Cliff Richard

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Cliff Richard Pencil Portrait
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Last update: 03/06/18

“When I started out, they accused me of being a sex maniac, and then, when that didn’t stick, they turned to the gay thing. Now I find it rather fun. You know, I’m an enigma”. When I looked that word up I thought, “I like this!” They don’t understand me, and long may it reign. I don’t intend to talk about everything in my life and and your’re naïve if you think that when I’m asked questions I’m going to give all the answers that you want to hear. There will be things that I take to the grave with me”.

The gospel therefore, according to Cliff Richard, expressed in an interview in 2003 and a cri de coeur that will outlast his religious convictions.

Born Harry Webb, he has been a musical icon for five decades. When he burst onto the music scene in 1958, his raw teenage energy was a breath of fresh air, establishing him as Europe’s first authentic rock ‘n’ roll star.

50 years and a staggering 250 million record sales later, Cliff continues to delight his fans with new music and spectacular live performances. According to the designers of his official website, it is impossible to think of any British entertainer who has spanned the years and the generations and had more hits all over the world than this unique and much loved man. Nevertheless, amidst incessant media speculation about his private life and thoughts the impression holds firm of a man whose artistry and persona polarises opinion.

In his 2009 autobiography he describes the time he was famously seduced by Carol Costa, the estranged wife of Jet Harris, a member of his backing group, The Shadows. “I was surprised but not unhappy to be seduced”, he writes , but stresses that “sex is not one of the things that drives me”. In 1996, he flatly denied he was gay. “I’m aware of the rumours, but I’m not gay.”

Sir Cliff, a poster boy for the Christian faith, also defends his decision to remain a bachelor in the book, titled My Life, My Way._ “People often make the mistake of thinking that only marriage equals happiness,”_ he writes.

“I may suddenly meet someone and feel differently, but right now I am not sure marriage would enhance my happiness. As for my sexuality, I am sick to death of the media’s speculation about it. What business is it of anyone else’s what any of us are as individuals? I don’t think my fans would care either way.”

He calls on the Church of England to update its views on same-sex marriages, arguing that all judgements on sexuality should be left to God. “I think the Church must come round and see people as they are now. Gone are the days when we assumed loving relationships would be solely between men and women. It seems to me that commitment is the issue, and if anyone comes to me and says: ‘This is my partner; we are committed to each other’, then I don’t care what their sexuality is. I’m not going to judge; I’ll leave that to God.”

Steve Turner, who wrote a biography of Sir Cliff in 1993, said: “Of all the people I’ve interviewed, from David Bowie to The Beatles, he’s the one most people ask me about. With Cliff, there’s always that element of uncertainty and puzzlement, because there’s something unresolved about his image.”

So who is Cliff Richard and what do our views on him say about ourselves? Well he’s been a star for nigh on fifty four years and he’s not about to press the self destruct button in the interests of revelatory confessionals. I am no position to comment on his sexual orientation because I have no divine right to and I do not formerly represent any religious following. In any event I am not particularly interested although his reasons for remaining obtuse on the subject raise key questions about society in general. What I have suspected for years is that he follows a creed that would make millions around the world extremely uncomfortable if he were to verbally ‘shoot straight from the hip’; in fact his whole attitude towards what is essentially a rather perfunctory act in the animal kingdom would make many question their near obsessive pursuit of it.

Today, the sex industry is a $57+ billion world wide annual business concern. There are more strip clubs in the United States than any other nation in the world with over 3,829 adult cabarets nationwide, employing over 500,000 people.

