Remembering Mohammed Rafi on his death anniversary, the voice that echoed through an era
Grandson Rizwan Rafi reflects on iconic singer’s greatness
By ASJAD NAZIRJul 31, 2024
MOHAMMED RAFI is rightly regarded as the greatest male playback singer in Hindi cinema history.
With an incredible body of work stretching across thousands of songs, the celebrated star left behind a remarkable legacy, which is being celebrated throughout 2024, as December 24 marks his 100th birth anniversary.
The much admired music star sadly passed away on July 31, 1980, aged just 55, but left behind a remarkable legacy and inspired the generations who followed in his giant footsteps.
Eastern Eye decided to mark the celebrated singer's death anniversary this week by speaking with his London-based grandson Rizwan Rafi. He fondly spoke about his iconic grandfather’s incredible life and gave great insights into him away from stardom.
Playing the harmonium
Your grandfather Mohammed Rafi passed away when you were only 14. What was it like growing up with such a legendary family member?
It was always wonderful and fun for all the grandchildren, whenever I had the opportunity to stay with dada and dadi in Mumbai (for holidays). Dada had a very child-like quality when he was with the family and grandchildren. I didn’t see him as Mohammed Rafi, the entertainer. To me he was and is my dada (grandfather). To everyone else he has been a legend, superstar and for some, even a god.
What are your memories of that celebrity aspect?
Whenever we would be out together, people would go crazy when seeing him. I would wonder and think to myself why? Now, as I’ve grown, I realise what he meant to people and what a legend he was and will always be. I’m so proud to be part of the lineage.
What made him such a special talent?
With his grandsonRizwan
He loved singing and loved his art. He was musically versatile, technically correct and had an amazing ability to mould his voice to the persona of that actor he would be singing for. Dada always asked, ‘who is the song going to be picturised on’. He would then add a new dimension and his own little twist to the track. He gave life to the lyrics. He sang flawlessly in various languages and styles. He was a perfectionist and made it look easy.
Which songs do you think helped define him?
There are so many. They include O Duniya Ke Rakhwale and Chahunga Main Tujhe, where he expressed deep emotion like very few could. The rock ‘n’ roll inspired songs he sung for Shammi Kapoor were revolutionary. He was a master of love songs like the award-winning Chaudhvin Ka Chand Ho and Teri Pyaari Pyaari Surat Ko. With songs like classic qawwali Parda Hai Parda, he showed great versatility. There are so many more.
What are some of your favourite songs of his?
It is very difficult to choose favourites. Some that come to mind include Yeh Duniya Yeh Mehfil, Dil Ka Soon Saaz and Dard E Dil. Baharo Phool Barsao was played at my wedding – if only dada had been around to sing it. Sadke Heer Tujh Pe Hum Fakir Sadke showed beautiful voice control. Kar Chale Hum Fida brings tears every time.
Which of his songs deserve more credit?
He had a high standard and could turn an ordinary song into something extraordinary. Some films that weren’t hits or are not so well known, have many hidden treasures. The fact he left behind so many songs means new generations are constantly discovering these gems.
He was known for his humility even after reaching superstardom, what kept him so grounded?
Dada was not a man who sought out wealth, stardom or worldwide fame. He just simply wanted to sing, which is what he loved. He was a very pious and god-fearing person. His humility and down to earth nature were greatly respected. He never said or did bad to others. His willingness to help and encourage others was widely known.
Are there any stories that come to mind?
Rizwan today
Once, while returning from a walk with a friend, a person in need asked him for money. Rafi Saab gave him rupees without counting. His friends asked why he gave money without counting. Rafi Saab replied in a dignified manner, “if the almighty is giving me rupees without counting, why would I not give someone in need, without counting.”
What do you think motivated him to maintain such a high standard?
Dada loved singing. I think that love and passion for his art is why. He would always think to himself he could have added something or done the song better.
Is there any one part of his remarkable story that is your favourite?
For me, I think it would have to be the live shows. I was able to attend here in the UK back in 1978/1979. I was lucky enough to accompany dada to some song recordings while visiting Mumbai. Whether on stage or in a studio, he was remarkable.
Tell us something not many people know about him.
In his spare time, dada loved to play badminton and carrom. During kite season, he would be on the roof terrace and everyone in the local area would know dada was flying his distinctive black kite. He loved food, especially sweets (even though he was a diabetic). If he would see the grandchildren eating sweets, he would quietly say “may I have some, but don’t tell dadi”.
Tell us about his London connection.
I think London for dada was a getaway from the Bollywood hustle bustle. He was a regular visitor to London and my parents’ house would be the first stop, as we lived and still do, very close to Heathrow airport. Dada liked shopping and would make trips to London’s Oxford Street. Dada also had a great love of cars. I can remember when the Audi 100 was out, he had a blue one shipped back to Bombay.
