THE question of pop legend Sir Cliff Richard’s origins in India came up when he was a guest on Desert Island Discs last Sunday (20) – just as it had when he first appeared on the popular BBC Radio 4 show on October 31, 1960.
Then he had just turned 20. Now he was 80 and a knight of the realm. It is the story of a boy from India made good – and also how Britain has changed in six decades from a white country to a multicultural society.
The show’s host Lauren Laverne told listeners last Sunday: “He’s been cast away on Desert Island Discs once before, some 60 years ago.
“Back then, he told presenter Roy Plomley he was celebrating the fact that he just left his teens and the 10 singles he had released had all been chart hits.
“He’s released more than 100 albums, sold well over 250 million records, and is the only British artist to score number ones in five consecutive decades. And 60 years in the spotlight have earned him a special place in British popular culture.”
Turning to the singer, she said: “You were born Harry Rodger Webb in Lucknow in what was then British India in (October) 1940. And your father Rodger was manager of a catering company that serviced the Indian railways. What do you remember about your early years there?”
He replied: “I left there when I was still seven. I had my eighth birthday in England. It’s childhood memories, but the ones I remember – I mean independence had come in 1947. And there was a kind of civil war kicking off. So I can remember that, you know, being in bed and thinking, ‘Boy, there’s a bang, bang.’”
During his first appearance on Desert Island Discs he was interrogated by Plomley, the programme’s creator who had the intimidating upper-class accent BBC presenters had in those days.
Asked about his origins, he said: “I was born in Lucknow in India although we were not very long there – just a few weeks. My mother and father moved house and we lived in Howrah which is just outside Calcutta (now Kolkata). We came back to England in September 1948.”
But “back” was not an entirely accurate word to use, because neither he nor his parents or grandparents had set foot in England before.
Laverne said: “Moving from India to England as a child was challenging…. They had had a very comfortable life in India, but Sir Cliff’s father couldn’t find work on his return, and had four children to support.”
The singer recalled: “We arrived with £5… I think it’s worth about £200 now… I can remember three main meals a week were a soup bowl with two slices of toast with tea poured over it. Milky tea and sugar sprinkled on it.”
At one point, the family of six – his parents plus their four children – shared a single room in Waltham Cross in Hertfordshire before getting a small council flat in nearby Cheshunt. In comparison, that “felt like a palace”, he said.
“Even now speaking about it, I’m so grateful to have gone through that. It makes you much more thankful and grateful for what’s happening now. I mean, how I live now…. I wake up in Barbados and open the curtains and think, ‘how did I get here?’”
His father, who had backed Sir Cliff’s decision to become a pop singer, died aged just 56. “It was a heart-breaking time for me. My dad missed the best. He was so fast and hard behind me all the way through that I feel sometimes horribly angry he died too early. He missed the first number one, he missed the knighthood. My father would have loved to see me be knighted. I miss my dad still.”
In 1960, Britain was a less tolerant country when an ambitious pop singer would have skirted over his Indian connections – or that he was probably “Anglo-Indian”, with “Indian blood” somewhere in his ancestry.
The prime minister of the day was a patrician Harold Macmillan. The Queen, then 34, had given birth to her third child, Prince Andrew. The Times newspaper abandoned the term “Imperial and Foreign News” in favour of “Overseas News”.
Wolverhampton Wanderers FC won the FA Cup and Nigeria its independence; and the first episode of Coronation Street, made by Granada Television in Manchester, aired on ITV.
In the high court, Penguin Books was found not guilty of obscenity after publishing DH Lawrence’s Lady Chatterley’s Lover, which sold 200,000 copies in a single day.
In 2013, showbiz journalist Steve Turner, who had published Cliff Richard: The Biography in 1993, went back to India to trace his subject’s roots. He wrote: “The star – real name Harry Rodger Webb – was born in the city of Lucknow in October 1940, the son of Rodger and Dorothy Webb. His parents had also been born and raised in India, and the family spent their final few years in Howrah before coming to England in 1948, shortly after India gained its independence.”
Turner noted that “nothing has been presented about how his parents, Rodger and Dorothy Marie, came to be in the subcontinent in the first place, and there have been the sketchiest descriptions of his grandparents.
“Perhaps because of this, it has often been rumoured that Cliff’s dark good looks are due his mixed race. When he was a teenager in Cheshunt, the question for his friends was not whether he had Indian blood, but from which parent it came. Most of them plumped for Mrs Webb because she was most like Cliff in appearance and had the same darker tone... It’s possible some of his great-great-grandparents never knew any country other than India….”
In the biography, Turner also disclosed that Harry was subjected to racist bullying at school.
At Stanley Park Road Junior School, “he learned for the first time that he didn’t have the milky-white skin that most English-born had during the winter. His deep tan hadn’t stood out in India. In fact, there he had been the ‘white boy’.
“But here in south-west London, where very few children had ever seen a person who wasn’t white, he was thought exotic. The difference was accentuated by his Anglo-Indian accent.
“To this day there are those in Carshalton who are convinced he is part Indian.”
Last Sunday, when Laverne asked Sir Cliff about the BBC filming the police raid on his Berkshire home in 2014 on “historic sex abuse allegations” – he was never charged and also won his case against the police and the BBC – he revealed: “I felt my knees give, my legs gave way and I collapsed on the floor….I didn’t faint, but I couldn’t stand up. And I found myself absolutely weeping like a child.
“I was never suicidal. But I thought a couple of times I might die because I used to wake up with my pulses, you know, on your wrist, the head, the heart, thumping like crazy. And I’m thinking I don’t want to kill myself. But this could kill me.
“But I survived it all. And that’s the main thing for me, and I’m past it now. And I don’t think I’ll ever get over it, though. It’s not something that you can wipe from your memory.”
Across 60 years, out of his eight chosen records, Sir Cliff had one in common – Heartbreak Hotel by Elvis Presley, who he said had inspired him to become a pop singer in the first place.
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.