Source : http://crossculturalconnections.org/wp-content/uploads/2012/01/sex_stats.pdf\ : http://crossculturalconnections.org/wp-content/uploads/2012/01/sex_stats.pdf

Mediated sex is a prevalent attribute of most forms of public entertainment. Sexual scenarios permeate fictional and factual storytelling across all the major media—books, cinema, magazines, newspapers, radio, television, and now the Internet. Although media sex undoubtedly draws attention from media consumers and is a source of titillation and enjoyment, there are concerns about the nature of many mediated sexual portrayals and the social lessons they might teach. The main concerns are that sexual portrayals cause offense or embarrassment to people, encourage young people to become sexually active before they are ready, undermine social values and moral standards, and in extreme cases cultivate socially dangerous attitudes and behaviors. There is growing concern about the increased availability of highly explicit sexual content, especially via the Internet. Even the mainstream media have been challenged for progressively pushing back the boundaries in terms of what they will publish. Non pornographic magazines that contain multiple images of naked young woman are openly sold in retail outlets, and mainstream movies and television programs increasingly depict full-frontal nudity and explicit, albeit simulated, scenes of sexual intercourse. Non explicit portrayals of sex have given rise to concern because of the lessons they can allegedly teach about sexual relationships and the contexts in which such intimacy occurs. Sexual promiscuity and infidelity are frequently featured and could affect media consumers’ ideas about the acceptability of such practices. The risks associated with promiscuous behavior, from contracting sexual transmitted diseases to unwanted pregnancy, are seldom considered. In more explicit pornographic materials, there are worries about the prevalence of degrading representations of women. Women are depicted as willing and submissive participants in sex acts that are driven and controlled by the needs of men, thus symbolically legitimizing sexual violence. The presence of graphic sexual content on the Internet has further exacerbated public concerns about mediated sex because of the ease with which such content can be accessed, especially by children. All these issues and concerns have been addressed by an extensive and growing body of research.

What remains abundantly clear is that the retailing of pornographic sites solely on a “pay per view” basis would massively dilute the worldwide public’s interest in such surfing activities. Free titillation is one thing but parting with hard earned cash is another and cybersex rejection is only one course of action practiced by millions.

Adults who choose to pursue sexual abstinence for reasons other than birth control or avoiding STDs may be motivated by one or more key factors:

1. Waiting for the right person to be sexually active with.
2. Mourning the loss of a significant other
3. A focus on work or education
4. A recovery from illness.
5. A moral or religious principle.

In Cliff Richard’s case, factors 3 and 5 weigh heavily in the overall picture whilst 1 is an obvious corrolary of the other two. Nevertheless I believe there are other subtleties involved. Distancing ourselves from the natural curiosity and desire for experimentation amongst the young, a man has two essential choices in interpreting a woman’s interest in him. She will take him to her bed either because of an uncontrollable physical attraction, or because the granting of such favours is inextricably linked to a “conditional expectation”. A combination of the two factors is also perfectly feasible although the relative “weighting” given to both elements depends greatly on the man’s train of thought. For all his career motivated self absorption, Cliff is possibly astute enough to give greater importance to the second whilst most men are uncomfortable with any notion but the former. Where women and the subject of male relationships are concerned, the inexplicable aspect to their naturally greater intelligence is the fact that carte blanche, they choose to believe their physical asquiescence, in the chosen partner’s mind, will always by default, override any disconcerting aspects to their personality and historically suspect moral values. In the case of a high profile personality such as Pop’s “Peter Pan,” millions of women would naturally recognise their inability to get to even third base with him in the relationship stakes. Since his conversion to Christianity in 1966, Cliff will have considered the necessary qualities in a suitable partner and in turn, their expectation of him. As with Royal family protocol, he has been able to initiate the vetting of possible partners whilst millions of ordinary people rely on honesty and openness. In the final analysis, if sexual relations is the bargaining chip Cliff Richard has conceivably chosen to vacate the gambling table. Of course the notion of any man committed to a celibate life, especially a prominent star from the world of entertainment, is a difficult concept for millions; a cursory glance at the many threads about him prompting the usual “he’s as bent as a nine bob note” comments. Not for once has he sought to explain his position without offending the many loyal female followers he has had for decades. He has said that whilst he does not anticipate ever getting married, he is not celibate in the strict meaning of the word.

‘Celibacy is a way of life, a vow. I have never vowed to be celibate so I don’t feel celibate’.

‘If I wanted to get married tomorrow and have kids I could do it, instantly.

