden burst of beauty and softness it evokes. In 'How Many Shopping Days Before Christmas?' he writes, Rain collapses into mud-red,/ like a butcher's soufflé, goading the reader to dispense with old metaphors for natural phenomena. In 'Beckett Bridge', he recalls long walks always at night along the river Seine to relish streets sacred in their emptiness after the buzz of tourists and office workers in the daytime has died down. Rare experiment In a poem titled 'Small City', Kinsella writes, The shadowed garden/ is full of insects and birds./ The small buildings in the garden/ hold echoes and prayers. The desire to experience life outside a narrow anthropocentric universe resurfaces in his poem 'Reconfiguring Geometrics', where he writes, I think we all have to conjure the gall/ to rethink what a city will be. With Kinsella's 'wish for a forest', one cannot help but think of what town planning in the future might look like if poets were invited to be a part of the brainstorming process. Thayil was born near the river Muvattupuzha in Kerala. Kinsella, born in Perth, is a vegan, environmental activist and scholar, and an advocate for the land rights of indigenous people. His home is on Ballardong Noongar land at 'Jam Tree Gully' in Western Australia. These significant aspects of both poets' lives are reflected in the poems gathered here. Poetry collections rarely carry footnotes or bibliographies, which are considered the domain of scholarly research. However, this book delights with the plethora of intertextual references woven into verse, including writers such as Eunice de Souza, Andrew Duncan, Samuel Beckett, Simone de Beauvoir, Daniel Defoe and Ezra Pound. What one misses, however, is an introductory essay offering a glimpse of how the collaborative project came into being, was sustained, and then shaped into a book. One hopes that publishers will let go of limiting beliefs, and venture more confidently into such literary experiments that give readers a chance to be surprised by what words can do. The reviewer is a journalist, educator and literary critic.