This year is his 100th birth anniversary. Will you be doing anything to mark it?
I am part of a small singing club called MKC (Monday Karaoke Club), which is a meeting place for those who love golden oldies. We are doing a small show each month this year remembering dada. The plan is to finish off the year with a large show, which is still in the planning.
How do you feel about all the tribute concerts?
I feel very proud and excited to see the whole world remembering my wonderful grandfather.
You have a lot of great unseen photos of him and a treasure trove of information. Are there any plans for a book or exhibition?
I would love to do something, I’m sure that all the fans and those who appreciate history would like to see these. Maybe somewhere in the future the plans for a book and exhibition will fall in place.
Do you have a final thought?
Many have said they would love to sing like Mohammed Rafi Saab. I would say that no one will ever sing like him. There will only be one Mohammed Rafi. But please ‘be like Rafi’. The humble human being, who was modest, simple, god fearing, kindhearted and showed love to others. Words to describe him are simply not enough.
British-Bangladeshi prop maker Anika Chowdhury has designed a handcrafted glow-in-the-dark chess set celebrating heritage and identity.
The limited-edition set, called Glowborne, launches on Kickstarter in October.
Each piece draws from South Asian, Middle Eastern, and African cultural references, re-rooting chess in its origins.
The project blends art, storytelling, and representation, aiming to spark conversations about identity in play.
Reimagining chess through heritage
When Anika Chowdhury sat down to sculpt her first chess piece, she had a bigger vision than simply redesigning a classic game. A British-Bangladeshi prop maker working in the film industry, she grew up loving fantasy and games but rarely saw faces like hers in Western storytelling.
“Chess originated in India, travelled through Arabia and North Africa, and was later Westernised,” she explains. “I wanted to bring those forgotten origins back to the board.”
The result is Glowborne — a limited-edition, glow-in-the-dark fantasy chess set that blends craft, identity and cultural pride.
Anika Chowdhury says she has many ideas to further fuse craft and culture in future projects Glowborne
Crafting Glowborne
Each character in the set has been carefully designed to reflect cultural narratives: Bengali kings and pawns, Indian bishops with bindis, Arab knights, and African queens. Chowdhury sculpted each piece by hand, drawing on her prop-making training at the National Film and Television School.
Once sculpted, the pieces were cast in resin, painted, and finished with South Asian-inspired motifs filled with glow-in-the-dark pigment. “The characters glow both literally and metaphorically,” she says, “as a chance for them to take the stage.”
Cultural pride and visibility
For Chowdhury, the project is about more than gameplay. “Fantasy doesn’t need to fit into the Western mould to tell a great story,” she says. “South Asian, Middle Eastern and African stories are just as powerful, and they can transform something as traditional as chess by reconnecting it with its roots.”
She hopes Glowborne will resonate with South Asian and Eastern African communities as a celebration of identity and belonging. At the same time, she sees it as a bridge for wider audiences — chess enthusiasts, collectors, and design lovers who appreciate craftsmanship and storytelling.
A personal journey
Chowdhury’s career in film and prop-making has influenced her creative process, but Glowborne marks her first independent project. She created it outside her film work, after hours and on weekends.
“At 28, I finally feel like I’ve found my voice,” she reflects. “For a long time I felt pressure to hide my identity, but now I see my culture as a superpower. This project is about using art to express that.”
Looking ahead
Launching this October on Kickstarter as a collector’s edition, Glowborne is only the beginning. Chowdhury says she has many ideas to further fuse craft and culture in future projects. “This is the proof of concept,” she says. “I can’t wait to create more stories that blend heritage, art and play.”
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The piece was originally one of nine works that appeared across London in August 2024
Banksy’s ‘Piranhas’ artwork, painted on a police sentry box, is being stored ahead of display at London Museum.
The piece was originally one of nine works that appeared across London in August 2024.
It will form part of the museum’s new Smithfield site, opening in 2026.
The City of London Corporation donated the artwork as part of its £222m museum relocation project.
Banksy’s police box artwork in storage
A Banksy artwork known as Piranhas has been placed in storage ahead of its future display at the London Museum’s new Smithfield site, scheduled to open in 2026. The piece features spray-painted piranha fish covering the windows of a police sentry box, giving the illusion of an aquarium.
From Ludgate Hill to Guildhall Yard
The police box, which had stood at Ludgate Hill since the 1990s, was swiftly removed by the City of London Corporation after Banksy confirmed authorship. It was initially displayed at Guildhall Yard, where visitors could view it from behind safety barriers. The Corporation has since voted to donate the piece to the London Museum.
