Kwasi Kwarteng became the second shortest-serving British finance minister, paying the price for weeks of UK market tumult prompted by his controversial tax-slashing mini-budget.
His sacking represents a humiliation for the Cambridge- and Harvard-educated former Chancellor of the Exchequer -- who as recently as Thursday insisted that he was "not going anywhere".
Only Iain Macleod, who died just a month after being appointed in June 1970, has had a shorter stint in the role.
Kwarteng's position became untenable just two weeks after he started on September 6, after the September 23 announcement of sweeping tax cuts without costings spooked currency and bond markets concerned about his mammoth spending commitments.
The Bank of England was forced to make several emergency interventions to stabilise markets in the aftermath.
Liz Truss, who only last month succeeded prime minister following the resignation of scandal-hit Boris Johnson, has already reversed one element of the plan -- axing the top tax rate for high-earners.
Truss was voted in by Conservative members on a promise to cut taxes, plans that her rival Rishi Sunak, who was finance minister under Johnson, said were a recipe for disaster in the face of spiralling inflation.
- 'Committed Thatcherite' -
Kwarteng's devout belief in liberal economics made him the obvious choice to carry out her plans, despite the warnings.
The pair were also at the forefront of urgent moves to help millions of Britons suffering under the strain of rocketing energy prices that have pushed UK inflation to a 40-year high.
Those spending plans allied with the tax cuts sent sterling plunging to its lowest-ever value against the dollar last month, as critics decried the government's "KamiKwasi" economics.
Tony Travers, a professor at the London School of Economics, described the minister as a "committed Thatcherite", in reference to former leader and free-market proponent Margaret Thatcher.
"He might have started out as believing in a smaller state and a more deregulated economy, but he's living in a world where the public expects almost exactly the opposite," Travers told AFP last month as pressure began to mount on Kwarteng.
An enthusiastic backer of Brexit, the 47-year-old Kwarteng replaced Iraqi-born Nadhim Zahawi, who himself lasted only two months in the second most powerful job in British politics after Johnson's resignation.
Zahawi took over from Sunak, who resigned as finance minister in opposition to Johnson before then losing out to Truss in the contest for 10 Downing Street.
Four years before the 2016 Brexit vote, Kwarteng joined with Truss and other Tory right-wingers to write a free-market manifesto called "Britannia Unchained", which described British workers as "among the worst idlers in the world".
He enthusiastically endorsed Truss's plans for a "lean state" and to put "money back into people's pockets".
In presenting his doomed budget measures, Kwarteng declared it "a very good day for the UK, because we've got a growth plan".
But disquiet among Tory MPs has only risen before, during and after the party's fractious annual conference earlier this month, as opinion polls show voters strongly opposed to the budget plan including its tax cuts for the richest.
Surveys have also shown the opposition Labour party opening up a massive lead over the ruling Conservatives.
- TV swearing -
In a former role as energy minister, Kwarteng drew the ire of green groups after he said Russia's invasion of Ukraine meant the UK needed further investment in North Sea drilling, to diversify its energy mix.
Britain's first black chancellor of the exchequer, Kwarteng is the son of an economist and lawyer who emigrated to Britain from Ghana.
The London-born Kwarteng won a scholarship to the elite school Eton, before attending both the University of Cambridge and Harvard University.
While at Cambridge, he represented Trinity College on the long-running quiz programme "University Challenge", earning his first national media exposure for uttering an expletive when he got a question wrong.
Kwarteng worked as a financial analyst and newspaper columnist before being elected as a Tory MP in 2010.
A former department colleague, Mark Fletcher, said Kwarteng was "fiercely bright and serious" and also a huge cricket fan.
"If you can explain things to him in a cricket analogy you will always get his attention," he told The Times.
Previously in a relationship with senior Tory MP Amber Rudd, Kwarteng is married to lawyer Harriet Edwards, who gave birth to a daughter last year.
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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