IT’S coming up to 23 years since a sprightly 22-year-old Warrant Officer (Grade 2) Saheed Khan joined the ranks of the British Army, wide-eyed and eager to see what adventures Army life had in store for him.
After holding a variety of different positions, which he describes as “one of the best perks” of the Army, WO2 Khan is now playing an important role as part of the Army Engagement Group (AEG), which tours the country engaging with the public to give them a greater understanding of the British Army and how it contributes to society.
“I’ve had a really interesting and varied career,” says WO2 Khan. “I’ve served with a multitude of different units. I have worked with one star Headquarters, different infantry teams, Army aviation and in the Ministry of Defence. I’ve been very fortunate, I’ve had a brilliant career.
“And now I’m doing the best job ever, which is Army Engagement, speaking to people all over the country from all walks of life and explaining to them what the Army does.”
Saheed Khan (left) at an Army engagement event. @British Army
The AEG is a complex network of groups working to communicate the Army’s dedicated service to the British public.
It’s broadly split into five sub-groups:
Army Engagement Team 1, which delivers the Army’s flagship multi-media presentation to invited guests from a local community. Each 45-minute presentation is followed by a question and answer session and a reception where you can meet soldiers and ask questions in a more informal setting.
The Army Business and Communities Engagement Team delivers a more focused version of the flagship presentation to bespoke audiences. The team delivers a 30-minute presentation followed by a question and answer session, either virtually or at a location. They can also deliver team-building tasks in support of professional development days. They speak to a wide range of audiences and any opportunity is considered, whether you are an employer, represent a community or network, or are arranging speakers for a larger conference or networking event.
The Army Youth Outreach Team encourages young people to maximise their potential and challenge stereotypes. Working with schools, youth groups, communities and charitable organisations, the team delivers an interactive presentation which explores opportunities available in the Army and highlights an emphasis on personal development. The team also delivers various fun, practical activities which aim to develop communication skills, foster teamwork and grow self-confidence.
The Army Diversity Engagement Team engage and inform mixed audiences and communities, delivering their ‘Strength in Diversity’ presentation, showcasing the Army as a fully inclusive employer. They tackle popular misconceptions and highlight the importance the Army places on equal opportunities for everyone, regardless of gender, race, sexuality, ethnicity or faith. The team can also support other activities such as panel events, networking, community support or diversity seminars. Additional bespoke activity can also be discussed.
The Army’s Science, Technology, Engineering and Mathematics (STEM) Youth Engagement Team are drawn from the technical branches of the British Army to promote and encourage STEM within schools and other educational and youth organisations. They deliver engaging physical and virtual workshops across the United Kingdom to help inspire the next generation of STEM experts. For more information and bookings, visit www.stemview.co.uk.
WO2 Khan says it’s important the Army makes the effort to engage with people from all backgrounds as there are still many misconceptions about the organisation. “It’s important we go out and meet people and provide them with an understanding of what their Army actually does on their behalf. We are representative of society, so it’s important we stay connected with society and address some of the doubts they may have.
“Some misconceptions I have come across are things like can women join the Army? I’m Muslim, can I join the army? Or I’m a Hindu, will you cater for my dietary requirements? Well, yes, women and members of the LGBT community can join the Army. Yes, we’ve got specific Hindu rations, we’ve got halal rations, we’ve got a variety of vegetarian rations. So, we do cater for people from all faiths and backgrounds. And the Army is always evolving to meet the needs of its recruits and soldiers.”
The devout Muslim describes the Army as a “great employer” which looks after its people.
“I’ll give you an example – how many organisations will pay to send their Muslim employees on Umrah and Hajj? (the Islamic pilgrimage to Makkah and Madinah). I was one of the first to go to Umrah and subsequently, it’s been happening every year. I think that just goes to show what a diverse and inclusive organisation the Army is.”
As part of the diversity engagement team, WO2 Khan visits south Asian communities in places such as mosques, temples, gurdwaras and community centres. He says that the feedback he receives is always positive.
“People often say, ‘my granddad or my dad used to serve in the India/Pakistan Army’. They hold the Army in such high regard in those countries and I want them to do the same with the British Army. For example, we have around 600 Muslim military personnel and we want this number to increase, and the same goes for other faiths. The contribution people make with different languages, different cultures and different faiths is invaluable in the military.”
WO2 Khan is aware that south Asian families are still keen on their children going into professions such as law, engineering and medicine rather than becoming soldiers.
However, what many people don’t know is that the Army has more than a hundred of the most diverse career paths – including lawyers, engineers and doctors. “You can be a doctor in the Royal Army Medical Corps, you could be an engineer in the Royal Engineers or you could be a lawyer in the Army legal services,” explains WO2 Khan.