Museum’s first contemporary street art
London Museum’s Head of Curatorial, Glyn Davies, said:
“With the arrival of Banksy’s Piranhas, our collection now spans from Roman graffiti to our first piece of contemporary street art. This work by one of the world’s most iconic artists now belongs to Londoners, and will keep making waves when it goes on show next year in the Museum’s new Smithfield home.”
Formerly known as the Museum of London, the institution closed its London Wall site in December 2022 as part of its relocation. It rebranded as the London Museum in July 2024, with £222m allocated by the City of London Corporation to support the move. The project is expected to attract two million visitors annually and create more than 1,500 jobs.
Part of Banksy’s animal-themed series
Piranhas was one of nine animal-themed works Banksy created across London in August 2024. The series also featured a rhino on a car, two elephants with interlocked trunks, monkeys swinging from a bridge, a howling wolf on a satellite dish, and a goat painted on a wall. Some of the artworks were later vandalised, removed, or covered up.
Preserving street art for the public
Chris Hayward, policy chairman of the City of London Corporation, said:
“Banksy stopped Londoners in their tracks when this piece appeared in the Square Mile – and now, we’re making it available to millions. By securing it for London Museum, we’re not only protecting a unique slice of the City’s story, but also adding an artwork that will become one of the museum’s star attractions.”
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Aditya Chopra (right) with his father, Yash Chopra
BOLLYWOOD filmmaker Aditya Chopra was last Thursday (21) named among the nominees of the UK Stage Debut Awards for his Come Fall in Love – The DDLJ Musical, performed at Manchester’s Opera House earlier this year.
Chopra delivered a blockbuster in 1995 with Dilwale Dulhania Le Jayenge, popular as DDLJ, with Kajol and Shah Rukh Khan in the lead roles. It was adapted to a theatrical production and had its UK premiere in May.
Chopra reprised his role as director of the English stage production, which revolves around the love story of Simran and Roger.
Shah Rukh Khan visits the cast of Come Fall in Love The DDLJ Musical during rehearsals in London Danny Kaan
“This year’s nominees embody the future of British theatre, and I can’t wait to celebrate their achievements,” said Alistair Smith, editor of The Stage theatrical publication.
“This year there are several individuals with south Asian heritage being recognised for their excellence in directing: among the nominees is Amit Sharma for Ryan Calais Cameron’s Retrograde (in the Best Creative West End Debut category),” said the awards panel in a statement.
Also nominated are Adam Karim for Guards at the Taj at the Orange Tree Theatre, London, and visionary Indian filmmaker Aditya Chopra for Come Fall In Love at Manchester’s Opera House, who are both in the running for the best director category, the statement added.
The winners will be announced on September 28.
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The group have introduced fresh orchestral elements and added instruments to expand their live sound
The Shahbaz Fayyaz Qawwal Group return to the UK with a nationwide tour after viral success online.
The ensemble of brothers blend centuries-old qawwali traditions with fresh improvisations that connect with young audiences.
From Pakistan to the USA and UK, their performances have won acclaim for their electrifying energy and spiritual depth.
Fans can expect new instruments, reimagined classics, and the same message of love and harmony at this year’s shows.
From viral sensation to global stages
When a performance goes viral, it can change an artist’s career overnight. For the Shahbaz Fayyaz Qawwal Group, their stirring renditions of Bhar Do Jholi and B Kafara propelled them from local fame in Pakistan to global recognition, amassing millions of views across platforms. What set them apart was not just the power of their voices, but the way their music resonated with younger listeners who were hearing qawwali with fresh ears.
That viral momentum soon carried them beyond borders, leading to major performances in the United States and the UK. “It wasn’t just one track,” the group explained. “We revived older gems like Kali Kali Zulfon and Dil Pukare Aaja in our own style, and those went viral again, showing that qawwali still speaks across generations.”
Heritage, family and style
The Shahbaz Fayyaz Qawwal Group’s uniqueness lies in their roots. Composed of seven brothers and joined by fellow musicians from respected musical families, the ensemble was trained by their late father, himself a master of the art form. On stage, as many as 15 to 20 performers create a sound that is both deeply traditional and daringly modern.
Their shows are alive with improvisation. In the middle of a devotional track, harmonium player Shahbaz might suddenly weave in a melody from a contemporary Bollywood hit, while lead vocalist Fayyaz channels his energy into unrestrained movements and audience interaction. “When different styles meet, something new emerges,” they said. “That’s what keeps the music vibrant.”
UK audiences and the international journey
Having performed across the USA, the Middle East and Europe, the group describe UK audiences as particularly electric. “Each time we perform here, the atmosphere is charged. People don’t just listen – they become part of the performance,” they said.
Their repertoire often draws requests from fans who expect to hear viral favourites alongside traditional classics. “Sometimes, if organisers don’t allow us to perform songs like B Kafara or Dil Pukare Aaja, the audience won’t let the show continue. That’s the level of passion here,” they recalled with a laugh.