‘But now I don’t think in terms of marriage any more. I don’t think I’ll get married but I can’t discount the possibility, though.’

It was a 1993 “South Bank Show” that first made apparent the reasons for his continuing bachelorhood, namely that he enjoys his life the way it is, free of the constraints and commitments related to a full time relationship. Loneliness as an issue is resolved with a live in male companion and family connections alone, including many nephews and neices, ensure a busy household. Ultimately, when he needs to interact with adoring throngs, he continues to tour, appearing in performance before thousands, an experience like so many performers, he has discovered vastly exceeds carnal relations with a woman. There is a risk involved of alienating his audience were he perhaps to be so frank and he may be uncomfortable with the realisation he has come to. Maintaining an open mind to marriage pacifies both his internal psyche and his audience, but in reality any notion of making such a betrothal to a woman was permanently parked as early as his mid forties. I recall his comments about ‘girlfriend’ Sue Barker in the early 80’s, and his aversion to disclosing his whereabouts when questioned. It’s all there for anyone prepared to read between the lines. As a committed christian, he has balanced his role in the secular world with the teachings of God and remains actively involved in many worthy causes but on a more superficial level the great love affair of his life is his career and it is this subject that perhaps now perplexes him as he moves into old age.

Britain’s answer to Elvis Presley, Cliff (born Harry Webb) dominated the pre-Beatles British pop scene in the late ’50s and early ’60s. An accomplished singer with a genuine feel for the music, Richard’s artistic legacy is nonetheless meagre, as he was quickly steered toward a middle-of-the-road pop direction. Several of his late-‘50s recordings, however, were genuinely exciting Presley-esque rockers especially his first hit, “Move It” (1958) and gave British teenagers their first taste of genuine homegrown rock & roll talent. Backed by the Shadows clean-cut instrumental virtuosos who became legends of their own Richard embarked on a truly awesome string of hit singles in Britain, scoring no less than 43 Top 20 hits between 1958 and 1969.

In his homeland, Richard’s popularity was diminished only slightly by the rise of The Beatles, but in his prime, he had a much rougher time in the U.S.A, hitting the Top 40 only three times (with “Living Doll” in 1959, “It’s All in the Game” in 1963, and “Devil Woman” in 1976). Richard belatedly cracked the U.S. Top Ten in 1976 with “Devil Woman,” and racked up a few other hits (“We Don’t Talk Anymore,” “Dreaming,” “A Little in Love”) in a mainstream pop/rock style. He remains an institution in Britain, where he is one of the nation’s most popular all round entertainers of all time.

Commenting on the rise of The Beatles, Cliff was moved to say : “they wrote the most brilliant songs , played them in the way they played and just took off in such a way that none of us could think of catching up. The world’s media kind of disregarded the rest of us after that. I must admit we felt left out for quite a while.”

Bob Stanley contributed a useful summation of Cliff’s career in the Guardian (2009) and mentions his near obsessive focus on his artistic legacy.

http://www.guardian.co.uk/music/2009/sep/17/cliff-richard-bob-stanley\

For me personally he was a wholesome entertainer recording films and TV Shows I watched, albums I rarely purchased (“Green Light” (1978) and “Rock and Roll Juvenile\” (1979) being obvious exceptions)and some form of evangelical do-gooder whose pontifications irritated me beyond belief whenever news reached me via the airwaves of the demise of yet another rock star hell bent on a hedonistic lifestyle. From today’s perspective as a much older man, I feel less antagonistic about him although for me, his true contribution to 20th century popular culture remains peripheral at best.

The singer has fought a losing battle to get onto radio playlists for the past three decades and his records have been banned with great regularity. BBC Radio 1 and Radio 2 have both declared themselves a Cliff-free zone in the past and in 2011 Absolute Radio, a new station devoted to “cool” 60’s music also turned its back on him. He received a degree of vocal support at the time, most noticeably from Roger Daltrey, lead singer with The Who, but it was Kiki Dee, a stablemate of Cliff’s at Elton John’s Rocket Records in the 70’s who perhaps offered the most insightful commentary on his lack of airplay.

