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.
Spain leads a growing boycott movement, with Ireland, the Netherlands and Slovenia also refusing to participate if Israel competes.
The European Broadcasting Union (EBU) is in crisis talks, extending its decision deadline to December 2025.
The situation draws direct comparisons to Russia’s exclusion in 2022, creating a precedent the EBU must now navigate.
The core dilemma pits Eurovision’s non-political ideals against the stark reality of a humanitarian crisis.
The Eurovision Song Contest, that glitter-drenched annual spectacle of pop and unity, is staring into the abyss. The escalating call for a Eurovision boycott over Israel's participation, against the backdrop of the ongoing Gaza conflict, has put the organisers into their most severe political crisis yet. This isn't just about another song entry but a fundamental clash between the contest's cherished apolitical fantasy and the inescapable geopolitics of the real world, threatening to tear the competition apart from within.
Spain announces withdrawal from Eurovision over Israel participation amid growing boycott movement Instagram/eurovision
What is causing the Eurovision 2025–2026 crisis?
The main trigger is Israel’s ongoing military campaign in Gaza. Casualty figures reported by the Hamas-run Gaza Health Ministry exceed 64,000 Palestinians by September 2025, drawing international scrutiny. Several European countries argue that Israel’s presence in a major cultural event like Eurovision would appear to normalise the humanitarian crisis. On the other hand, Israel insists participation is purely cultural and unrelated to politics.
What countries are boycotting Eurovision over Israel?
So, which nations are taking this stance? The movement gained its most significant momentum with Spain's announcement. Its public broadcaster, RTVE, issued a decisive statement, confirming an overwhelming vote to withdraw. The organisation cited Israel's military actions in Gaza and stated it could not, in good conscience, "look the other way." This move is particularly consequential as Spain is one of the "Big Five" major financial contributors to the contest.
They were swiftly followed by Ireland’s RTÉ, which deemed participation "unconscionable" given the situation in Gaza. Public broadcasters in the Netherlands and Slovenia subsequently aligned with similar positions. Iceland's broadcaster has also indicated it is considering its position, formally "reserving the right" to withdraw. This is not a peripheral protest but a movement emerging from within the contest's core European membership, raising questions about which other countries may follow.
How is the EBU handling the Eurovision boycott calls?
The European Broadcasting Union faces an immense challenge. Its standard operating procedure of promoting unity through music appears insufficient for this geopolitical dilemma. The gravity of the situation can be seen in its unprecedented decision to delay the standard deadline for participation confirmations to mid-December 2025. This extension is dedicated to extensive consultation with all member unions in an effort to find a viable resolution that preserves the contest's integrity.
Concurrently, the EBU has been forced to publicly deny reports from Israeli media outlets suggesting it had advised Israel to withdraw voluntarily to avoid a "humiliating elimination," calling these claims false.
Is this Eurovision situation similar to Russia's exclusion?
This comparison forms the crux of the debate for many. The 2022 exclusion of Russia following its invasion of Ukraine established a clear precedent; the EBU justified its decision by stating Russia's participation would "bring the competition into disrepute."
Boycott advocates now argue that the same standard must be applied consistently, questioning why Israel's actions in Gaza do not merit an identical response. The EBU will likely attempt to differentiate the cases based on nuanced legalities of membership and the operational independence of the respective national broadcasters. However, in the court of public and political opinion, the perception of a double standard is a significant threat to the EBU's credibility.
What are the arguments for and against the boycott?
Proponents of the boycott base their position on principles of human rights and conscience. They stress the extensive civilian casualty figures reported by authorities in Gaza, alongside assessments from UN agencies, to argue that Israel’s inclusion on a cultural platform constitutes a form of normalisation of the ongoing conflict.
Conversely, opponents of a boycott contend that cultural events must remain separate from political disputes. They caution that excluding a nation’s artists could veer into prejudice and stress that the Israeli broadcaster, Kan, operates with editorial independence, unlike the state-controlled media of Russia. There is no clear, unambiguous resolution that will satisfy all parties.
What happens if Israel is allowed to compete in Eurovision 2026?
Should the EBU permit Israel's participation, an immediate and consequential withdrawal of several key members is all but certain. The loss of Spain, a major funder, would represent a serious financial and credibility blow. The subsequent absence of Ireland, the Netherlands, Slovenia, and potentially others would noticeably diminish the contest's scale and diversity.
Furthermore, the event itself would likely become a focal point for large-scale protests, potentially disrupting the broadcast and overshadowing the musical competition, further alienating segments of its global audience.
What happens if Israel is excluded from Eurovision?
An exclusion would trigger a different but equally severe crisis for the EBU. It would face vehement accusations of hypocrisy and double standards, particularly from Israel and its allies. The move could prompt legal challenges and potentially lead to Israel's permanent withdrawal from the union.
