His last words echoed his most famous role
In a blog tribute written shortly after Khanna's death, Amitabh Bachchan — his co-star and close friend from Anand — revealed that a person close to Khanna had shared his final words with him: "Time ho gaya hai, pack up" ("It's time, pack up"). The line struck a haunting parallel with Anand itself, where Khanna's character delivers his final line as just two words — "Babu Moshai" — before passing away on screen. Bachchan wrote that acting alongside Khanna in that film had felt like a blessing, describing something almost regal in his co-star's boyish plainness that drew people to him.

Before superstardom, an unlikely nickname
Long before he was Bollywood's first Superstar, Khanna was reportedly dismissed by some as a "faaltu hero" — a nobody — because of his unconventional looks by the industry's standards of the time. That changed dramatically through the 1970s, when he strung together a run of consecutive hit films rarely matched before or since, earning nicknames like "Kaka" and the "Pasha of Passion" along the way.

A pay grade shared only with one man
Khanna was India's highest-paid actor from 1970 to 1979. He shared that distinction with Amitabh Bachchan — the same actor who'd go on to eclipse him — from 1980 to 1987, as the industry's "angry young man" era gradually took over from Khanna's romantic-hero years.

His first film nearly represented India at the Oscars
Khanna's debut, Aakhri Khat (1966), was chosen as India's official entry for the Academy Awards in 1967, though it didn't make the final shortlist.

Off-screen life beyond the movies
Khanna married actress Dimple Kapadia in 1973; the two separated years later but never formally divorced. He's also the father-in-law of actor Akshay Kumar, who is married to Khanna's daughter Twinkle Khanna. Beyond films, Khanna served as a Member of Parliament from New Delhi from 1992 to 1996 on a Congress ticket, and was posthumously honoured with the Padma Bhushan in 2013.

A friendship the industry still talks about
His bond with Amitabh Bachchan, forged on the sets of Anand and Namak Haram, remained one of Hindi cinema's most enduring off-screen friendships, one that outlasted the industry's shift away from Khanna and toward Bachchan as its defining leading man.

Fourteen years on, the line that defined Anand still gets quoted every time his death anniversary comes around: "Zindagi badi honi chahiye, lambi nahi" — life should be big, not necessarily long. For an actor who packed more stardom into a single decade than most manage in a lifetime, it's hard to find a better epitaph.

In a post on social media platform X, Prime Minister Modi paid tribute to the celebrated artist and acknowledged her contribution to preserving and popularising Pandavani, a unique folk tradition based on episodes from the Mahabharata.

“Deeply saddened by the demise of renowned Pandavani singer Teejan Bai. Through her magnificent performances, she gave Chhattisgarh’s folk art a distinct identity across the world. Her passing is an irreparable loss to the world of art and culture. My condolences are with her family and admirers in this hour of grief. Om Shanti,” the Prime Minister said.

Defence Minister Rajnath Singh also condoled her death and remembered her as one of India’s most influential folk artists. In his message, Singh said Teejan Bai left an indelible mark on the world of folk arts through her exceptional performances and played a significant role in bringing recognition to Chhattisgarh’s cultural heritage at both national and international levels.

Teejan Bai had been undergoing treatment for health-related issues and breathed her last at the All India Institute of Medical Sciences (AIIMS), Raipur. Her death marks the end of an era in Indian folk performance traditions, particularly for Pandavani, a narrative art form that combines storytelling, singing and dramatic expression to recount episodes from the Mahabharata.

Born in 1956 in Ganiyari village near Bhilai in present-day Chhattisgarh, Teejan Bai emerged from humble beginnings to become one of the most celebrated folk artists in the country. At a time when women rarely performed Pandavani publicly, she broke social barriers and established herself as a leading performer through her powerful voice, commanding stage presence and innovative style.

Over the decades, she became synonymous with Pandavani and introduced the art form to audiences far beyond central India. Her performances captivated spectators across India and abroad, earning widespread appreciation for their emotional depth and dramatic intensity.

