WHY THE TV STAR AND STAND-UP COMEDIAN ENJOYED WRITING HIS CHILDHOOD MEMOIR
WHETHER it is by hosting a TV show, acting in the hit comedy serial Man Like Mobeen or delivering laughter-filled live sets, Tez Ilyas has found different ways to make people smile.
The popular stand-up comedian has now added to this entertaining mission by releasing his brand-new memoir The Secret Diary of a British Muslim aged 13¾, which mixes up subtle humour with honest emotions. The razor-sharp narrative delves into his life as a teenager growing up in Blackburn in the 1990s, who is caught between the ugly shadow of racism and the traditional values of a Muslim family connected to their roots.
Eastern Eye caught up with Tez Ilyas to discuss his new book, comedy and future plans.
How do you look back on your comedy journey?
With surprise and envy. (Laughs) I wish I could go back, relax and enjoy the journey a bit more. Now that I’ve moved home and especially during the pandemic, it’s so surreal to me what I’ve achieved considering where I come from.
How did you feel about having to postpone your UK tour due to lockdown?
(Laughs) Of course, I am the biggest victim in all this. No, it’s absolutely the right thing to do and we’ve all had to make sacrifices – mine’s not any greater than anyone else’s. And inshallah I’ll be on tour later this year.
What has kept you sane during lockdown?
My family. I have my sisters, nieces and nephews in my bubble and seeing them grow up has been an absolute joy. Oh, and Disney+.
What led you towards writing a memoir?
Timing. The publisher came to me in the first week of lockdown – so this time last year – and offered me the chance to write this book. I had never thought of writing about myself before, but they really sold it to me. So I agreed and here we are.
Tell us about the book...
It’s about my teenage years growing up in Blackburn as a working-class British Pakistani Muslim. It’s written in diary form, in the style of a teenager and it’s very funny, highly informative and pretty moving.
How honest have you been with the details?
(Laughs) Well, honest about myself, as much as I dare, I would say 90 per cent. About other people, about 70 per cent. I’ve tried to remember exactly how I felt about incidents at the time they happened to me and tried to convey how I felt about them then, rather than how I feel about them now. But inevitably, when writing about other people, you have to be balanced and careful – they have their own stories and it’s not always fair to speak for them or about them in mine.
Is there any one event you believe shaped you as a youngster?
I would say out of all the things that shaped my future, the biggest thing was declining a place to attend one of the country’s best grammar schools’ sixth forms and instead going to Blackburn College. That had a huge butterfly effect which shaped my entire life.
What would you say connected you to comedy?
My family. My family is actually hilarious – I would probably scrape into the top three. Top five, definitely. But there are some real characters and wit in my wider family. Actually, just the dry wit of Blackburn is, in of itself, a character. I think everyone in my town is very funny. In terms of performing comedy, nothing really, there were no role models from home whose footsteps I felt like I was following in. Though I am grateful for all the trailblazers that made my path easier to walk on, like Lenny Henry, Felix Dexter, Meera Syal, Sanjeev Bhaskar, Paul Chowdhry.
Is there any one aspect of the book you enjoyed writing most?
Definitely the school stories. Reminiscing about all the dumb stuff I
got up to with friends, how annoying I must have been to my teachers and just how remarkable naïve I was about our world and my place within it. It’s been fascinating looking back at it.
You have had an amazing recent rise. Does that put pressure on you?
A little. To be honest, most of the pressure on me comes from me. I have very high expectations of myself and I feel like if I can get close to my own expectations, hopefully they will exceed that of most of my audiences.
What are you feeling about people reading your book?
It’s so surreal – I’m excited, nervous and apprehensive. I really hope people like it, but you know, other people’s opinions are out of my hands and they are free to think whatever they like about it. But yeah, I’m really looking forward to people reading it.
What kind of books do you enjoy and do you have a favourite?
I enjoy all sorts, to be honest. I was reminiscing a lot during the writing about the books my English teacher made me read in high school. She really smashed it – Roll of Thunder, Hear My Cry; To Kill A Mockingbird; Romeo and Juliet; Macbeth; Brother In The Land; and Of Mice and Men. Since school, among the many others I’ve really loved are 1984; Animal Farm; Lord Of The Flies; Harry Potter; The Hobbit and The Lord of the Rings; A Song of Ice and Fire (the Game of Thrones series); Life of Pi; The Curious Incident of the Dog in the Night Time; The Reluctant Fundamentalist; The Time Traveller’s Wife and His Dark Materials. As you can see, a wide variety.
Would you say you are fearless in your comedy and now with your writing?
What an interesting question. No. No, I’m not. I wish I was more so. I think I tend to push it more than most. But I have my own personal boundaries and those shaped by my culture and community. Basically, my one test is, as long as I can walk around Blackburn (my home town) without the fear of getting smacked, I’m good.
Who is your own comedy hero?
God, so many. If I had to pick one, I would say Dave Chappelle. And interestingly, because I think he is fearless. He might think differently about it. But that’s my impression when I watch him.
Today, what inspires you?
Honestly, just the idea of entertaining people. Not taking it for granted. This last year has shown how quickly circumstances can change and how it can impact all of us. So, everyone who has come through this tough time, out the other side and ready to live their lives, that inspires me, man.
You have explored acting, stand-up comedy, TV shows and writing. What is the next frontier for you to cross?
God, that is a lot, isn’t it? I definitely haven’t finished in any of those areas at all. There’s so much more I would like to do. But, in addition, maybe presenting? Either an entertainment format, travelogue or even voiceover for a really cool show.
What is the best advice you ever got?
Become so good that they can’t ignore you.
What else do you have planned this year?
After my book release, I’m paying full attention to my stand-up tour, which starts in September (tickets available now). I have a couple of projects I’m trying to get off the ground, but can’t say more than that about them, unfortunately.
Why should we pick up your new book?
If you want to read something that will make you laugh, reminisce about the 1990s and a story about a young kid who faced some pretty tough challenges growing up, then this is the book for you.
The Secret Diary of a British Muslim Aged 13 ¾ by Tez Ilyas is published in hardback by Sphere, £16.99
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.