It would also establish a new and far-reaching precedent for excluding countries involved in international conflicts, fundamentally transforming Eurovision from an inclusive cultural space into an institution that makes overt political judgements.
The future is decidedly uncertain. The EBU is confronted with a dilemma where any decision carries significant negative consequences. The upcoming General Assembly in December is going to be a tense and potentially historic meeting. While some have speculated about a compromise, such as Israel participating under a neutral banner, the EBU has denied pursuing this option.
The underlying truth is that Eurovision has always been intertwined with politics, from historical participation under authoritarian regimes to contemporary voting blocs. The current crisis has simply stripped away the glittering façade, forcing a direct confrontation with this reality. The contest's future will depend on navigating a path that may not exist, balancing its ideals against an increasingly polarised world.
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The discovery coincides with Bradford’s City of Culture celebrations
Research for the World Curry Festival uncovered evidence of a curry house in Bradford in 1942.
Cafe Nasim, later called The Bengal Restaurant, is thought to be the city’s first.
The discovery coincides with Bradford’s City of Culture celebrations.
Festival events will include theatre, lectures, and a street food market.
Historic discovery in Bradford’s food heritage
Bradford’s claim as the curry capital of Britain has gained new historical depth. Organisers of the World Curry Festival have uncovered evidence that the city’s first curry house opened in 1942.
Documents revealed that Cafe Nasim, later renamed The Bengal Restaurant, once stood on the site of the current Kashmir Restaurant on Morley Street. Researcher David Pendleton identified an advert for the cafe in the Yorkshire Observer dated December 1942, describing it as “Bradford’s First Indian Restaurant”.
Festival organisers confirm findings
Festival founder Zulfi Karim said the discovery ended long-standing debate over which was Bradford’s first curry house. For years, different establishments had laid claim to the title, including restaurants from the 1950s and the Sweet Centre in 1964.
“This was during the Second World War, so it’s hard to imagine what ingredients they had access to with rationing,” Mr Karim said. “Even the current owner of Kashmir Restaurant thought it only went back to the 1950s.”
Bangladeshi roots of curry in Britain
Mr Karim highlighted the role of Bangladeshi immigrants in establishing Britain’s curry houses, noting that many early arrivals to the UK were former Navy workers. “That’s 80 years plus now since we’ve had a curry house in Bradford and that’s a huge story,” he added.
World Curry Festival 2025
The festival, first launched in Leeds in 2008, is being held in Bradford this year as part of the City of Culture 2025 celebrations. Running from 15–29 September, it will feature a mix of food, culture and performance.
Highlights include:
Theatre of Curry: A staged reading of Balti Kings (1999) by Sudha Bhuchar and Shaheen Khan, with curry served during the interval.
Supper club experiences.
Talks by Dr Amir Khan on nutrition and preserving authentic recipes.
Preserving the future of curry
Mr Karim stressed the importance of supporting the industry, which faces challenges due to a shortage of new talent.
“We need to keep it local, keep it authentic, and encourage people to enjoy it but also learn to cook at home,” he said.
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Princess Karam of Kapurthala, photographed by Cecil Beaton in 1935
A FAMOUS photograph taken by Cecil Beaton of an Indian princess features in an exhibition of his work, Fashionable World, at the National Portrait Gallery.
Beaten made his name by taking pictures of the English upper classes and also Hollywood stars, but some of his most striking – and evocative – images are of Indian royalty.
One taken in 1935 was of Sita Devi, Princess Karmajit of Kapurthala, who was also known as Princess Karam and eulogised as “the Pearl of India”.
She was the muse of several photographers, including Beaton, and considered “one of the most beautiful women in the world”. Born into the Hindu Rajput royal family of Kashipur in 1915, she embarked on a remarkable journey at the age of 13 when she married Prince Karamjit Singh, the younger son of Maharajah Jagatjit Singh I of Kapurthala in Punjab. She died in 2002.
According to one report, “her frequent visits to Paris saw her rubbing shoulders with the crème de la crème of European society, enchanting the Parisian elite with her exquisite blend of traditional Indian elegance and European haute couture. Her sartorial choices were a seamless fusion of her royal Indian heritage and the avant-garde fashion of Paris, making her a muse for esteemed designers like Mainbocher and Madame Grès. She effortlessly carried saris with the same grace as she did the luxurious gowns and fur coats designed by these fashion legends, often accessorised with jewels from Cartier and Boucheron.
