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British Food and Music Shine at Tokyo Embassy

British Food and Music Shine at Tokyo Embassy

Japan Forward19-06-2025
The British Embassy in Tokyo came alive on June 12 with the sounds, scents, and flavors of the United Kingdom at British Beats and Bites – A Celebration of UK Food, Drink and Culture. The event brought together diplomats, entrepreneurs, creatives, and media for an immersive cultural experience centered on the UK's evolving identity as a food and music powerhouse.
Hosted in the elegant setting of the British Ambassador's residence, the evening showcased everything from classic British cuisine to artisanal drinks. It culminated in a Britpop-infused DJ set by none other than Alex James, the former bassist of Blur and now an ambassador for British food and drink.
Opening the evening was Emil Levendoglu, Minister and Deputy Head of Mission, who welcomed guests with warmth and humor. "It's a great pleasure to be welcoming you to a celebration of British food, drink, creativity — and, it turns out, cocktails," he said.
Levendoglu described the modern British food scene as "bold, diverse, and globally inspired," noting how it has been shaped by the many cultures that make up contemporary Britain. "From Michelin-starred restaurants to buzzing food markets, our chefs and producers are constantly blending tradition with new ideas," he said, drawing a parallel with Japan's own culinary culture.
Beyond food, Levendoglu emphasized the strong cultural ties between the UK and Japan. "This evening is also about the deep and enduring friendship between the UK and Japan, and the cultural ties that bind us together. Not just in food, but also in music, art, and creativity."
Those cultural ties came to to life with the presence of Alex James, a man who embodies the crossover between British music and British food. Introduced by Levendoglu as "a very special guest" and "a passionate advocate for British food and drink," James brought not only nostalgia for his days in Blur but a sense of fun and reinvention. Blur bassist Alex James (©JAPAN Forward)
Before his DJ set, James offered a heartfelt toast. "I really am delighted to be in Japan again with my family," he said. "And this time I'm not here as a musician — I'm here as a champion of UK food and drink."
He went on to share how meaningful it was to see Japanese guests trying his own product, Brittle Pop, for the first time. "Hopefully, we've managed to get people thinking differently and created some new fans of UK food and drink."
The crowd greeted the toast, "To the UK, and to Japan, and to food, and to drink, and to music," with a resounding "Kanpai!"
Guests were treated to passed canapés like cold-smoked Scottish salmon on buttered toast, vol-au-vents filled with mushrooms, and bite-sized omelettes made with organic vegetables. Heartier fare included a shepherd's pie station, chicken curry, and roast beef served with ratatouille and gravy. Each dish offered a distinct window into the culinary identity of the UK.
The sushi station, featuring kappamaki (thin sushi roll filled with cucumber) and tuna rolls, was a nod to the host country while underscoring the cross-cultural spirit of the evening. For cheese lovers, a curated selection featuring Wales' creamy Perl Las and England's Shropshire Blue, vintage cheddar, and Rutland Red added a tangy punch to the tasting experience. British cuisine at British Beats and Bites (©JAPAN Forward)
Drinks reflected the diversity of the UK's four nations, with a showcase of gins and whiskies from England, Wales, Scotland, and Northern Ireland. Signature cocktails made with spirits from all four nations added flair to the evening, while Belvoir soft drinks provided a refreshing non-alcoholic option.
Desserts, including whisky-infused chocolate squares, blueberry custard tarts, and raspberry macarons, were passed around as the party reached its peak. To end on a sweet note, guests were gifted Ben's Cookies, while the afternoon tea photo booth, set with Wedgwood ceramics, offered a playful tribute to a timeless British tradition.
Adding another layer of momentum to the evening, Rupert Daniels, Director of Services for the UK's Department of Business and Trade, likened the event to a band's tour. Tokyo, he said, was just the first stop before the team traveled to Osaka for a showcase at the UK Pavilion at Expo 2025.
"You're really lucky — you're seeing the first night of the band on tour," he said.
Daniels, who first came to Japan during the 2002 World Cup, spoke fondly of the shared passions that unite both countries. "The two things that brought everyone together, particularly from the UK and our wonderful Japanese hosts, were music, food, and drink, which is exactly what we're celebrating tonight."
He also urged guests to explore and interact with the variety of UK producers represented at the event. "There are 15 or 16 different producers here tonight — from sparkling wine to whisky to wonderful confectionery. Go talk to someone you've never met before. Try something new. Let's keep this cultural interchange going strong." Bar at British Beats and Bites (©JAPAN Forward)
While the event had all the hallmarks of successful public diplomacy, soft power through food, cultural nostalgia, and personal storytelling, it was ultimately about connection. It celebrated the human dimension of trade, creativity, and shared tastes.
From signature dishes to sampling stations, from Britpop classics echoing across embassy halls to toasts of sparkling Brittle Pop, British Beats and Bites was more than a showcase — it was a shared table.
As the evening continued under Tokyo's early summer skies, with glasses clinking and voices mingling, one thing was clear. The bonds between the UK and Japan are as much about what's on the plates, or in the speakers, as they are about politics or policy.
Author: Daniel Manning
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Cleo Laine, singer, actress and British ‘national treasure,' dies at 97
Cleo Laine, singer, actress and British ‘national treasure,' dies at 97