The Army also has an extensive apprenticeships programme which includes courses in public services and health; engineering; telecommunications; animal care; I.T Logistics; construction; business administration. Students can then go on to complete bachelors and masters degrees with the Army.
The Army’s Youth Outreach and Youth STEM Engagement teams go into schools, colleges and youth centres to make students aware of the incredible opportunities available to them through the Army. There are many engineers, electricians, biomedical scientists, doctors, pharmacists, pilots and many more professionals who have come through the Army. “The Army Youth Outreach team do an absolutely wonderful job building relationships with young people. They deliver an interactive presentation which explores opportunities available in the Army and highlights the emphasis they place on personal development.
Army personnel go to schools to give sessions. @British Army
“The team also delivers various fun, practical activities which young people partake in, such as ‘a village has been flooded? How are you going to move people to safety?’ Or they’ll be given ropes, barrels, and planks and be told, ‘these are shark infested waters, how will you extract yourself and your team out from this area?’ The STEM-based activities are run by Army technicians and are aimed at developing communication skills, fostering teamwork and growing self-confidence.”
WO2 Khan adds: “When I speak to young people, their reaction is usually ‘wow, so I could actually do this job in the Army and be trained to do it from a young age’. And quite often, you get their parents saying, ‘God, I wish I knew this earlier, because I would have done it myself!’”
WO2 Khan also talks to the young people about the incredible life the Army has enabled him to live.
“I have had the most fantastic 23 years in the Army. I have had so many different postings and roles which has been so fulfilling. I travelled all over the world on Army assignments. I’ve worked all over England. I spent four or five years in Germany. I have worked in Northern Ireland, where there is a very strong Muslim community, which was very interesting. My twin daughters, who are now 16, were born in Northern Ireland. My sons, one was born in Germany and one in York. So the Army has allowed me and my family to experience lots of different cultures.”
Now, as he puts it, the 45-year-old is in the twilight of his career. But the one message he would like to give to the public is for them to engage with the Army. “I always say, you don’t have to join the Army, but at least find out about what the Army does because we are your British Army. Find out about the opportunities available that you can take advantage of, it could change your life as it has done mine.”
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.
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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.
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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
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Lewis Hamilton served as co-producer and advisor for F1, guiding everything from story to technical racing details
Brad Pitt’s upcoming Formula One film, titled F1, owes much of its realism and racing soul to none other than seven-time world champion Lewis Hamilton. According to director Joseph Kosinski, the film wouldn’t exist in its current form without Hamilton’s hands-on involvement, from the first pitch to the final details.
Kosinski, best known for Top Gun: Maverick, shared that Hamilton was the first person he contacted when the project was just an idea. An email led to a partnership, and Hamilton came on board not only as an executive producer but as a consultant whose lived experience shaped everything from the screenplay to on-track movements.
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Every detail came from someone who’s lived it
Set for global release on 25 June (27 June in North America), F1 was filmed across real Grand Prix weekends with full support from Formula One’s organisers. Pitt plays Sonny Hayes, a seasoned driver making a surprise return to the circuit, while Damson Idris stars as his rookie teammate.
Hamilton’s role, however, extended far beyond a name on the credits. He worked closely with the filmmakers to ensure the racing looked and felt accurate, including giving track-specific advice. For instance, he told Kosinski that if Pitt’s character were to pull aside under a blue flag, turn six in Hungary would be the most realistic spot to do so. That level of detail could only come from someone who knows the sport inside out.
Brad Pitt stars as a veteran driver, with scenes shot during actual race weekends for authenticityGetty Images
Producer Jerry Bruckheimer added that Hamilton even corrected gear shifts in the audio during a Silverstone scene, pointing out the sound didn’t match the gear a driver would realistically use in that corner. His obsession with accuracy gave the film its edge.
Beyond the racetrack, Hamilton’s spirit fuels the story
The racing scenes are just one part of the film’s core. Hamilton’s insights also inspired character development. One pivotal moment, where Pitt’s character reflects on the deeper meaning behind his love for racing, was drawn from a real-life conversation with Hamilton about the emotional and spiritual connection drivers have with the sport.
Brad Pitt, Director Joseph Kosinski, Damson Idris, Kerry Condon and Producer Jeremy Kleiner at the fan event for "F1: The Movie" Getty Images
As Formula One looks to expand its global fanbase, especially in the US, F1 aims to build on the success of Netflix’s Drive to Survive. But unlike the docuseries, this film brings together Hollywood storytelling with Hamilton-approved authenticity. And without him, the filmmakers say, this story simply couldn’t be told.