“I’ve got a lot of respect for Cliff Richard. You’ve got to give it to the guy – a hit single in every decade since he started.”

“But I’m surprised he cares that much. I’m still working and I’m not anything like as big an artist as he is but if I tried to get a plug and someone didn’t want to play it, I would say, ‘their loss’.”

However he does care about this negativity and now, well into his sixth decade he’s acutely aware that posterity will accord him no favours in the credibility stakes. He isn’t a songwriter but he’s been an important interpreter of songs and after a period of chronic indifference to recording has applied himself more diligently to the process since the mid 70’s. In addition, he has devoted time to extensive breathing exercises to both extend his range and strengthen his falsetto.

In 1998 he sent out a heavily remixed dance version of his single, “Can’t Keep This Feeling In”, to 240 radio stations, under the name ‘Blacknight’. The disc, which had a ‘white label’ to suggest that Blacknight had not yet been signed to a major record company was well received.

He compiled the pseudonym from his producer’s name Clive Black, and the fact that he is a knight of the realm. The plan worked and he now had proof that so called trendsetting DJs had a playlist policy of ignoring his songs.

The subterfuge still backfired on him though as radio stations both admitted he had made a valid point but that equally, they would not change their policy on his music.

http://www.spiked-online.com/newsite/article/cliff-richard-the-moral-annihilation-of-a-celebrity/15626#.VyKBRUwrLIU

Beginning in August 2014, Pop’s Peter Pan would face the closest scrutiny imaginable when South Yorkshire Police raided his £3.5m Berkshire mansion, an event broadcast live on the BBC after the authorities confirmed details of the investigation to the corporation. A subsequent and damning report by independent investigator and former chief constable Andy Trotter concluded that the Police were wrong to confirm details of the investigation to the BBC. As the raid was beamed round the world via a camera crew filming from a helicopter, I was struck by the sheer vulgarity of an act that would compel the star – who was not in the UK at the time – to ultimately sell his last British bolt-hole* the following spring.

*‘Bolt-hole’ – a ​place where you can ​hide, ​especially to ​escape from other ​people, and I am using this descriptive noun in the context of the man’s fame, and nothing else.

The following two website links are indicative of the very disturbing British psyche that will largely condemn a man before confirmation of his guilt is made public knowledge.

http://www.theduckshoot.com/is-cliff-richard-a-paedophile/

https://thecolemanexperience.wordpress.com/2014/04/20/cliff-richards-biggest-secret/

Even more disconcerting is a blurred perception of the key issues among internet trolls, and a rapidly dwindling demarcation line between homosexuality and paedophilia; two activities that – to my mind at least – are uniquely distinct. In the case of the former, his reluctance to confirm or deny his sexual orientation will have antagonized millions, but curiously only those of a homosexual persuasion. A wall of silence may reflect an over zealous preoccupation with personal privacy, or an innate unease with such behaviour. Ultimately, unless he has transgressed with minors, it is none of our business.

Here is a man who has enjoyed international success for nearly sixty years – despite US indifference – has been subjected to conjecture and innuendo about his private life, and in the normal course of events for any individual well into his eighth decade, has buried numerous family members and friends along the way. So what if he persistently frets about inconsequentialities – his musical significance in the wider rock pantheon, his appearance, etc – any source of irritation he may provide for millions of non-believers is not a valid reason for indulging in a personal crusade against him. Personally, I believe in his innocence whilst equally accepting that – in view of the proliferation of celebrities from my childhood years now doing time – I need him to be. Frankly, there’s only so much anyone of a certain age can take. If I am ultimately compelled to remove him from my website, then so be it. In the meantime, let all these amateur judges and jurors find an alternative activity more worthy of their time. In the final analysis, he may be a broken man by the time his innocence is confirmed. Whatever your musical taste, surely no-one is deserving of that.