Toronto Sun

time2 days ago

  • Toronto Sun

Cleo Laine, singer, actress and British ‘national treasure,' dies at 97

Published Jul 25, 2025 • 7 minute read Cleo Laine performs at the Jazz Festival at Confederation Park in Ottawa is this file photo. Photo by file photo / Postmedia Network Reviews and recommendations are unbiased and products are independently selected. Postmedia may earn an affiliate commission from purchases made through links on this page. This advertisement has not loaded yet, but your article continues below. THIS CONTENT IS RESERVED FOR SUBSCRIBERS ONLY Subscribe now to read the latest news in your city and across Canada. Unlimited online access to articles from across Canada with one account. Get exclusive access to the Toronto Sun ePaper, an electronic replica of the print edition that you can share, download and comment on. Enjoy insights and behind-the-scenes analysis from our award-winning journalists. Support local journalists and the next generation of journalists. Daily puzzles including the New York Times Crossword. SUBSCRIBE TO UNLOCK MORE ARTICLES Subscribe now to read the latest news in your city and across Canada. Unlimited online access to articles from across Canada with one account. Get exclusive access to the Toronto Sun ePaper, an electronic replica of the print edition that you can share, download and comment on. Enjoy insights and behind-the-scenes analysis from our award-winning journalists. Support local journalists and the next generation of journalists. Daily puzzles including the New York Times Crossword. REGISTER / SIGN IN TO UNLOCK MORE ARTICLES Create an account or sign in to continue with your reading experience. Access articles from across Canada with one account. Share your thoughts and join the conversation in the comments. Enjoy additional articles per month. Get email updates from your favourite authors. THIS ARTICLE IS FREE TO READ REGISTER TO UNLOCK. Create an account or sign in to continue with your reading experience. Access articles from across Canada with one account Share your thoughts and join the conversation in the comments Enjoy additional articles per month Get email updates from your favourite authors Don't have an account? Create Account Cleo Laine, an English singer who moved easily among musical genres with a dazzling vocal range of almost five octaves and who nurtured a dual career as an actress, performing in musicals and dramatic roles during a career of more than six decades, died July 24. She was 97. Her death was announced in a statement from Monica Ferguson, the chief executive and artistic director of the Stables, a British arts centre founded by Laine and her husband, John Dankworth. Laine began performing in London jazz clubs in the early 1950s, working alongside Dankworth, a saxophonist. After they married, they formed Britain's royal couple of jazz, winning acclaim for performances that combined bebop with baroque music and the blues. This advertisement has not loaded yet, but your article continues below. Nothing if not eclectic, Laine remains the only female singer to be nominated for Grammy Awards in the pop, classical and jazz categories, which she accomplished in successive years in the 1970s. She was the first – and still the only – British singer to receive a Grammy for best jazz vocal performance, when she won for her 1983 album 'Cleo at Carnegie: The 10th Anniversary Concert.' Her repertoire encompassed the saucy lyrics of British playwright and composer Noël Coward, the poetry of John Donne and T.S. Eliot, standards by Duke Ellington and George Gershwin, and even Shakespeare's sonnets, which were worked into jazz compositions by Dankworth. A concert by Laine was likely to have a 19th-century German art song by Robert Schumann followed by a tune by Stephen Sondheim or Fats Waller. Laine, who rarely appeared without Dankworth at her side as her musical director, made dozens of recordings, including albums with classical guitarist John Williams and flutist James Galway. She recorded songs from 'Porgy and Bess' with Ray Charles. Her parallel career as a theatre actress informed the dramatic flair she brought to her singing. Your noon-hour look at what's happening in Toronto and beyond. By signing up you consent to receive the above newsletter from Postmedia Network Inc. Please try again This advertisement has not loaded yet, but your article continues below. 'I'm a cabaret singer wherever I am,' she once told The Washington Post . 'I think it's a part of me that the words are very important, much more so than improvisation. I think that the drama of a song is a lot more important than oobly-shoobling all over the place.' In 1961, she had a song in the Top 5 on the British pop chart ('You'll Answer to Me'), appeared as a nightclub singer in the film 'The Roman Spring of Mrs. Stone' and received glowing reviews for her performance at an Edinburgh arts festival when she filled in at the last minute for Lotte Lenya in 'The Seven Deadly Sins,' a theatrical piece with music and dance by Lenya's husband, Kurt Weill. The following year, Laine – who identified herself as Black and biracial – appeared in two plays on the London stage, including in Caryl Brahms and Ned Sherrin's 'Cindy-Ella, or I Gotta Shoe,' an all-Black musical based on the Cinderella story. This advertisement has not loaded yet, but your article continues below. She had dramatic roles in other British productions, including a modern adaptation of Euripides's 'The Trojan Women,' Shakespeare's 'A Midsummer Night's Dream' and the title role in a 1970 staging of Henrik Ibsen's 'Hedda Gabler.' Laine had a showstopping role in a long-running 1971-1972 London revival of Jerome Kern and Oscar Hammerstein II's 'Show Boat,' playing Julie, a mixed-race singer whose story ends in tragedy. Her songs, including 'Can't Help Lovin' Dat Man' and 'Bill,' invariably brought the audience to its feet. In 1972, after Laine made her New York debut at Alice Tully Hall, New York Times jazz critic John S. Wilson called her one of Britain's 'national treasures … with a remarkable voice that ranges from an exotically dark, breathy quality to high-note-topping exclamation.' This advertisement has not loaded yet, but your article continues below. Despite her undeniable vocal dexterity, other reviewers were unmoved by the commanding theatricality she brought to the concert stage. 