Keeping qawwali alive for new generations
While the roots of qawwali stretch back centuries, the group see their role as carrying the tradition into the present. By fusing tabla, harmonium and handclaps with newer instruments and arrangements, they appeal to younger listeners without losing the music’s essence.
“We want every audience to feel peace, harmony and love when they leave our concerts,” they said. “An artist should never belong to just one group of people – music is for everyone.”
What fans can expect this tour
This year’s UK tour promises new surprises. The group have introduced fresh orchestral elements and added instruments to expand their live sound. Fans can expect a mix of beloved classics, spontaneous improvisations, and the chance to hear qawwali reimagined for today’s world.
For Shahbaz Fayyaz Qawwal Group, the mission remains unchanged: to honour their heritage, embrace new audiences, and spread the universal message at the heart of their art. As they put it: “We look forward to growing together with our fans. Let’s celebrate qawwali as a tradition that belongs to everyone.”
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Born in 1864 in Visakhapatnam, Annie began medical studies at Madras Medical College, one of the few institutions in India then open to women.
DR ANNIE WARDLAW JAGANNADHAM was the first Indian woman to gain a medical degree at a British university and have her name added to the UK medical register in 1890.
Her story has been revisited by the General Medical Council (GMC) as part of South Asian Heritage Month. Tista Chakravarty-Gannon, from the GMC Outreach team, explored her life with support from GMC archivist Courtney Brucato.
Chakravarty-Gannon wrote in a blog, “In my role at the GMC much of my work is focused on supporting international doctors, and on anti-racism. It’s work that lies close to my heart. My father was born in India but emigrated to the UK in the 1960s.”
She added, “If you wind the clock back even further, it must have been even harder to make that journey and assimilate into a not particularly diverse society and profession. Unsurprisingly, in the late 19th century doctors were almost all male and white. It was going to take some remarkable women to turn that tide. I’ve been lucky enough to spend time talking to our archivist, Courtney Brucato, about one such woman – Annie Jagannadham.”
Early years Born in 1864 in Visakhapatnam, Annie was the daughter of Christian missionary parents. At 20, she began medical studies at Madras Medical College, one of the few institutions in India then open to women.
She studied practical midwifery under Dr Arthur Mudge Branfoot, who had spoken about the “folly and inadvisability of educating women as doctors.”
Barriers and opportunities Indian medical qualifications were not fully recognised under the colonial system. For women, studying abroad was often the only route to legitimacy.
In 1888, Annie received a scholarship from the Countess of Dufferin Fund to study at the Edinburgh Medical School for Women. The Fund, set up under Queen Victoria, aimed to improve women’s health in India through scholarships and support for health infrastructure.
She studied for the conjoint medical and surgical qualification of the three Scottish Colleges, known as the “Scottish Triple” or “TQ”.
Academic success Annie graduated with special credit, worked as a demonstrator of anatomy at Surgeons’ Hall, and achieved top marks in several examinations. On 2 May 1890, she was granted registration with the General Medical Council.
She then worked as a house officer at the Edinburgh Hospital for Women and Children under Dr Sophia Jex-Blake, who described her as of “fine and finished character.” Annie gained experience in obstetrics and gynaecology and was made a Licentiate of the Royal College of Physicians of Edinburgh, the Royal College of Surgeons of Edinburgh, and the Faculty of Physicians and Surgeons of Glasgow.
Return to India In 1892, Annie returned to India as a House Surgeon at Cama Hospital in Bombay (now Mumbai), under Dr Edith Pechey, one of the Edinburgh Seven who had campaigned for women’s right to study medicine.
Early death Two years later, Annie contracted tuberculosis. She returned to her family in Visakhapatnam and died in 1894 at the age of 30.
The Chronicle of the London Missionary Society published an obituary, noting, “it is to be feared that the early death, which those who knew her now mourn so deeply, was largely due to her self-denying labours on behalf of the sufferers in the hospital.” It added, “though the course [of her life] has been short, it has been useful and bright,” praising her independence, modesty, and “unostentatious service.”
Legacy On the 1891 medical register, Annie was one of 129 female doctors compared to more than 29,000 men. This year, for the first time, there are more female than male doctors practising in the UK, and more ethnic minority doctors than white doctors.
Chakravarty-Gannon wrote, “It’s important to remember that to be listed on the medical register, Annie was required to step outside the Indian system, navigate another culture away from her friends and family, and prove herself all over again – because her original education wasn’t recognised in a colonial hierarchy.”
“Dr Jagannadham may not be a household name, but her courage and determination helped carve out a path that many generations have since followed. Her story is a powerful reminder of how far we’ve come – and how important it is to keep moving forward.”
South Asian Heritage Month runs from 18 July to 17 August each year, commemorating and celebrating South Asian cultures, histories, and communities.