UK prime minister Boris Johnson defiantly rejected calls to resign after an internal inquiry on Wednesday (25) found he presided over a culture of lockdown-breaking parties that ran late into the night and even featured a drunken fight among staff.
The inquiry found that a scuffle broke out, one attendee was sick and excessive amounts of alcohol were consumed when workers at Downing Street held a party in the middle of Britain's coronavirus crisis as the rest of the country was observing strict lockdown rules.
The incidents happened at a leaving party on June 18, 2020, that began in the Cabinet Room and later moved to the nearby Cabinet Secretary's room with the last member of staff leaving at 3:13 am the following morning.
The government's former head of ethics, Helen MacNamara, attended for part of the evening and provided a karaoke machine, according to the inquiry report.
"The event lasted for a number of hours. There was excessive alcohol consumption by some individuals. One individual was sick. There was a minor altercation between two other individuals," said the report.
At the time, large gatherings were banned to help reduce the spread of infections.
Johnson, who was fined by the police for attending one of the parties, told parliament on Wednesday he took full responsibility for the culture in Downing Street and said he was appalled by what had happened at events where he was not present.
On the eve of Prince Philip's funeral in April 2021, people attended a party where the prime minister's son's swing was broken in the Downing Street garden and the last member of staff left at 4:20 am.
Some drunken staff were encouraged to leave by the rear exit of No. 10, but others "remained in the building and carried on drinking alcohol until the early hours", the report said.
"Unacceptable" behaviour
The senior civil servant Sue Gray who carried out the investigations said she was made aware of "multiple examples" of "unacceptable" behaviour towards Downing Street security and cleaning staff.
Johnson said it was "repugnant" that staff were mistreated, and said he had started to make inquiries to find out who was responsible.
Gray also highlighted occasions when staff raised questions about whether events should go ahead, or about drunkenness in Downing Street, and had their concerns dismissed.
"I found that some staff had witnessed or been subjected to behaviours at work which they had felt concerned about but at times felt unable to raise properly," the report said.
After a December 18 party, which took place in the Downing Street press office, a cleaner found red wine had been spilled over the walls and on boxes of photocopier paper, the report said.
Following another event, Martin Reynolds, Johnson's former principal private secretary, boasted to colleagues on the WhatsApp messaging service that staff appeared to have "got away" with drinks events in the Downing Street garden in May 2020.
Reynolds resigned from his position in Downing Street earlier this year and took up a role in the Foreign Office.
Asked why Reynolds remains in government, Johnson said it was unfair to talk about individual officials.
But he said: "Anybody who is involved in this whole sorry business has to learn the lessons".
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.