'She has a frighteningly accurate ear and a teasingly infallible sense of rhythm,' Times music critic John Rockwell wrote in 1974 of Laine's performance at New York's Carnegie Hall. 'But for this listener, admiration stops a good deal short of real affection. Miss Laine strikes me as a calculating singer, one whose highly perfected artifice continually blocks communicative feeling. To me, she has all the personality of a carp. But then, obviously, I'm just a cold fish.' Nonetheless, Laine maintained a large and loyal following for both her singing and her theatrical work. Dankworth wrote a musical play for her, based on the life of the French writer Colette, that premiered in 1979 and later moved to London's West End. This advertisement has not loaded yet, but your article continues below. In 1985, Laine developed the role of Princess Puffer in the original Broadway production of 'The Mystery of Edwin Drood' (later called 'Drood'), based on an unfinished novel by Charles Dickens, and earned a Tony Award nomination for best actress in a musical. In 2000, she played a singer in 'The Last of the Blonde Bombshells,' a joint U.S.-British TV movie about a latter-day reunion of an all-female band from the Second World War, also starring Judi Dench, Olympia Dukakis and Ian Holm. 'Whatever I'm doing at the time is my favourite thing,' Laine told The Post . 'A lot of people would say I'm too eclectic, diversifying far too much, but I think that because of that I've worked longer and had a much more interesting life.' This advertisement has not loaded yet, but your article continues below. Clementina Dinah Campbell was born Oct. 28, 1927, in the Southall district of London. She had a Black Jamaican father and a White English mother who were not married to each other when their daughter was born. In a 1994 autobiography, Laine called her mother 'a bigamist' who had not obtained a divorce before marrying Laine's father. The family moved frequently, and her parents held a variety of jobs, including running a cafe and boardinghouse. Her father also worked in construction and 'would sing at the drop of a hat,' Laine told The Post . 'He was a busker, singing on street corners in the Depression,' she said. 'It was a matter of need, dire need, in those days. Being Black, it was difficult for him to get work, so he busked. I wasn't really aware of this until much later, when I realized that he used to bring a lot of pennies home and count them.' This advertisement has not loaded yet, but your article continues below. Young Clementina was strongly influenced by her father's interest in jazz and was encouraged by her mother to study music and acting. She left school at 14 and became an apprentice hairdresser, always hoping to break into show business. 'I would sit in the cinema,' she later told Britain's Daily Telegraph newspaper, 'watching Lena Horne and Judy Garland and think: 'I want that for me.'' At 19, she married George Langridge, a roofer, and had a son. Five years later, in 1951, Laine had a tryout with Dankworth, then emerging as one of England's leading jazz musicians. 'I think she's got something, don't you?' he told his bandmates after the audition. 'Something?,' a trumpeter answered. 'I think she's got everything.' This advertisement has not loaded yet, but your article continues below. Her name at the time was Clementina – or Clem – Campbell Langridge. After some brainstorming, the band members decided to call her Cleo Laine. 'They decided my real name was too long and sounded like a cowboy,' she told the Chicago Sun-Times. Her sister raised her son while Laine devoted herself to her career. She impressed Dankworth and his band not just with her voice but with her ability to match them, glass for glass, in drinking ale during their tours of British nightclubs. By the mid-1950s, Laine was anointed Britain's top jazz singer by critics and music magazines. She divorced her first husband, from whom she had grown apart, and she married Dankworth in 1958. They had two children, who were raised by nannies and attended boarding schools while their parents were on tour. This advertisement has not loaded yet, but your article continues below. They lived about 50 miles from London in the village of Wavendon, where they established a theatre and an educational foundation. In the 'show must go on' tradition, Laine gave a performance at Wavendon on Feb. 6, 2010. Only at the end did she announce that Dankworth had died earlier that day. Dankworth was presented with a fellowship of the Royal Academy in 1973 and the following year appointed a Commander of the Order of the British Empire. He was knighted in 2006, the first British jazz musician to receive this honour. 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Singer Cleo Laine, regarded as Britain's greatest jazz voice, dies at 97
Singer Cleo Laine, regarded as Britain's greatest jazz voice, dies at 97

