Pramod Thomas is a senior correspondent with Asian Media Group since 2020, bringing 19 years of journalism experience across business, politics, sports, communities, and international relations. His career spans both traditional and digital media platforms, with eight years specifically focused on digital journalism. This blend of experience positions him well to navigate the evolving media landscape and deliver content across various formats. He has worked with national and international media organisations, giving him a broad perspective on global news trends and reporting standards.
BRITISH Parliamentarians are unhappy over the plan to burn personal protective equipment (PPE) such as masks and gowns worth £4 billion, according to a report.
These were bought during the pandemic and will not be used by the NHS.
Now, MPs are demanding answers over the financial and environmental cost of plans to burn PPE, reported the Sky News.
According to the report, figures showed that nearly £9bn of the government's spending on PPE was written off, including products costing £4bn that did not meet health service standards.
An inquiry by the Commons public accounts committee heard that the department for health and social care (DHSC) plans to burn "significant volumes" of it to generate power.
In a report, MPs asked for the department to provide further details of the volumes of PPE being disposed of and the costs involved in storing and getting rid of it, as well as environmental impacts.
The MPs found that the government had approached 75 countries to try to offload the unusable equipment, with discussions ongoing with 11 of them. There are also plans to turn face visors into food trays and aprons into bin bags.
Two waste companies are to be appointed to dispose of 15,000 pallets a month of the kit via a combination of recycling and burning, the committee was told.
In the meantime the government is still spending £3.5m a week storing PPE, the MPs said.
The report took aim at the DHSC's "haphazard purchasing strategy", noting that 24 per cent of PPE contracts that were awarded were now in dispute.
Those included deals for products that were not fit for purpose and one arrangement to buy 3.5 billion gloves produced by a manufacturer facing modern slavery allegations.
Earlier this year, it emerged that police had raided homes and offices in London and the Isle of Man as part of a National Crime Agency investigation into the supply of PPE at the start of the pandemic.
Dame Meg Hillier, the Labour MP who chairs the public accounts committee, said that the story of PPE purchasing is perhaps the most shameful episode in the UK government response to the pandemic.
"At the start of the pandemic health service and social care staff were left to risk their own and their families' lives due to the lack of basic PPE. In a desperate bid to catch up, the government splurged huge amounts of money, paying obscenely inflated prices and payments to middlemen in a chaotic rush, during which they chucked out even the most cursory due diligence," she was quoted as saying by the Sky News.
Labour's deputy leader Angela Rayner has alleged that ministers have been carelessly burning taxpayers' money by the billion as unusable gowns, goggles, and gloves literally go up in flames.
According to Pat Cullen, chief executive of the Royal College of Nursing, large number of inadequate or wasteful PPE is a painful reminder of the worst of the pandemic.
"If this money had been used more wisely and decent quality PPE bought in the first place, then nurses' lives might have been saved," Cullen said.
In response to the select committee report, a DHSC spokesperson said that a number of claims in the report are misleading.
"In the face of an unpredictable and dangerous virus, we make no apology for procuring too much PPE rather than too little, and only 3 per cent of the PPE we procured was unusable in any context," the spokesperson added.
UK music industry continue to face systemic barriers that hinder progress, visibility, and career growth – despite decades of contribution and cultural influence, a new report has revealed.
The study, South Asian Soundcheck, published last Tuesday (7), surveyed 349 artists and professionals and found that while many are skilled and ambitious, structural obstacles are still holding them back.
Prepared by Lila, a charity focused on empowering south Asian artists and music professionals, the survey showed that nearly three-quarters of respondents earn some income from music, but only 28 per cent rely on it full time.
More than half struggle to access opportunities or funding, and many said they lack industry networks or knowledge about contracts and rights.
Beyond structural issues, almost half said they face stereotypes about the kind of music they should make; two in five encounter family doubts about music as a career, and one in three has experienced racial discrimination.
Although 69 per cent said there was progress in visibility, but 68 per cent still feel invisible within the industry.
Respondents sought urgent action, including mentorship and networking opportunities, stronger south Asian representation in key industry roles and fairer access to funding.
Veteran musician and composer Viram Jasani, who chaired the Asian Music Circuit and led a national enquiry into south Asian music in 1985, told Eastern Eye the findings were “disheartening”.
“I read the report and my heart sank – it feels as though nothing has changed,” he said.
“Back in 1985, we had already identified the same problems and made clear recommendations for better representation, employment and long-term support. Four decades later, we are still talking about the same issues.”
Jasani, a sitar, tabla and tambura expert, said the report focused mainly on modern genres and overlooked traditional south Asian music, which he believes is central to cultural identity.
“Since colonial times, British attitudes have not changed much,” he said. “If they can erase Indian traditional culture and create a community that lives entirely within an English cultural bubble, then they will have succeeded.”
He added that young south Asian artists were often drawn to Western contemporary music, while neglecting their own heritage.
“We are brilliant in Western genres, but that should come after we are grounded in our traditional shashtriya sangeet (classical music),” he said. “Without that foundation, we lose our sense of identity.”
Jasani also warned a lack of unity within the south Asian community continues to weaken its cultural progress.
He said, “People compete with each other while the world watches. For too long, massaging egos has taken priority over producing the best of our culture.”
According to the survey, one in three has experienced direct racial discrimination. One respondent said, “There are virtually no visible and successful south Asian artists in the mainstream – people simply do not know where to place us.”
Another added: “I want south Asian artists to be part of the collective mainstream industry, not just put on south Asian-specific stages or events.”
While the visibility of south Asian artists has improved, with more names appearing on festival line-ups and in the media, the study revealed this progress remains “surface level”.
Lila’s founder, Vikram Gudi, said the findings show progress has not yet been translated into structural inclusion.
“The data exposes what we call the progress paradox. Seventy-three per cent of the people we surveyed earn some money from music, but only 27 per cent earn enough to rely on it as a sustainable career,” he said.
“The Soundcheck gives us the evidence to enact real change and identifies three essential needs – mentorship, representation, and investment.”
Three-quarters of participants said mentorship from experienced professionals would make the biggest difference to their careers. Many stressed the importance of being guided by people who “understand how the industry works and can connect them to decision-makers”.
Nearly the same proportion called for greater south Asian representation across the music industry – not just on stage, but within executive, programming and production roles at festivals, venues, record labels and streaming services.
Dedicated funding also emerged as a priority, with many describing the current grant systems as inaccessible or ill-suited to the diverse and cross-genre work that defines south Asian creativity today.
Two in five respondents reported that family or community resistance remains a challenge, often due to the perceived instability of a music career. The report argued this scepticism is “economically logical”, when there are so few visible south Asian success stories in the mainstream.
Responding to the report, Indy Vidyalankara, member of the UK Music Diversity Taskforce and BPI Equity & Justice Advisory Group, said: “South Asian music is rich, vibrant, and hugely influential. We need south Asian representation at every level of the ecosystem, plus support and investment to match that influence.”
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