“At the age of 19, Vogue hailed her as a ‘secular goddess’, a title that reflected her transcendent appeal and impeccable fashion sense. Her influence extended beyond borders, captivating the imagination of the Italian designer Elsa Schiaparelli, who was so inspired by the princess’s saris that she dedicated her 1935 collection to them. This collection was a homage to the traditional Indian garment, reimagined through the lens of European haute couture. Schiaparelli’s designs captured the fluidity and grace of the sari, while infusing it with the avantgarde spirit of the time, thus bridging two distinct cultural aesthetics. The princess’s impact on the fashion world was profound, as she brought the elegance of Indian attire to the forefront of the Parisian fashion scene, influencing styles and trends across continents.”
Gayatri Devi, Maharani of Jaipur at Rambagh Palace
Fashionable World will be the first exhibition to exclusively explore Beaton’s pioneering contributions to fashion photography. “From Hollywood stars and titans of art, to high society and royalty, the exhibition will feature portraits of some of the twentieth century’s most iconic figures, including Marilyn Monroe, Audrey Hepburn, Elizabeth Taylor and Marlon Brando; Queen Elizabeth II and Princess Margaret; as well as Lucian Freud, Francis Bacon and Salvador Dalí,” the NPG has announced.
The exhibition is curated by photographic historian and contributing editor to Vogue, Robin Muir.
In 2020, he curated another Beaton exhibition, Bright Young Things, at the NPG but this had to be closed because of the pandemic. That, too, had a photograph of Princess Karamjit.
The caption to her photograph then read: “A fixture on the social scene in the pre-war years, the Princess was in demand, frequently for jewellery stories, not least because her husband commissioned extravagant pieces from Cartier and Van Cleef and Arpels. Cecil photographed her in diamond bracelet by Cartier, emblazoned with an emerald, which he recalled, was ‘the size of a small fruit’. The princess’s credentials as a style leader were cemented when (Italian fashion designer) Elsa Schiaparelli based a collection on her colourful saris.”
She also merited a whole page in the 2020 catalogue which explained: “Beaton had been transfixed by one Indian in particular, the beautiful Sita Devi, Princess Karam of Kapurthala.
“Her mondaine chic inspired Ira Gershwin’s lyrics to Maharanee(A Night at the Races in Paris), a number from the Broadway revue, The Ziegfield Follies of 1936.”
The lyrics went: Even if you were just half as sweet, /It would still be like heaven to meet/Such a gay Maharanee/Paris is at your feet!
Fashionable World, which will open next month, will display around 250 items, including photographs, letters, sketches and costumes.
Muir commented: “Cecil Beaton needs little introduction as a photographer, fashion illustrator, triple Oscar-winning costume designer, social caricaturist, elegant writer of essays and occasionally waspish diaries, stylist, decorator, dandy and party goer. Beaton’s impact spans the worlds of fashion, photography and design. Unquestionably one of the leading visionary forces of the British twentieth century, he also made a lasting contribution to the artistic lives of New York, Paris and Hollywood.”
Victoria Siddall, director of the NPG, pointed out: “The National Portrait Gallery has a long and distinguished history with Cecil Beaton. His work was the subject of the NPG’s first dedicated photography exhibition in 1968, made in collaboration with Beaton himself, as well as being the first solo survey accorded any living photographer in any national museum in Britain. We are honoured to be working with Vogue’s Robin Muir, whose exhaustive research, vision and flair will guide us through Beaton’s innovative and storied influences on the fashion world.”
Actress Elizabeth Taylor, 1955
The exhibition catalogue will explain why “Cecil Beaton (1904–1980) was an extraordinary force in the 20th century British and American creative scenes. Renowned as a fashion illustrator, Oscarwinning costume designer, social caricaturist, essayist, and decorated writer, Beaton’s impact spans the worlds of fashion, photography, and design.”
The NPG added, “Known as ‘The King of Vogue’, he elevated fashion and portrait photography into an art form. His eradefining photographs captured beauty, glamour, and star power in the interwar and early post-war eras.
“Through several interwoven themes, the world of Cecil Beaton will be examined in detail. The exhibition will follow Beaton’s career from its inception, as a child of the Edwardian era experimenting with his first camera on his earliest subjects, his two sisters and mother (c. 1910), his years of invention and creativity as a student at Cambridge University, to his first images of the high society patrons who put him on the map. Including Stephen Tennant and the Sitwell siblings.
“The exhibition will journey through the London of the 1920s and 1930s, the era of the Bright Young Things and Beaton’s first commissions for his greatest patron, Vogue, to his travels to New York and Paris in the Jazz Age. Drawn to its glamour and star wattage, Beaton photographed the legends of Hollywood in its Golden Age. Cecil Beaton’s first royal photographs appeared in the late 1930s. As the Second World War loomed, he defined the notion of the monarchy for a modern age. Appointed an official war photographer by the Ministry of Information, his wartime service took him around the globe.