Recommended listening

Summer Holiday (1963)

There was a time in my life when it seemed impossible not to find a dog eared vinyl copy of this album in peoples’ houses. Nestling comfortably amongst familiar soundtracks like “Carousel” and “The King and I,” this collection of movie songs and instrumentals by The Shadows epitomised the early 60’s before the decade moved into top gear. The best of his albums of this genre, “Summer Holiday” is dominated by its all-conquering title track, but by no means is it cowed by it. Of Richard’s own performances, the anthemic “Bachelor Boy,” the blistering “Dancing Shoes,” and the impossibly romantic “The Next Time” have all been accorded classic status, commercially and musically, while a trio of Shadows instrumentals,_ “Les Girls,” “Round and Round,”_ and “Foot Tapper” —are all the equal of the band’s regular fare. The latter title not only topped the U.K. singles chart but also displaced “Summer Holiday” itself in the process, and remains a radio perennial thanks to its thematic use on disc jockey Brian Matthew’s long running BBC radio show “Sounds of the 60’s.” The show has run successfully now for more than two decades and it brings me “up short” on saturday mornings whilst shaving when I hear members of the public requesting a long forgotten rarity prior to undergoing a hip operation. The baby boomers are dealing with advancing years now and it’s a reminder of how quickly time passes.

History remembers the first half of 1963 as the frenetic dawn of Beatlemania. In fact, of the six singles which reached number one between January and mid-April, only one, by Australian balladeer Frank Ifield, had no connection with Richard and company; two hits each by Clif Richard and the Shadows were joined at the top by “Diamonds,” performed by former Shads bassist/drummer Jet Harris and Tony Meehan.

The effervescent “Seven Days to a Holiday” raises an early smile, and the rhyming motor mechanics of “Let Us Take You for a Ride” is another highlight. The album not only stands on its own merits but actually enhances the movie it represents. Millions wouldn’t admit to owning this collection but I will. It has an irrepressible feel good factor and is a timely reminder of a more innocent age before youngsters ‘tuned in and droped out.’

I’m Nearly Famous (1976)

Small Corners (1978)

Yeah, it’s gospel flavoured but what the hell, “Why should the devil have all the good music?”, ““Up in Canada” and “Yes He lives” are prime examples of quality pop.

Vinyl copies are floating about for less than a quid. Invest…………………

Rock and Roll Juvenile (1979)

I picked up a white label DJ advance pressing of ‘Rock’N‘Roll Juvenile’ in 1979, undoubtedly Cliff’s biggest hit album since the mid-‘70s and a timely release, just as neutral observers were observing a second commercial decline over the preceding two years.

His last few 45s and albums had struggled to repeat the successes that had re-established him on the scene, and a handful of below par numbers were again insidiously crawling back into his live repertoire. A change of scenery therefore – to the same Pathe Marconi studios that the Rolling Stones had been using, a change of direction, a distinctly new wave influenced sound, and a partnership with the newly emergent songwriter B.A. Robertson. Writing alongside Terry Britten, Robertson was responsible for Rock’n‘Roll Juvenile\‘s two biggest hits, “Hot Shot” and the still remarkable “Carrie” – one of the most distinctive numbers Richard had recorded in more than a decade. Other numbers – “Cities May Fall,” “Sci Fi,” “Walking in the Light” and the album’s title track – maintained that same semi-quirky quality, while the addition of slide guitar and Mellotron to the band lineup gave the entire record such a red-hot contemporary feel that nobody could argue with the album’s name. Richard was entering his fourth decade of recording, but he sounded like a kid again. Sadly, the momentum would only be sustained for another few years before the downhill slide to the ‘“Millenium Prayer”.

Undoubtedly Richard’s ‘kick-ass’ masterpiece, and a widely owned if rarely acknowledged UK release.

I'm No Hero (1980)

The last time Richard would trouble the US album charts, “I’m No Hero” treads safe ground, offering up ten Alan Tarney produced tracks which seek to replicate the “We don’t talk anymore” winning formula.

The album largely succeeds, thanks in no small part to the inclusion of two hit singles “Dreamin’” and “A little in love.” Best of all, there’s “A Heart will break,” which features a searingly melodic guitar solo from Tarney himself.

