Hindi
SRK voted worst actor in Golden Kela awards
NEW DELHI: Even if anyone had any doubts why these awards are called the Golden Kela awards, the innuendos by witty presenter Cyrus Broacha made this amply clear through his one-liners.
But many of the awards – given according to chief organiser Jatin Varma to the ‘Cream of the Crap/Worst performances’ in Bollywood – did leave many wonder as some appeared to be in absolute contrast to the popular awards given this year by Filmfare, Screen, Zee, the Global Indian Film and TV awards, and so on.
The King Khan – Shah Rukh – and his film ‘My Name is Khan’ which received so much positive critical acclaim were named the worst actor and the worst film, not to forget the acclaimed ‘Guzaarish’ getting the Black Award for Emotional Blackmail and its director Sanjay Leela Bhansali getting the worst director award.
Similarly, the biggest blockbuster of 2010 ‘Dabangg’ received the Ajooba Award for Sheer Awesomeness.
Interestingly, some Bollywood personalities were present on the occasion unlike previous two years when these awards were studiously avoided. They included Vishal Bhardwaj, Abhishek Chaubey (director of ‘Ishqiya’), Habib Faisal (Director of ‘Do Dooni Chaar’), Pradhuman Singh (Noora/Bin Laden from ‘Tere … Bin Laden’) and film critic Mayank Shekhar. They all agreed that Bollywood should be able to take the brickbats with the bouquets, and said the awards were important as they were seen from the standpoint of the viewer.
Over 700,000 viewers (twice that of last year) voted for the awards this year. The event began with the presentation of a report – month-by-month – of the ‘tortures’ inflicted on viewers during 2010.
In fact, in a break with tradition, anti-Kela awards were presented to some for being the saving graces of the year 2010. These were ‘Ishqiya’, ‘Udaan’, ‘Do Dooni Chaar’ and ‘Tere Bin Laden’, ‘Love Sex aur Dhoka’ and ‘Peepli Live’ which were apparently the only films that pleased the ‘Kela Committee‘ this year!
Actor Sonam Kapoor was named the worst female actor for ‘Aisha’, the Chimpoo Kapoor Award for no-talent relative of a celebrity to Uday Chopra, the ‘Baawra Ho Gaya Hai Ke (Have you gone mad?) Award to Sir Ben Kingsley for ‘Teen Patti’, the ‘3 Idiots Childbirth Sequence Award‘ which was awarded to the entire film ‘Prince’, and the Sonu Nigam award for Career Suicide to Sukhwinder Singh for his acting debut and the lyric ‘Kucjh Kariye’. The worst supporting actor awards went to Arjun Rampal for ‘Housefull’, and Kangana Ranaut for ‘Kites’. Jackie ‘Dada’ Shroff received the award for Worst Casting Ever for enacting Shirdi Sai Baba in ‘Maalik Ek’.
The worst debutante awards for male and female went to Aditya Narayan for ‘Shaapit’ and Pakhi Tyrewala for ‘Jhoota Hi Sahi’, which also received the award for having the most atrocious lyric ‘Cry Cry Kitna Cry’. The most irritating song award went to ‘Pee loon’ from ‘Once Upon a Time in Mumbai’.
Other ‘special‘ awards were the Worst Trilogy ever in the History of Film which went to the ‘grossly unfunny’ ‘Golmaal’ series which had won awards in the last two Kela awards as well, and the ‘Bas Kijiye Bahut Ho Gaya Award’ for filmmaker Ram Gopal Varma.
‘Lafange Parinday’ received the Jajantaram Mamantram Award for Worst Named Film, while the ‘When Did This Come Out’ award went to the film ‘EK Second – Jo Zindagi Badal De’. ‘Dunno Y – Na Jaane Kyun’ received the Lajja Award for the worst treatment of a serious issue. ‘Action Replayy (Back to the Future)’ received award for the Most ‘Original’ story while ‘Baru the Wonder Kid’ was named the worst animated film of 2010.
The awards – given for the third year – are patterned on the Raspberry or Razzie Awards of Hollywood. Varma who heads Twenty Onwards Media recently organised the First Annual Indian Comic Convention which attracted over 20,000 people over two days at the Delhi Haat in the capital.
The meet brought together writers, illustrators, artists, gamers, and producers of animation programmes, games, and films on a common platform. Over 50 participants in around 30 stalls took part.
Varma told indiantelevision.com that he had made up his expenditure of Rs 1.5 to Rs two million, despite the fact that he had not issue any advertisements on the print or electronic media.