Beaton at the opening of his painting exhibition in London, 1966
“The war’s end ushered in a new era of elegance and Beaton captured the high fashion brilliance of the 1950s in vivid, glorious colour. The exhibition will end with what many consider his greatest triumph and by which he is likely best known: the costumes and sets for the musical My Fair Lady, on stage and later on screen.
“Almost entirely self-taught, Beaton established a singular photographic style; a marriage of Edwardian stage portraiture, emerging European surrealism and the modernist approach of the great American photographers of the era, all filtered through a determinedly English sensibility.”
In India he also photographed Gayatri Devi, the Maharani of Jaipur; the Maharani of Pratapgarh, Chimnabai II; and Maharani Kusum Kunwarba of Chhota Udepur in Gujarat.
Photographing Indian royals helped Beaton obscure his own middle-class origins, which greatly embarrassed the photographer. In 1923, he admitted: “I don’t want people to know me as I really am, but as I am trying and pretending to be.”
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Through abstract forms, bold colour, and layered compositions
Fragments of Belonging is Nitin Ganatra’s first solo exhibition
Opens Saturday, September 27, at London Art Exchange in Soho Square
Show explores themes of memory, displacement, identity, and reinvention
Runs from 3:30 PM to 9:00 PM, doors open at 3:15 PM
From screen to canvas
Actor Nitin Ganatra, known for his roles in EastEnders, Bride & Prejudice, and Charlie and the Chocolate Factory, is embarking on a new artistic chapter with his debut solo exhibition.
Titled Fragments of Belonging, the show marks his transition from performance to painting, presenting a deeply personal series of works at the London Art Exchange in Soho Square on September 27.
Exploring memory and identity
Through abstract forms, bold colour, and layered compositions, Ganatra’s paintings reflect themes of memory, displacement, and cultural inheritance. The exhibition has been described as a “visual diary,” with each piece representing fragments of lived experience shaped by migration and reinvention.
What visitors can expect
The exhibition will showcase original paintings alongside Ganatra’s personal reflections on identity and belonging. The London Art Exchange promises an intimate setting in the heart of Soho, where visitors can engage with the artist’s work and connect with fellow creatives, collectors, and fans.
The event runs from 3:30 PM to 9:00 PM on September 27, and is open to all ages.
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£1 tickets available for families receiving Universal Credit
The Peter Rabbit™ Adventure runs at Hampton Court Palace from 25 July to 7 September 2025
Trail includes interactive games, riddles and character encounters across the gardens
Children can meet a larger-than-life Peter Rabbit in the Kitchen Garden
Special themed menu items available at the Tiltyard Café
£1 tickets available for families receiving Universal Credit and other benefits
Peter Rabbit comes to life at Hampton Court
This summer, families visiting Hampton Court Palace can step into the world of Beatrix Potter as The Peter Rabbit™ Adventure takes over the palace gardens from 25 July to 7 September 2025.
Explore the Kitchen Garden, Tiltyard and WildernessHRP
The family trail, officially licensed by Penguin Ventures on behalf of Frederick Warne & Co., combines the palace’s historic gardens with the much-loved tales of Beatrix Potter. Visitors will encounter interactive activities, puzzles and games while exploring the Kitchen Garden, Tiltyard and Wilderness.
Interactive activities and wildlife learning
Along the trail, children can try Mrs Tiggy-winkle’s washing equipment to make music, search for Peter Rabbit under wheelbarrows, or test their hopping skills alongside Beatrix Potter’s characters.
The experience also highlights Potter’s role as a committed environmentalist. Young visitors are encouraged to look for real wildlife such as hedgehogs, squirrels and toads while learning about habitats and conservation in the palace grounds.
Children can meet a larger-than-life Peter Rabbit HRP
Meet Peter Rabbit and enjoy themed treats
Peter Rabbit himself will make appearances in the Kitchen Garden at set times each day, where families can take photos among the seasonal produce. Fresh fruit and vegetables grown in the gardens will feature in special Peter Rabbit™ menu items at the Tiltyard Café.
After completing the trail, children can also explore the Magic Garden playground or visit Henry VIII’s Kitchens inside the palace, where live cookery demonstrations take place each weekend.
Tickets and access
The Peter Rabbit™ Adventure is included in general admission:
Off-peak (weekdays and bank holidays): Adults £27.20, Children (5–15) £13.60, Concessions £21.80
Peak (weekends and events): Adults £30.00, Children £15.00, Concessions £24.00
HRP Members go free
Families in receipt of Universal Credit and other means-tested benefits can access £1 tickets throughout the summer (advance booking required).
Membership offers unlimited visits to Hampton Court Palace and other Historic Royal Palaces sites, including seasonal events such as the Hampton Court Palace Food Festival and Henry VIII’s Joust.