Sikandar Raza starred with the bat and ball to help Zimbabwe win by three wickets and clinch a historic series victory in the fifth one-day international on Monday (10).
Taking the series 3-2 in Hambantota, the 11th-ranked Zimbabwe registered their maiden series win in Sri Lanka and first overseas triumph in eight years.
Off-spinner Raza claimed three wickets to restrict the hosts to 203-8 after Zimbabwe elected to field first. He then anchored a tense chase with an unbeaten 27 as the visitors won with 71 balls to spare.
Zimbabwe opener Hamilton Masakadza top-scored with a fluent 73 before rookie off-spinner Akila Dananjaya struck back with four wickets to rattle the Zimbabwe middle-order.
The visitors slipped from 137-1 to 175-7 -- losing six wickets for 38 runs -- but Raza and skipper Graeme Cremer (11 not out) hung on for an unbeaten 29-run stand as the perennial underdogs erupted in celebrations.
"Happy that Sikandar came to the party. It turned around very quickly but happy we pulled it off in the end," an elated Cremer said following their win.
"This win is very special, fans must be jumping around back home. We knew we're playing good enough cricket to put them under pressure."
Earlier the Pakistan-born Raza, who opened the bowling for the visiting side, returned with impressive figures of 3-21 at the Mahinda Rajapaksa International Stadium.
Raza, named man of the match, was complemented by Cremer, who took two wickets with his wily leg-spin, most notably the prized scalp of his opposite number Angelo Mathews (24).
"Raza is a definite weapon with the new ball. I was hoping for a breakthrough or two and he gave us that in the powerplay," Cremer said.
Sri Lanka suffered from a lack of partnerships but opener Danushka Gunathilaka (52) and Asela Gunaratne (59 not out) hit gritty half-centuries to steady the home side.
The hosts slipped to 153-8 in the 42nd over before Gunaratne and Dushmantha Chameera (18 not out) put on an unbeaten 50-run stand for the ninth wicket.
Paceman Tendai Chatara drew first blood after getting opener Niroshan Dickwella -- who came into the match with two successive centuries -- caught behind for three.
The wicket also pulled the brakes on Sri Lanka's rampaging opening starts in the previous one-day internationals against the visiting African side.
Dickwella and Gunathilaka made ODI history in delivering back-to-back double century partnerships in the previous two contests against Zimbabwe.
Mathews said even though the conditions were "tough" for batting, their final run tally was far below what was expected.
"Credit to Zimbabwe, they gave us a really tough time and we didn't have any answers," said a disappointed Mathews.
The defeat was Sri Lanka's worst bilateral ODI series in recent times. The eighth-ranked side face India for a full series later this month.
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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Jungkook under fire for wearing Make Tokyo Great Again cap at BTS concert rehearsal
BTS star Jungkook has issued a public apology after sparking backlash for wearing a cap with the phrase “Make Tokyo Great Again” during a rehearsal for J-Hope’s concert. The phrase, seen as politically loaded, upset many fans in South Korea, with some calling it offensive and thoughtless.
The singer, who recently completed his mandatory military service, said he was unaware of the slogan’s sensitive background and admitted that he should have been more cautious.
Jungkook of K-pop supergroup BTS at an outdoor sporting facility in Yeoncheon Getty Images
Slogan draws backlash over political and cultural sensitivity
Jungkook was seen in an all-black outfit and the now-controversial cap during rehearsals for the Hope on the Stage concert on Friday in Goyang. The slogan on the cap, “Make Tokyo Great Again,” echoed political phrases linked to Japanese nationalism and was previously used by Tokyo Governor Koike Yuriko. Some South Korean fans were quick to point out that the phrase has been associated with anti-Korean sentiments and accused the singer of being “careless.”
The similarity to Donald Trump’s “Make America Great Again” also added fuel to the fire, as netizens debated the political undertones and the potential implications of a global star wearing such a phrase publicly. Social media lit up with disappointment, with many questioning how Jungkook could overlook such a sensitive issue, especially given the historical tensions between South Korea and Japan.
