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.
UK prime minister Boris Johnson has dismissed new allegations that his aides had tried to "blackmail" and threaten Conservative rebels, in a potentially criminal twist to Downing Street's "partygate" scandal.
Senior Tory William Wragg disclosed the alleged intimidation campaign as Downing Street battles to shore up Johnson against calls from within the party for his resignation.
"The intimidation of a member of parliament is a serious matter. Reports of which I am aware would seem to constitute blackmail," said Wragg, one of seven Tory MPs who have publicly called for a party confidence vote.
Addressing MPs, Wragg said any affected members should report it the police and to the Speaker's office in the House of Commons.
Speaker Lindsay Hoyle, addressing the chamber in sombre tones, said any such campaign would amount to "contempt" of parliament, which is a criminal offence.
Scotland's first minister Nicola Sturgeon alleged the charge amounted to "corruption", and accused Johnson of "tarnishing the office of prime minister".
But Johnson told reporters: "I've seen no evidence, heard no evidence, to support any of those allegations.
"What I am focused on is what we're doing to deal with the number one priority of the British people, which is coming through Covid," he said on a visit to a medical clinic in southwest England.
Johnson refused to confirm his aides' assertion that he would fight any no-confidence vote and not comment further on the dramatic defection of Conservative MP Christian Wakeford to the Labour party on Wednesday (19).
'Narcissistic rabble'
The alleged intimidation campaign includes threats to withdraw funding from rebels' constituencies, and to leak damaging stories to the media.
Wakeford said he had been told his seat in northwest England could lose a school if he did not fall into line.
Prior to Wragg's explosive intervention, Johnson allies had been talking up the prime minister's chances of survival, after Wakeford's cross-party switch focused Tory minds on the threat from a resurgent Labour opposition.
One anti-Johnson plot by younger Tory MPs, livid at breaches of lockdowns by partying Downing Street staff, appeared to be fizzling out despite one senior backbencher telling him to his face to quit, "in the name of God".
"The prime minister is probably thanking Christian for what he did because it's made a lot of people think again, think twice," Tory MP Andrew Percy told BBC radio.
"I think people have recognised that actually this constant navel-gazing and internal debating is only to the advantage of our political opponents," he said.
Before Wakeford's defection, the plotters appeared confident that they were close to the 54 letters needed to force a no-confidence vote in Johnson by Conservative MPs.
But the secretive process remained on hold, with some rebels even withdrawing their letters in response to Wakeford joining Labour, according to reports.
Critics accuse Johnson of lying to parliament about what he knew and when, with regard to boozy parties held in Downing Street in apparent breach of his own government's Covid rules over the past two years.
While apologising for the parties, Johnson denies misleading the country, and insists that all sides should await the findings of an internal inquiry by senior civil servant Sue Gray.
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.”
By clicking the 'Subscribe’, you agree to receive our newsletter, marketing communications and industry
partners/sponsors sharing promotional product information via email and print communication from Garavi Gujarat
Publications Ltd and subsidiaries. You have the right to withdraw your consent at any time by clicking the
unsubscribe link in our emails. We will use your email address to personalize our communications and send you
relevant offers. Your data will be stored up to 30 days after unsubscribing.
Contact us at data@amg.biz to see how we manage and store your data.