Winnipeg Free Press

time2 days ago

  • Winnipeg Free Press

Singer Cleo Laine, regarded as Britain's greatest jazz voice, dies at 97

LONDON (AP) — Cleo Laine, whose husky contralto was one of the most distinctive voices in jazz and who was regarded by many as Britain's greatest contribution to the quintessentially American music, has died. She was 97. The Stables, a charity and venue Laine founded with her late jazz musician husband John Dankworth, said Friday it was 'greatly saddened' by the news that 'one of its founders and Life President, Dame Cleo Laine has passed away.' Monica Ferguson, artistic director of The Stables, said Laine 'will be greatly missed, but her unique talent will always be remembered.' Laine's career spanned the Atlantic and crossed genres: She sang the songs of Kurt Weill, Arnold Schoenberg and Robert Schumann; she acted on stage and on film, and even played God in a production of Benjamin Britten's 'Noye's Fludde.' Laine's life and art were intimately bound up with band leader Dankworth, who gave her a job and her stage name in 1951, and married her seven years later. Both were still performing after their 80th birthdays. Dankworth died in 2010 at 82. In 1997, Laine became the first British jazz artist to be made a dame, the female equivalent of a knight. 'It is British jazz that should have received the accolade for its service to me,' she said when the honor was announced. 'It has given me a wonderful life, a successful career and an opportunity to travel the globe doing what I love to do.' Laine was born Clementina Dinah Campbell in 1927. Her father, Alexander Campbell, was a Jamaican who loved opera and earned money during the Depression as a street singer. Despite hard times, her British mother, Minnie, made sure that her daughter had piano, voice and dance lessons. She began performing at local events at age 3, and at age 12 she got a role as a movie extra in 'The Thief of Bagdad.' Leaving school at 14, Laine went to work as a hairdresser and faced repeated rejection in her efforts to get a job as a singer. A decade later, in 1951, she tried out for the Johnny Dankworth Seven, and succeeded. 'Clementina Campbell' was judged too long for a marquee, so she became Cleo Laine. 'John said that when he heard me, I didn't sound like anyone else who was singing at the time,' Laine once said. 'I guess the reason I didn't get the other jobs is that they were looking for a singer who did sound like somebody else.' Laine had a remarkable range, from tenor to contralto, and a sound often described as 'smoky.' Dankworth, in an interview with the Irish Independent, recalled Laine's audition. 'They were all sitting there with stony faces, so I asked the Scottish trumpet player Jimmy Deuchar, who was looking very glum and was the hardest nut of all, whether he thought she had something. 'Something?' he said, 'She's got everything!'' Offered 6 pounds a week, Laine demanded — and got — 7 pounds. 'They used to call me 'Scruff', although I don't think I was scruffy. It was just that having come from the sticks, I didn't know how to put things together as well as the other singers of the day,' she told the Irish Independent. 