Cultural experts often credit Teejan Bai with transforming Pandavani from a regional folk tradition into a globally recognised art form. Through numerous national and international tours, she helped showcase India’s rich cultural heritage on some of the world’s most prestigious stages.

Her extraordinary contribution to Indian arts was recognised with several of the country’s highest honours. The Government of India conferred the Padma Shri on her in 1988, followed by the Padma Bhushan in 2003. In 2019, she received the Padma Vibhushan, India’s second-highest civilian award, in recognition of her lifelong dedication to preserving and promoting folk culture.

Apart from the Padma awards, Teejan Bai was also honoured with the Sangeet Natak Akademi Award and several other prestigious accolades throughout her career. Her influence extended beyond performance, inspiring generations of artists to embrace and preserve traditional Indian art forms.

The passing of Teejan Bai has prompted tributes from across the country, with political leaders, artists and cultural institutions remembering her as a towering figure in Indian folk music and storytelling. Her legacy is expected to continue through the countless performers and admirers inspired by her work.

With her death, India loses not only a celebrated artist but also a cultural ambassador who dedicated her life to keeping a centuries-old tradition alive for future generations.

Suman Kalyanpur, the mellifluous playback singer whose voice became a staple of Hindi film music in the 1960s and 1970s, died on Sunday evening at her Mumbai residence. She was 89. Local reports and a close family friend said she passed away around 8 pm due to age-related complications.

Last rites scheduled Monday

According to Mangala Khadikar, a longtime friend, Kalyanpur had been listening to her recordings in the days before her death and “passed away very peacefully.” Family sources said her daughter, Charu, is surviving her. Funeral rites were scheduled for Monday morning between 11:30 am and 12 pm at the Pawan Hans crematorium in suburban Mumbai.

A distinct voice in a crowded field

Kalyanpur rose to prominence in an era dominated by a small number of lead playback singers. Despite frequent comparisons with Lata Mangeshkar, she carved a distinct niche through a string of popular songs and steady film work. Classics such as “Aajkal Tere Mere Pyar Ke Charche,” “Na Na Karte Pyar Tumhi Se” and “Tumne Pukara Aur Hum Chale Aaye” remain part of radio and streaming playlists, industry historians and music curators said.

She received wide recognition in later years, including the Padma Bhushan in 2023, conferred by the Government of India for her contribution to arts and music.

Career arc and language range

Kalyanpur’s career was notable not only for its output in Hindi films but also for songs in several regional languages. She recorded numbers in Marathi, Assamese, Bengali, Odia and Kannada, reflecting the pan-Indian reach of playback singing in mid-20th-century cinema. Musicologists note that her ability to adapt to different linguistic idioms helped sustain her career beyond film cycles and changing musical fashions.

Industry recalls and past anecdotes

Sources close to the music industry recalled that Kalyanpur’s voice was often mistaken for Mangeshkar’s in the 1950s and 1960s, a comparison that followed her throughout her career. In interviews she consistently resisted being labelled a “sound-alike,” underlining instead a friendly personal relationship with Mangeshkar. In a 2022 interview she described their meetings as those between close friends rather than rivals.

Kalyanpur also figured in several well-known industry stories. When a dispute between Lata Mangeshkar and Mohammed Rafi left a gap in near-term female playback options, producers and music directors turned to Kalyanpur, who delivered a succession of hits with Rafi. Another anecdote often repeated in radio and print profiles involved veteran broadcaster Ameen Sayani, who reportedly waited 45 years before getting a one-hour interview with her in 2005—on the singer’s terms of no photographs and the right to skip uncomfortable questions.

Early life and musical training

Born and raised in a family supportive of the arts, Kalyanpur displayed an early interest in painting and music. She completed a degree in arts while training in classical music, first under her father’s encouragement and later with teachers including Pandit Keshav Rao Bhole and other noted masters. Her grounding in classical technique lent a purity and precision to her playback work, listeners and critics have said.