“I’m No Hero” was remastered and re-issued on compact disc in July 2001 featuring two bonus tracks, but collectors should hunt down good quality vinyl copies to best capture the album’s full dynamic range.

Wired for Sound (1981)

Richard’s artistic renaissance would reach a commercial peak in the winter of ’81/‘82 with the release of this million seller.

Unfortunately, The Bachelor Boy treads water here with a rather bland collection of pop ditties suitably sterilised with 80’s production values – synth washes, drum machines and banks of harmony vocals – which strip the proceedings of any sharp edges. Viewed some thirty five plus years on, these production shortcomings offer a rather endearing look at British pop on the cusp of New Wave. The Holy One would even go skating in Milton Keynes to film the promo for the album’s title track.

Best of all, there’s the live doo-wop ballad “Daddy’s Home,” later pressed into service as a Christmas single in which Richard effortlessly revisits his “Oh Boy” television roots..

Desert Island Discs (31/10/60)

http://www.bbc.co.uk/programmes/p009y6z4

A surprising entry in the Beeb’s surviving archive, given the age of the programme.

Recommended viewing

The Cliff Richard DVD Collection (The Young Ones / Summer Holiday / Wonderful Life) [DVD]

Now available in their original wide-screen format, these three nostalgic British musicals affectionately recall Cliff’s time as a legitimate film star.

Essentially vehicles to showcase his all-around talents and capitalize on his first, heady wave of pop chart success, they also remain unashamed homages to the heyday of the MGM B-musical. If the format would be anathema to Richard Lester’s vision for The Beatles movies, and much of what was to come, one nevertheless cannot ignore the emerging talents of up-and-coming directors Sidney Furie and Peter Yates and their imaginative and sophisticated use of wide-angle camerawork combined with snappy choreography by Herbert Ross and Gillian Lynne. Watching Cliff croon “The Next Time” atop the Greek hills reminds millions of us of a more innocent time, and those pioneering families that took their summer jaunts abroad in the 60’s.

The films also boast plenty of assets other than Richard’s wholesome appeal. There are some fine set pieces and surreal flashes, notably the history of cinema in Wonderful Life and the extraordinary mime sequence in Summer Holiday. They also tap into the very British energy of a group of young actors and dancers including Una Stubbs, Susan Hampshire, Melvyn Hayes, and Richard O’Sullivan, as well as Richard’s band at the time, the Shadows. For sheer verve, the films deserve to be seen on their own merits.

Recommended reading

My Life, My Way (Cliff Richard with Penny Junor) 2008

Avoiding the well troden formula of lurid sexual exploits and battles with drug addiction Sir Cliff’s autobiography explores his raison d’etre, sheds light on his relationship with a former Roman Catholic priest, and calls on the Church of England to approve same-sex marriages.

Sir Cliff describes how he struck up an intimate friendship with an American former missionary, Fr John McElynn, after meeting him in New York several years ago. The famously clean-cut pop singer reveals that he hired Fr McElynn to look after his charitable projects and numerous houses, after it became clear the American would give up the priesthood. The pair now live together.

In the book, Sir Cliff calls the former clergyman his “companion” and “blessing,” going on to say he is “sick to death” of media speculation about his sexuality. “Our arrangement has worked out really well,” he writes. “John and I have over time struck up a close friendship. He has also become a companion, which is great because I don’t like living alone, even now.”

It’s all here for anyone wishing to read between the lines; his absolute aversion to smoking (I can certainly relate to him on that point), the occasional Botox treatment now avoided as the procedure caused drooping eyebrows, his mother’s dementia, current radio station playlist policy, discovering Christianity after the death of his father, his unbridled joy at being awarded a knighthood and the contentment he derives from a bachelor way of life.