— (@)
Jungkook responds: “No excuse for my carelessness”
The 27-year-old singer responded quickly to the criticism through a heartfelt message on Weverse. “I sincerely apologise for the disappointment and inconvenience caused by the hat I wore during rehearsals. I didn’t realise the historical and political context behind the phrase,” he wrote. “There’s no excuse. I was careless. I’ll make sure to be more thoughtful from now on.”
He also confirmed that the cap was discarded immediately and acknowledged that he had hurt many of his fans unintentionally. The apology was met with mixed reactions. While some appreciated his honesty, others felt the damage had already been done.
— (@)
This incident comes just days after Jungkook completed his 18-month military service alongside Jimin. The Hope on the Stage concert marked his return to the spotlight, with all seven BTS members reuniting on stage, drawing cheers from fans. Jungkook had recently released Never Let Go, a song dedicated to fans during BTS’s 11th anniversary.
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They were all remanded in custody, except Bashir, who absconded before the trial began. (Photo: Greater Manchester Police)
SEVEN men were convicted on Friday in the UK’s latest grooming trial, after a jury heard that two girl victims were forced to have sex “with multiple men on the same day, in filthy flats and on rancid mattresses”.
Jurors at the court in Manchester, northwest England, deliberated for three weeks before finding the seven men, all of whom are of South Asian descent, guilty of rape.
Mohammed Zahid, 64, Mushtaq Ahmed, 67, Kasir Bashir, 50, Mohammed Shahzad, 44, Naheem Akram, 48, Roheez Khan, 39, and Nisar Hussain, 41, will be sentenced at a later date, but judge Jonathan Seely warned that they face “lengthy prison sentences”.
They were all remanded in custody, except Bashir, who absconded before the trial began.
Operation Lytton and police investigation
The men were prosecuted as part of Operation Lytton, an investigation launched by Greater Manchester Police in 2015 into historical child sexual exploitation in Rochdale, a town near Manchester.
The issue has long been seized upon by far-right British figures, including notorious influencer Tommy Robinson, but has also been adopted as a rallying cry by the Conservatives and Nigel Farage’s hard-right Reform UK party.
The issue of grooming gangs received international attention earlier in the year when US tech billionaire Elon Musk launched incendiary attacks on his X platform against the UK government after it resisted calls for a national inquiry.
Over the course of several decades, men of mostly South Asian origin in various English towns are suspected of having sexually abused thousands of mostly white girls from working class families, often from troubled homes.
Court testimony on abuse
Prosecutor Rossano Scamardella said during the trial that the men had abused the two girls for several years from the age of 13 — between 2001 and 2006.
“They were often forced to have oral sex and vaginal sex with multiple men on the same day, in filthy flats and on rancid mattresses,” he said.
“On other occasions they would be required to have sex in cars, car parks, alleyways or disused warehouses. Wherever and whenever these men wanted it.
“They were children passed around for sex; abused, degraded and then discarded,” he added.
One of the alleged victims was also “being exploited and abused by many other Asian men” not in the dock, said Scamardella.
Police response and apology
Following the verdicts, detective superintendent Alan Clitherow, of Greater Manchester Police, apologised for not acting earlier.
“There was information at the time that police and other agencies could, and should, have done something with, and we didn’t,” he said.
“The way those victims were dealt with at the time is indefensible and inexcusable. We have made comprehensive apologies for that.”
(With inputs from agencies)
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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.
With a voice that echoes both the glamour and grit of a bygone era, British singer Aisha Khan is set to take centre stage at London’s legendary Ronnie Scott’s Jazz Club on June 29.
Performing with her acclaimed band The Rajahs, Khan will present a rich cocktail of 1940s and 1950s American roots music, jazz and rhythm and blues – blending timeless classics with her own original songs. Known for her evocative vocals, magnetic stage presence and deep reverence for the great female vocalists of the past, Khan promises a night filled with toe-tapping rhythm and heartfelt emotion.
Ahead of the show, she spoke to Eastern Eye about her lifelong love affair with vintage sounds, the power of live performance, and her inspirations and musical heroes.