In a music industry that often rewards speed, spectacle, and instant recall, Navjot Ahuja’s journey feels refreshingly different. His story is not built on noise. It is built on patience, discipline, emotional honesty, and a quiet commitment to becoming better with every passing year. After 14 years of struggle, learning, performing, and writing, Navjot stands today as an artist whose success has not changed his centre. If anything, it has only made his purpose clearer.
For Navjot, music has never been about chasing fame alone. It has always been about expression. It is about writing more truthfully, singing more skillfully, understanding himself more deeply, and becoming a kinder human being in the process. That rare clarity is what gives his journey its beauty.
Where It All Began: A Writer Before a Singer
Indian singer and songwriter Navjot Ahuja’s musical journey began in the most familiar of places: school assemblies. But even then, what was growing inside him was not only the desire to sing. It was the need to write.
Long before he saw himself as a performer, he had already discovered the emotional release that writing offered him. For Navjot, words became the first true channel for feeling. Songwriting came before singing because writing was the only way he could let emotions flow through him fully. That inner pull shaped his artistic identity early on.
Like many young musicians, he sharpened his craft by creating renditions of popular songs.
Those experiments became his training ground. But the turning point came in 2012, when he wrote his first original song. That moment did not just mark the beginning of songwriting. It marked the beginning of self-definition.
A Calling He Did Not Chase, But Accepted
What makes the latest Indian singer-songwriter Navjot’s story especially compelling is the way he describes his relationship with music. He does not frame it as a career he aggressively pursued. In his own understanding, music was not something he chose. It was something that chose him.
There was a time when he imagined a very different future for himself. He wanted to become a successful engineer, like many young people shaped by ambition and conventional expectations. But life had a different script waiting for him. During his college years, around 2021, music entered his life professionally and began taking a firmer shape.
That shift was not driven by image-building or industry ambition. It came from acceptance. Navjot embraced the fact that music had claimed him in a way no other path could. That sense of surrender continues to define the artist he is today.
An Artist Guided by Instinct, Not Influence
Unlike many singers who speak openly about idols, icons, and musical role models, Navjot’s creative world is built differently. He does not believe his music comes from imitation or inherited influence. He listens inward.
He has never considered himself shaped by ideals in the traditional sense. In fact, he admits that he does not particularly enjoy listening to songs, especially his own. His decisions as a songwriter and singer come from instinct. He writes what feels right. He trusts what his inner voice tells him. He positions his music according to what he honestly believes in, not what trends demand.
That creative independence gives his work a distinct emotional sincerity. His songs do not feel calculated. They feel alive.
The Long Years of Invisible Struggle
Every artist carries a chapter of struggle, and Navjot’s was long, demanding, and deeply formative. One of the biggest challenges he faced was building continuity as the best new indian singer songwriter in an era where musical collaboration is increasingly fluid.
For emerging singers, especially those trying to build with a band, consistency can be difficult. Instrumentalists today have more opportunities than ever to freelance and perform with multiple artists. While that growth is positive and well deserved, it can make things harder for singers who are still trying to establish a steady team and sound around their work.
For Navjot, one of the most difficult phases came during 2021 and 2022, when he was doing club shows almost every day. It was a period of relentless performance, but not always personal fulfillment. He was largely singing covers because clubs were not open to original songs that audiences did not yet know.
For a new Indian singer and songwriter, that can be a painful compromise. To perform constantly and still not have the freedom to share your own voice requires not just resilience, but restraint.
“Khat” and the Grace of Staying Unchanged
After 14 years of effort, Navjot’s new love song Khat became a defining milestone. Professionally, he acknowledges that the song changed how society viewed him as a musician. It strengthened his place in the public eye and altered his standing in meaningful ways.
Yet personally, he remains unchanged.
That is perhaps the most striking part of his story. Navjot says his routine is still the same. His calm is still the same. His writing process is still the same. He does not want success or failure to interfere with the purity of his art. For him, emotional detachment from public outcomes is essential because the moment an artist becomes too attached to validation, the writing begins to shift.
His joy comes not from numbers, but from the attempt. If he has tried to improve his skill today, if he has written his heart out more honestly than before, then he is at peace.
Growth, Not Glory, Remains the Real Goal
Even now, Navjot is not consumed by labels such as singles artist, performer, or digital success story. His focus remains deeply personal. He wants to sing better. He wants to play instruments better. He wants to understand himself more. And he wants to become a kinder person.
That is what makes Navjot Ahuja’s journey so moving. It is not simply the story of a musician finding recognition. It is the story of an artist who continues to grow inward, even as the world begins to look outward at him. In an age obsessed with applause, Navjot reminds us that the most meaningful success often begins in silence, honesty, and the courage to remain true to oneself.