'And anyway, I didn't have the money, because they weren't paying me enough.' Recognition came swiftly. Laine was runner-up in Melody Maker's 'girl singer' category in 1952, and topped the list in 1956 and 1957. She married Dankworth — and quit his band — in 1958, a year after her divorce from her first husband, George Langridge. As Dankworth's band prospered, Laine began to feel underused. 'I thought, no, I'm not going to just sit on the band and be a singer of songs every now and again when he fancied it. So it was then that I decided I wasn't going to stay with the band and I was going to go off and try to do something solo-wise,' she said in a BBC documentary. 'When I said I was leaving, he said, 'Will you marry me?' That was a good ploy, wasn't it, huh?' They were married on March 18, 1958. A son, Alec, was born in 1960, and daughter Jacqueline followed in 1963. Despite her happy marriage, Laine forged a career independent of Dankworth. 'Whenever anybody starts putting a label on me, I say, 'Oh, no you don't,' and I go and do something different,' Laine told The Associated Press in 1985 when she was appearing on stage in New York in 'The Mystery of Edwin Drood.' Her stage career began in 1958 when she was invited to join the cast of a West Indian play, 'Flesh to a Tiger,' at the Royal Court Theatre, and was surprised to find herself in the lead role. She won a Moscow Arts Theatre Award for her performance. 'Valmouth' followed in 1959, 'The Seven Deadly Sins' in 1961, 'The Trojan Women' in 1966 and 'Hedda Gabler' in 1970. The role of Julie in Jerome Kern's 'Show Boat' in 1971 provided Laine with a show-stopping song, 'Bill.' Laine began winning a following in the United States in 1972 with a concert at the Alice Tully Hall in New York. It wasn't well-attended, but The New York Times gave her a glowing review. The following year, she and Dankworth drew a sold-out audience at Carnegie Hall, launching a series of popular appearances. 'Cleo at Carnegie' won a Grammy award in 1986, the same year she was a Tony nominee for 'The Mystery of Edwin Drood.' A reviewer for Variety in 2002 found her voice going strong: 'a dark, creamy voice, remarkable range and control from bottomless contralto to a sweet clear soprano. Her perfect pitch and phrasing is always framed with musical imagination and good taste.' Perhaps Laine's most difficult performance of all was on Feb. 6, 2010, at a concert celebrating the 40th anniversary of the concert venue she and Dankworth had founded at their home, during which Laine and both of her children performed. 'I'm terribly sorry that Sir John can't be here today,' Laine told the crowd at the end of the show. 'But earlier on my husband died in hospital.' Laine said in an interview with the Boston Globe in 2003 that the secret of her longevity was that 'I was never a complete belter.' 'There was always a protective side in me, and an inner voice always said, 'Don't do that — it's not good for you and your voice.'' Laine is survived by her son and daughter. ___ Associated Press writer Jill Lawless contributed. AP journalist Robert Barr, the principal writer of the obituary, died in 2018.

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