Cover of the debut album by Cliff Richard and his band
the Drifters (later known as the Shadows)
Columbia (EMI) (1959)
I.
The latest edition of SIG News (#5 2026) contains a provocative piece by Jasmine Howard [1] reflecting on one of her pop heroes.
In it, she poses the question: 'Is Cliff Richard cool?' and attempts to play devil woman's advocate by making the case for the so-called Peter Pan of Pop [2].
Howard is, of course, by no means the first person to do this. Back in 2013, for example, Kiwi author Tim Roxborough claimed not to care if others thought Cliff uncool, writing:
"Cliff may be celibate, he may annoy some with his public professions of his Christian faith [...] and he may have had a knack for singing Christmas number one hits that sap the tragically hip's will to live. But get passed [sic] that and he's the owner of one of the finest, most adaptable voices in popular music history." [3]
More recently, Stuart Penny also wrote a few words in defence of Sir Cliff:
"I know what you're thinking. With his goody two-shoes image and cringeworthy Wimbledon tennis rain break singalongs, the Peter Pan of Pop may have been hopelessly, desperately, terminally uncool for more than half a century, but it wasn't always that way." [4]
In for a pound, Penny continues:
"I'm not ashamed to say that before the Beatles and Dylan, before discovering electric blues, folk, jazz and psychedelia, in fact before just about every other kind of music I grew to cherish, Cliff was my guy. The infatuation didn't last much beyond late 1962 and the arrival of the Fab Four, it's true, but his early singles, some of which were (and remain) excellent slabs of well-produced 60s pop, will always have a special place in my heart." [5]
II.
As I think is clear, even his biggest fans and would-be defenders concede that Cliff isn't cool.
Talented, good-looking, clean-cut, devoted to his God and to his mother Dorothy, but not cool - an aesthetic quality that relates not only to appearance and style, but to attitude and behaviour (and so is more than merely being trendy or fashionable).
Much like art, cool is notoriously difficult to define. But even if you can't quite describe it, you know it when you see it - and you also know what it isn't (and Cliff isn't it).
Malcolm McLaren used to say that the coolest thing he'd ever seen was when Edward Tudor-Pole walked on stage auditioning to be the new lead singer with the Sex Pistols and flipped a cigarette in the air, caught it on his foot, and then flicked it into his mouth. And that is pretty cool - thus not something one can ever imagine Cliff doing (unsurprisingly, he doesn't smoke).
Essentially, cool is tied to evil; to rebels, gangsters, rockers, and all those unconstrained by authority and who live in defiance of rules and conventions.
Having said that, the idea of cool has now been fully recuperated and coolness is now mostly a marketing strategy; something manufactured and sold by those looking to capitalise on trends and subcultures. In fact, some commentators argue that cool is the central ideology of consumer capitalism.
And so, ironically, it may be the case that the coolest people today are those who reject the stereotype and cliché of coolness entirely (though, sorry Jasmine, that still doesn't include Cliff - a man who, despite his name, completely lacks edge).
III.
In her effort to puzzle out why Cliff is considered so uncool, Ms Howard compares his career and public image to that of Elvis - which is certainly a brave and bold (some might say foolhardy) move, not least because Presley is incomparable as an artist in terms of cultural impact, vocal versatility, and his on-stage presence. The fact that he piled on the pounds in his final years - as Cliff was only too quick to point out [6] - does nothing to detract from his unique genius.
Even Howard's claim that Cliff was "just as successful as Elvis" [7] - from a purely statistical perspective (i.e., in terms of record sales and UK number one singles) - doesn't quite add up.
For whilst Cliff undeniably
commands a spectacular chart legacy as the only artist to score a UK number-one single across five consecutive decades (from the 1950s to the 1990s), he remains firmly in the King's shadow when we look at the Official UK Charts' historic tally.
Cliff has a highly respectable fourteen number-one singles; but Elvis has a staggering twenty-one UK number one hits. Further, whilst Cliff has sold over 250 million records worldwide across his 68-year career, this figure is dwarfed by the more than one billion Elvis records sold.
To claim parity when it comes to their commercial success is therefore inaccurate - and also, we might add, when did commercial success and longevity as an artist ever equate with cool or relevance? Some of the coolest singers hardly troubled the charts and died young (Ian Curtis is an obvious example).
Cliff's ability to score number-one hits across several decades is a testament to an aging, fiercely loyal fanbase and clever marketing, not cultural impact. David Bowie also sold a lot of records and had a long career, but he redefined music, fashion, and societal norms, whilst Cliff remained artistically stagnant; his later chart-toppers were not driven by musical innovation, but by novelty appeal and seasonal sentimentality, such as 'Mistletoe and Wine'.
IV.
Apart from his commercial success and longevity, attempts to defend Cliff as cool are also often based upon his early days as a credible rock 'n' roller who opened the way for British pop music and his national treasure status.
Let's briefly examine each of these points ...
Firstly, it's true that his 1958 hit debut single 'Move It' (written by Ian Samwell) might be viewed as marking the birth of British rock 'n' roll, as acknowledged by John Lennon and many others. However, Cliff almost immediately abandoned his leather-jacketed persona and within a few years transitioned into a safe, sanitised, family-friendly performer who happily established himself in the world of light entertainment and Eurovision.
Thus, if Cliff paved the way, it was a road that subsequent generations of British rockers were desperate to veer off. For the punk generation in particular, Cliff was the ultimate symbol of establishment compliance and everything they hated about Top of the Pops (it will come as no surprise to discover that he made more appearances on the iconic BBC music show than any other solo artist, with over 150 performances).
As for his national treasure status, which rests on the idea that he's basically a good egg, even this might be questioned in light of his politically suspect views on women in the workplace and parenting, for example [8]. Coolness may involve a degree of studied indifference, but it also requires a degree of cultural sensitivity and Cliff has sometimes used his public platform to judge others from a position of detached privilege.
