Ravi Shankar: 1920-2012

The world famous sitar player and composer dies at the age of 92.

Ravi Shankar, who has died at the age of 92 after undergoing surgery last week, was known as the sitar player who introduced classical Indian music to many parts of the world. Throughout his ascent to a world music superstar, he played and promoted the sitar.

During his musical career, he won several Grammy Awards and introduced the Beatles to Indian sounds which had a profound impact on their music. George Harrison called him the “godfather of world music”. After working with Harrison in 1966, the composer was labelled the ‘fifth Beatle’ in India and in a Guardian interview last year, the humble musician said he didn’t like being recognised. “I became like a pop star myself.”

But fame and success in the west followed his collaboration with violinist Yehudi Menuhin in 1967 on their critically acclaimed album, West Meets East, which won a grammy award the follwing year.

Ravindra Shankar – in Bengali, Robindro Shaunkar – Chowdhury was born in April 1920 in the holy city of Benares, now Varanasi. He was the youngest of five boys born to a Bengali Brahmins family who came from Jessore, now in Bangladesh. His father, a successful lawyer, stayed in India when the family moved to Paris to follow Ravi’s eldest brother who set up a classical Indian dance troupe to give performances in the west. The musician joined his brother’s group after his mother and brothers moved in 1930. Although he began as a dancer, he gradually became more interested in music.

Tributes have been pouring in for the musician. A.R Rahman, the Grammy-winning composer, said "Indian Classical Music has lost its chief ambassador … May God bless his soul." Indian prime minister, Dr Manmohan Singh said he was a "national treasure and global ambassador of India's cultural heritage...The nation joins me to pay tributes to his unsurpassable genius, his art and his humility”.

Only five weeks ago the sitar player was performing, often accompanied by his daughter Anoushka. Music flowed through the family’s veins - another of his daughters from a previous relationship is Norah Jones, the American folk and jazz singer. Speaking about his death, Norah told Wall Street Journal's Speakeasy her father’s music “touched millions of people. He will be greatly missed by me and music lovers everywhere”.

Indian musician Ravi Shankar salutes the audience as he performs on June 4 2008 during a concert at London's Barbican centre. Photograph: Shaun Curry/AFP/Getty Images
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Would the BBC's Nazi drama SS-GB have felt half so resonant a year ago?

This alternate history is freighted with meaning now we're facing the wurst-case scenario. 

Would SS-GB have felt half so resonant a year ago? Though the clever-after-the-fact Nostradamus types out there might disagree, I can’t believe that it would. When it comes to the Second World War, after all, the present has helpfully stepped in where memory is just beginning to leave off. The EU, in the process of fragmenting, is now more than ever powerless to act in the matter of rogue states, even among its own membership. In case you hadn’t noticed, Hungary, for instance, is already operating as a kind of proto-fascist state, led by Viktor Orbán, a man whom Jean-Claude Juncker, the president of the European Commission, jokingly likes to call “the dictator” – and where it goes, doubtless others will soon follow.

The series (Sundays, 9pm), adapted from Len Deighton’s novel, is set in 1941 in a Britain under Nazi occupation; Winston Churchill has been executed and the resistance is struggling to hold on to its last strongholds in the countryside. Sam Riley plays Douglas Archer, a detective at Scotland Yard, now under the control of the SS, and a character who appears in almost every scene. Riley has, for an actor, a somewhat unexpressive face, beautiful but unreadable. Here, however, his downturned mouth and impassive cheekbones are perfect: Archer, after all, operates (by which I mean, barely operates) in a world in which no one wants to give their true feelings away, whether to their landlady, their lover, or their boss, newly arrived from Himmler’s office and as Protestant as all hell (he hasn’t used the word “degenerate” yet, but he will, he will).

Archer is, of course, an ambiguous figure, neither (at present) a member of the resistance nor (we gather) a fully committed collaborator. He is – or so he tells himself – merely doing his job, biding his time until those braver or more foolhardy do something to restore the old order. Widowed, he has a small boy to bring up. Yet how long he can inhabit this dubious middle ground remains to be seen. Oskar Huth (Lars Eidinger), the new boss, is keen to finish off the resistance; the resistance, in turn, is determined to persuade Archer to join its cause.

It’s hard to find fault with the series; for the next month, I am going to look forward to Sunday nights mightily. I would, I suppose, have hoped for a slightly more charismatic actress than Kate Bosworth to play Barbara Barga, the American journalist who may or may not be involved with the British resistance. But everything else seems pretty perfect to me. London looks suitably dirty and its inhabitants’ meals suitably exiguous. Happiness is an extra egg for tea, smoking is practically a profession, and
the likes of Archer wear thick, white vests.

Swastikas adorn everything from the Palace of Westminster to Trafalgar Square, Buckingham Palace is half ruined, a memorial to what the Germans regard as Churchill’s folly, and the CGI is good enough for the sight of all these things to induce your heart to ache briefly. Nazi brutality is depicted here as almost quotidian – and doubtless it once was to some. Huth’s determination to have four new telephone lines installed in his office within the hour is at one end of this horrible ordinariness. At the other is the box in which Archer’s mutinous secretary Sylvia (Maeve Dermody) furiously stubs out her fag, full to the brim with yellow stars.

When I first heard about The Kettering Incident (Tuesdays, 12.20am; repeated Wednesdays, 10pm) I thought someone must have found out about that thing that happened one time I was driving north on the M1 with a more-than-usually terrible hangover. Turns out it’s a new Australian drama, which comes to us on Sky Atlantic. Anna (Elizabeth Debicki), a doctor working in London, pitches up back in Tasmania many years after her teenage friend Gillian disappeared into its Kettering forest, having seen a load of mysterious bright lights. Was Gillian abducted by aliens or was she, as some local people believe, murdered by Anna? To be honest, she could be working as a roadie for Kylie, for all I care. This ponderous, derivative show is what happens when a writer sacrifices character on the altar of plot. The more the plot thickens, the more jaw-achingly tedious it becomes.

Rachel Cooke trained as a reporter on The Sunday Times. She is now a writer at The Observer. In the 2006 British Press Awards, she was named Interviewer of the Year.

This article first appeared in the 24 February 2017 issue of the New Statesman, The world after Brexit