What first connected you to music?
There was not just one thing. As a little girl, I was always singing and had no idea why – I just could not help it. I did not come from a musical family. My mum had a couple of Bollywood LPs with Mohammed Rafi and Lata Mangeshkar, and my dad listened to Andy Williams and The Carpenters in the car. Apart from that, there was not much music at home. I watched Top of the Pops as a teenager, but I fell in love with Elvis Presley when I was 13 – that is where my passion for vintage music began.
How would you describe your brand of music? Mostly, I perform authentic 1940s and 1950s American music – blues, rhythm and blues, and rock and roll. I sing cover versions, but I also write a lot of original songs in the same style. I have also been developing a new Americana/country project, so the music keeps coming.
What does live performance mean to you? At its best, it means pure connection with the audience – almost a transcendental experience. It does not always happen like that, but subconsciously, I think that is what I am always striving for. I go on stage with songs I love and musicians who are great and always have my back. With that secure foundation, I try to see where the music can take me, and I bring the audience along with me. I love being close to the audience and drawing them into the live experience. It can bring so much energy and joy.
How much are you looking forward to performing at the iconic Ronnie Scott’s Jazz Club? We performed our first sell-out show upstairs there last year, but this is our first gig in the main room downstairs. I cannot express what an honour and privilege it is to appear at such a legendary venue. To think we will be on the same stage as so many iconic performers – from Ella Fitzgerald to Miles Davis – is mind-blowing.
What can we expect from the show? We will perform some of our most loved original songs, as well as several from our latest album Seven Shades of Blue, released this spring. We also have the honour of introducing Haylen, an incredible artist from Paris, as our special guest. There will be a lot of toe-tapping and happy vibes.
What do you hope people will take away from your performance – musically or emotionally? I hope they leave with a range of emotions. I want them to feel moved, but also to walk out feeling joyous and uplifted.
What do you most love about the jazz and rhythm and blues of the 1940s and 1950s? There are so many things I love about the music of that era. The musicianship, the danceability – how you just cannot help but move to it. I love the lyrics, the humour and the storytelling. When I was younger, I learned a lot of jazz standards and loved them. But it was only after living life – experiencing love, loss and heartbreak, having children, going through disappointment and great happiness – that I truly connected with those songs. Many of them now bring tears to my eyes, or even ecstasy when I sing or hear them. These are songs that truly stand the test of time.
Do you remember the first time you heard a song from that era that truly moved you? It was when I began listening to jazz in my teens. I idolised Sarah Vaughan and her craft. Then, as I discovered more popular music from the 1940s and 1950s and started dancing, I began to feel it not only emotionally but physically too.
Aisha Khan
Who is your own music hero from that bygone era? Sarah Vaughan, definitely. I also loved Billie Holiday.
If you could duet with any artist from the 1940s or 1950s, who would it be? It would have to be one of the great rhythm and blues vocalists – Wynonie Harris, Louis Jordan or Joe Turner. That would be so much fun.
Which classic songs do you most enjoy performing live? I love rhythm and blues by the many powerful female vocalists of that era – songs like Voodoo Voodoo by LaVern Baker, They Call Me Big Mama by Big Mama Thornton, or Pretty Good Love by Big Maybelle.
What inspires you as an artist? A life lived. Everything I have experienced – from having children to feminism. People, places, books – you never know where inspiration will come from. I also love collaborating with other musicians and singers; you never know what kind of magic might be created.
Why do you love music? The same reason I breathe. It is part of all of us – from the rhythms in nature to the cadence of the languages we learn as children. It can tell great stories and express deep emotions. It has the power to change lives – to comfort those in pain and bring joy to those open to it. I believe it is one of the purest art forms and forms of self-expression. I feel incredibly fortunate to have done this for so many years, and I hope to continue for the rest of my life.
Aisha Khan and The Rajahs at Ronnie Scott’s, 47 Frith Street, London W1D 4HT on Sunday, June 29. www.ronniescotts.co.uk