Ultimately, his wholesome image disguises a rigid (often reactionary) moralism that may be Christian but isn't cool [9] - we don't like being lectured to by pious pop stars, thank you very much.
V.
Finally, I'd like to remind Jasmine - a canny lass from the North East of England [10] - of a famously surprising televised encounter between her hero, Cliff, and Thomas (Mensi) Mensforth, the lead singer of South Shields punk band the Angelic Upstarts [11].
Rather than playing along with the polite banter expected by mainstream
television, the fiercely intelligent punk vocalist confronted the Peter Pan of Pop over his privileged celebrity status and his religious faith. However, if producers had hoped for an explosive, foul-mouthed slanging match, they were disappointed.
While Cliff spoke of his love for Jesus and his pop career, Mensi steered the debate toward systemic political issues: religious sectarianism, police brutality, and social deprivation. He emerged as someone who genuinely cared about the contemporary world around him, rather than what had occurred in the Holy Land two thousand years prior.
All Cliff's tried-and-tested defence mechanisms - polite smiles, deflection, and breezy showbiz charisma -proved useless against the raw passion of Mensi’s arguments. The Peter Pan of Pop was exposed as having little concern for the struggles of everyday people in Thatcher's Britain.
Notes
[1] Edited by Russ Bestley, Tim Gibney, Kevin Quinn, and Roger Sabin, Sig News brings the work of the Subcultures Interest Group (SIG) to a wider audience. Operating out of the University of the Arts London (UAL), this diverse, informal collective focuses broadly on the politics of style. The publication offers an eclectic mix of articles by a disparate group of authors from both within and outside UAL. For more information, click here.
Postgraduate student Jasmine Howard wrote her MA dissertation on class and clothing in the North East of England in the mid-late 1960s; see the post on Torpedo the Ark dated 30 March 2025 in which I discussed her granny, my mother, and the likely lasses: click here.
[2] This nickname is not a self-styling coined by Richard himself, nor one he particularly cares for as it creates pressure upon him to always appear youthful when performing on stage before his fans. It was actually coined by music journalist Keith Altham of the NME in 1972 and was quickly taken up by the press and public alike.
[3] Tim Roxborough, 'Why Cliff Richard Is Much Cooler Than You Think', The Roxborough Report (26 January 2013): click here.
Roxborough goes on to inform his readers that as well as having a great voice Cliff is also "said to be one of Britain's most generous philanthropists", saying that this is important when considering Richard the man and not just Richard the artist.
I might point out, however, that philanthropy is a contentious issue. Whilst it directs resources to worthy causes, it can also function as a tool for the wealthy to virtue signal and ease their conscience. It can also allow donors power over social agendas while providing them with significant tax benefits.
[4] Stuart Penney, 'A Few Words In Defence Of Sir Cliff Richard', And Now ... It's All This! (21 August 2025): click here.
[5] Ibid.
[6] During an appearance on ITV's This Morning (20 Nov 2023), Cliff was asked if he had ever met Elvis: he hadn't. But he revealed that he had once turned down an opportunity to do so and be pictured with Presley on the grounds that the latter had put on a lot of weight and no longer looked as good as he had in his prime.
Probably to his surprise, the comment immediately went viral and caused a massive uproar. Viewers of the show accused him of fat-shaming and were particularly upset that he made the comments whilst sitting next to popular host Alison Hammond, a plus-sized presenter. This is just one of several occasions in which Cliff - usually known for his polite and overly cautious public persona - came across as tactless and uncool, sparking controversy.
[7] Jasmine Howard, 'Is Cliff Richard Cool?', SIG News 5 (1 Sept 2026), p. 12.
[8] In a controversial 1994 interview with Bella magazine, the Bachelor Boy claimed that women cannot successfully juggle both careers and children. He also blamed working mothers for the breakdown of discipline in society. These remarks drew sharp criticism from the public and parenting organisations at the time, with representatives from groups like Parents at Work dismissing his comments as 'complete and utter nonsense'.
[9] Amusingly, Cliff even managed to alienate sections of the Christian community in 1999 when he set the words of the 'Lord's Prayer' to the tune of 'Auld Lang Syne'. The resulting record - titled 'The Millennium Prayer' - was almost universally loathed by music critics, but, more surprisingly, various church leaders and Christian commentators condemned it as a gimmicky and cynical exploitation of faith for commercial chart success (even though Cliff donated the proceeds to charity).
[10] As the child of parents from Tyneside - my father was born in Gateshead and my mother in Whitley Bay - I trust I am allowed to say this without sounding patronising.
[11] The meeting between Sir Cliff and Mensi was recorded by Anglia Television for an episode of the late-night religious and current affairs series Something Different (hosted by Stewart White) and was broadcast on 25 January 1980 (or early March in some ITV regions). Click here to watch an excerpt on YouTube (as preserved by Wayback Machine, the Internet Archive).
Musical bonus: Angelic Upstarts, 'The Young Ones', from the album Teenage Warning (Warner Bros., 1979): click here. The track also featured as the B-side to the single 'Teenage Warning' (1979), which reached No. 29 in the UK charts.
The song, written by Sid Tepper and Roy C. Bennett, was made famous by Cliff Richard and the Shadows and is the title song to the 1961 film The Young Ones (dir. Sidney J. Furie).
With advance orders of over 500,000, it was released in January 1962 on the Columbia (EMI) label and went straight to No. 1 in the UK Singles Chart (the first British single to do so since Elvis Presley's 'It's Now or Never' in November 1960). It held that position for six weeks and spent twenty weeks in the chart overall, selling over a million copies in the UK, and 2.6 million copies worldwide.
