RAY C is widely recognised as the director of the UK-based radio station Asian Star and a regular host.
However, he is also an event organiser, with more than 30 years of experience. From melas to parties and community celebrations, he has connected with people across generations through his events. This year, his New Year’s Eve party at the Thistle Hotel Heathrow in London on December 31 will feature popular singers Sukshinder Shinda and Sarbjit Cheema, both performing with full live bands. The event will also include a sit-down meal and DJs on rotation.
Eastern Eye spoke to Ray C to learn about the event and get his advice on selecting the right New Year’s Eve party.
What first got you interested in organising events, and how many have you done so far?
I was inspired at the age of 13 when I heard bhangra music for the first time during a school performance by a bhangra dance team. As for how many events I’ve organised, I couldn’t put a number to it, but it’s easily in the hundreds.
How does running a major event compare to running a radio station?
The two actually complement each other as they’re both part of the entertainment industry. However, running a radio station requires more technical input and expertise.
Tell us about your exciting New Year’s Eve party.
It’s happening at the Thistle Hotel Heathrow, where I’ve organised many successful events in the past. We have teamed up with a catering company based in Hounslow and Slough to create an incredible evening.
We’re bringing in Sukshinder Shinda, an exceptional performer, and Sarbjit Cheema, who is flying in from India. Both will perform with full live bands to help us ring in the new year.
Guests can also look forward to welcome drinks, a four-course sit-down meal, a photo booth to capture memories, midnight fireworks, and DJs entertaining throughout the night. Tickets are available online on Eventbrite, but they’re selling fast, so book soon.
How highly do you rate British music icon Sukshinder Shinda?
He’s a phenomenal performer. I’ve known him since his early days as a music producer, and he’s now a seasoned and highly popular vocalist.
How does this compare to other New Year’s Eve parties you’ve organised?
In the past, our parties usually featured just DJs and a single room of entertainment. This time, we have two live performers and two rooms of music.
What is the biggest challenge of organising an event like this one?
The main challenge is the competition. Many people who aren’t part of the entertainment business decide to invest money into events out of a love for music but lack the organisational skills to execute them properly. This often results in disappointing experiences for attendees and tarnishes the reputation of all events. People tend to remember bad events, while good ones rarely get much attention post-event, even if they’re meticulously planned.
What advice would you give to those choosing which New Year’s Eve party to attend?
Choose an event organised by professionals with years of experience. You can’t go wrong with organisers who understand what guests like and dislike, handle issues smoothly, and ensure everything is planned to perfection.
According to you, what makes for a great party?
Ambience, timekeeping, and highquality entertainment are key elements.
Why should we come to your New Year’s Eve celebration?
Beyond everything I’ve already shared, we offer great value for money, unforgettable experiences and the expertise of an experienced organising team. We’ll make sure you have the best night of the year and leave with a big smile.
New Year’s Eve Celebration at The Thistle Hotel Heathrow, Terminal 5, Bath Road, London UB7 0EQ. www.eventbrite.co.uk
Forum brings UK and Chinese film professionals together to explore collaborations.
Emerging British-Asian talent gain mentorship and international exposure.
Small-scale dramas, kids’ shows, and adapting popular formats were the projects everyone was talking about.
Telling stories that feel real to their culture, yet can connect with anyone, is what makes them work worldwide.
Meeting three times a year keeps the UK and China talking, creating opportunities that last beyond one event.
The theatre was packed for the Third Shanghai–London Screen Industry Forum. Between panels and workshops, filmmakers, producers and executives discussed ideas and business cards and it felt more than just a summit. British-Asian filmmakers were meeting and greeting the Chinese industry in an attempt to explore genuine possibilities of working in China’s film market.
UK China film collaborations take off as Third Shanghai London Forum connects British Asian filmmakers with Chinese studios Instagram/ukchinafilm
What makes the forum important for British-Asian filmmakers?
For filmmakers whose films explore identity and belonging, this is a chance to show their work on an international stage, meet Chinese directors, talk co-productions and break cultural walls that normally feel unscalable. “It’s invaluable,” Abid Khan said after a panel, “because you can’t create globally if you don’t talk globally.”
And it’s not just established names. Young filmmakers were all around, pitching ideas and learning on the go. The forum gave them a chance to get noticed with mentoring, workshops, and live pitch sessions.
Which projects are catching international attention?
Micro-dramas are trending. Roy Lu of Linmon International says vertical content for apps is “where it’s at.” They’ve done US, Canada, Australia and next stop, Europe. YouTube is back in focus too, thanks to Rosemary Reed of POW TV Studios. Short attention spans and three-minute hits, she’s ready.
Children’s and sports shows are another hotspot. Jiella Esmat of 8Lions is developing Touch Grass, a football-themed children’s show. The logic is simple: sports and kids content unite families, like global glue.
Then there’s format adaptation. Lu also talked about Nothing But 30, a Chinese series with 7 billion streams. The plan is for an english version in London. Not a straight translation, but a cultural transformation. “‘30’ in London isn’t just words,” Lu says. “It’s a new story.”
Jason Zhang of Stellar Pictures says international audiences respond when culture isn’t just a background prop. Lanterns, flowers, rituals, they’re part of the plot. Cedric Behrel from Trinity CineAsia adds: you need context. Western audiences don’t know Journey to the West, so co-production helps them understand without diluting the story.
Economic sense matters too. Roy Lu stresses: pick your market, make it financially viable. Esmat likens ideal co-productions to a marriage: “Multicultural teams naturally think about what works globally and what doesn’t.”
The UK-China Film Collab’s Future Talent Programme is taking on eight students or recent grads this year. They’re getting the backstage access to international filmmaking that few ever see, including mentorship, festival organising and hands-on experience. Alumni are landing real jobs: accredited festival journalists, Beijing producers, curators at The National Gallery.
Adrian Wootton OBE reminded everyone: “We exist through partnerships, networks, and collaboration.” Yin Xin from Shanghai Media Group noted that tri-annual gathering: London, Shanghai, Hong Kong create an “intensive concentration” of ideas.
Actor-director Zhang Luyi said it best: cultural exchange isn’t telling your story to someone, it’s creating stories together.
The Shanghai-London Screen Industry Forum is no longer just a talking shop. It’s a launchpad, a bridge. And for British-Asian filmmakers and emerging talent, it’s a chance to turn ideas into reality.
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