Public reaction and legacy

Tributes from fellow musicians, film personalities and fans began to appear on social media within hours of the news, with many highlighting both her body of work and the understated, private life she maintained after stepping back from regular playback work. Music streaming platforms have seen renewed interest in her songs, according to industry trackers, underlining the continuing appeal of melodies from her peak decades.

What comes next

Funeral arrangements and condolence calls are expected through Monday afternoon as colleagues and admirers pay respects. Biographers and music historians have already signalled plans to reassess Kalyanpur’s contributions to Indian film music in the context of mid-century recording practices and the role of female vocalists in shaping popular soundscapes.

Her death closes a chapter on a generation of singers who bridged classical training and commercial film music, leaving behind a catalogue that continues to be heard across radio, cinema retrospectives and streaming playlists.

Former Raymond Chairman Vijaypat Singhania passes away at 87; last rites in Mumbai today

The visionary industrialist and aviator breathed his last early Sunday; son Gautam Singhania confirms the news via social media.

Vijaypat Singhania, the former Chairman of the Raymond Group and a pioneering figure in India’s textile industry, passed away on Sunday at the age of 87. The news of his demise was shared by his son, Gautam Singhania, through a poignant post on social media platform X.

The veteran industrialist’s last rites are scheduled to be performed today at 3:00 PM at the Chandanwadi crematorium in Mumbai. Family sources and company officials indicated that the industry veteran had been dealing with age-related health issues for some time.

Visionary leader passes away

Gautam Singhania, in his tribute, described his father as a "visionary leader and philanthropist" whose legacy would continue to inspire future generations. The announcement marks the end of an era for the Raymond Group, which became a household name under Vijaypat’s leadership.

Born on October 10, 1938, Vijaypat Singhania was instrumental in transforming Raymond from a woollen mill into a global lifestyle brand. His tenure as Managing Director saw the company diversify into engineering, aviation, and high-end retail.

Architect of modern Raymond

Vijaypat took the reins of the company in 1980, steering it through a period of rapid modernization. He is credited with launching the premium brand 'Park Avenue' in 1986, which redefined the wardrobe of the urban Indian male.

By 1990, he had taken the brand international, opening the first overseas showroom in Oman. His business acumen was matched by his passion for technology, ensuring Raymond remained a market leader for decades in the suiting and shirting segment.

High-flying adventurer and aviator

Beyond the boardroom, Singhania was an avid aviator who held several world records. In 1988, he completed a solo flight from London to New Delhi in a microlight aircraft, a feat that lasted 23 days.

In 2005, at the age of 67, he set a world record by reaching an altitude of approximately 69,000 feet in a hot air balloon. His 5,000 hours of flight experience led the Indian Air Force to confer upon him the rank of Honorary Air Commodore.

National honors and recognition

The Government of India recognized his contributions to industry and society by awarding him the Padma Bhushan in 2006. He was also a recipient of the Tenzing Norgay National Adventure Award for his daring exploits in the skies.

In addition to his corporate roles, he served as the Sheriff of Mumbai in 2006. He also penned his experiences in a book titled 'An Angel in a Cockpit', detailing his solo flight from the UK to India.

Complex family legacy remains

In recent years, the senior Singhania was frequently in the news due to a highly publicized legal and personal dispute with his son, Gautam, over property and control of the family estate. After handing over the company reins in 2015, the relationship between the two soured significantly.

Despite a brief appearance of reconciliation in March 2024, when Gautam posted a photo with his father at JK House, Vijaypat later dismissed the meeting as forced. These developments had remained a subject of intense public interest across India News Update cycles.

Future of the textile giant

Industry experts suggest that while the personal rift was public, Vijaypat’s professional blueprint remains the foundation of the current Raymond Group. His focus on quality and retail expansion allowed the brand to penetrate deep into the Indian market.

As Mumbai prepares for his final journey, the business community continues to pour in tributes for the man who taught India what it meant to be "The Complete Man."