He writes on page 14 :

“I have often said that I would like to ‘fall in like’. Falling in love is OK, but the nature of love changes, the passion goes, and unless you have a strong friendship you are left with the things that inevitably annoy you about that person. I’ve never understood how two people could fall out so badly they had to divorce simply because of the way one of them squeezed the tube of toothpaste – a story I once read somewhere. Having said that, I do get driven demented when guests are staying in my house and they put the loo roll on the holder the wrong way round! Nobody’s perfect. But a close friendship is going to survive everything – and even if you do hate the way they eat peas off their knife, there will be so many many other things you like about that person that the imperfections don’t matter.”

Where do I start with comments like these? His example centres on a domestic triviality rather than serious emotional problems. Might I therefore suggest he finds some topic to occupy his mind as he wends his way in a westerly direction from the east wing of his home, stopping only long enough to correctly reposition all the loo rolls. After all it’s his problem.

In the final analysis, as imperfect a husband as I am, I do recognise that my quirks are precisely that – quirks, and totally unimportant to my wife. She is incapable of shutting a single drawer or wardrobe door she opens. I shut every one of them after her or at least once I stumble across the offending sight! Of course she only leaves them open because I’m around to close them. In addition, I also like to see the cushions neatly arranged on the lounge sofa and chairs and just recently I’ve started leaving them askew at night to convince myself in the morning that I’m not not suffering from Obsessive Compulsive Disorder!!! Cliff had a great friendship with Sue Barker in the early 80’s and he must have “fallen in like” but no marriage resulted. Just who is he trying to kid?

Cliff Richard – The Bachelor boy (Steve Turner) 2003

Compiled by his official biographer to celebrate Richard’s 50th anniversary in the business, this book of quotes from Cliff and his many associates is an episodic read and difficult to follow for non aficionados. Nevertheless, the quality of photographic prints suggests it was aimed for the hardcore devotees anyway.

Elsewhere in contentious entries, it’s recently come to light that General Franco fixed the 1968 Eurovision Song Contest for Spain to win in order to encourage tourism. Cliff claimed he knew he had won all along, but songwriter Bill Martin thinks he lost because the BBC couldn’t afford to host it for a second year.

Most apparent is Cliff’s commitment to his career. He’s a born entertainer, which explains the book’s title: he’s never been interested in marriage and, according to late Shadow Tony Meehan, was put off sex after seeing a woman washing her armpits! Reassuringly, he’s averse to organised religion refusing to attend church and could never go vegetarian.

Further dampening the ever present ‘gay’ rumours with a bucket of cold water, page 199 of Turner’s volume refers to his longterm live-in business manager Bill Latham’s eventual marriage and move away from the home he had shared for many years with Cliff until the early millenium.

Surfing

The Official Cliff Richard Website

The ultimate Cliff Richard database can be located at: “

http://www.cliffrichardsongs.com/bachboy/

Compiled by Richard Porter, it’s permanently under construction – a feeling I know well! The section on his various Tv Series and Specials covers his heyday as a light entertainer and evokes many memories. Unfortunately, a number of his shows fell victim to the mighty BBC ‘erazorhead’ and no longer survive in the archives. Whatever your opinion on this news, the fact remains that a vast array of popular music history on television was wiped in the early 70’s; a decision viewed from today’s perspective as laughable if it weren’t so sad. We can view daily weather broadcasts going back decades but Jim Hendrix dueting with Dusty Springfield on her BBC series survives only as a poor quality kinescope.

The Ultimate Cliff Richard Database

The ultimate Cliff Richard database can be located at:

http://www.cliffrichardsongs.com/bachboy/

Compiled by Richard Porter, it’s permanently under construction – a feeling I know well! The section on his various Tv Series and Specials covers his heyday as a light entertainer and evokes many memories. Unfortunately, a number of his shows fell victim to the mighty BBC ‘erazorhead’ and no longer survive in the archives. Whatever your opinion on this news, the fact remains that a vast array of popular music history on television was wiped in the early 70’s; a decision viewed from today’s perspective as laughable if it weren’t so sad. We can view daily weather broadcasts going back decades but Jim Hendrix dueting with Dusty Springfield on her BBC series survives only as a poor quality kinescope.