A British teenager was on Friday sentenced to more than 11 years in prison for videos promoting racist violence that has been linked to two mass killings in the United States.
Judge Patrick Field called Daniel Harris, 19, "highly dangerous" and a "propagandist for an extremist right-wing ideology".
"You were in close touch with other right-wing extremists online and there can be little doubt that you shared ideas between you," Field told Harris in court.
Harris was found guilty in December of five counts of encouraging terrorism and one count of possession of material for terrorist purposes, for trying to make a gun with a 3D printer.
The judge at Manchester Crown Court in northern England sentenced Harris to 11 and a half years, with a further three years under supervised probation.
The court heard that the teenager from Derbyshire in central England posted videos online for over a year, from the age of 17.
Harris reportedly posted under the name BookAnon on a platform called World Truth Videos.
His videos were shared by self-declared white supremacist Payton Gendron, who has pleaded guilty to murdering 10 black people in the United States.
'Exterminate sub-humans'
Field told Harris "at the very least, the material you produced and published has had some influence upon the young man (Gendron)".
Gendron was 18 when he shot dead his victims in a supermarket in Buffalo, New York in May 2022.
Prosecutors said a link was also found between Harris's videos and Anderson Lee Aldrich, 22, the sole suspect in a shooting in a gay nightclub in the US city of Colorado Springs in November 2022.
The prosecutor said that one of Harris's videos was posted on a "brother site" to one showing a live stream of Aldrich before the attack, which left five people dead.
The court was told one of Harris's videos, titled "How to Achieve Victory", called for "total extermination of sub-humans once and for all".
Another video paid homage to the white supremacist murderer of British MP Jo Cox in 2016.
He also praised the Australian white supremacist who murdered 51 Muslim people in New Zealand mosques in 2019 as a "saint".
Harris was arrested by counter-terrorism police at his home in the town of Glossop last May, two days after the attack in Buffalo.
He had been previously convicted for vandalising a Manchester memorial to George Floyd, whose suffocation by a white police officer in Minneapolis triggered the worldwide "Black Lives Matter" protests.
'Radicalising others'
Harris was placed in a government deradicalisation programme, but Counter-Terrorism Policing detective inspector Chris Brett said he continued to post extremist material.
"Harris was ultimately deemed not to have been groomed, rather his provocative words and inflammatory films were potentially radicalising others," Brett said.
He warned other extremists that police would find them even if they "hide behind usernames, avatars and other technical blockers".
UK intelligence agencies, police and lawmakers have stepped up warnings about right-wing extremism.
Domestic security agents have been investigating teenagers as young as 13 with suspected white supremacist beliefs, MI5 chief Ken McCallum said last year.
Of 29 "late-stage" attack plots disrupted in the four preceding years, 10 were by extreme right-wingers, he said.
The House of Commons Intelligence and Security Committee said in a December report that the online threat was driven by "predominantly young men, many of them still in their teens".
Few belong to organised groups and so are difficult to identify and monitor, the report said, and experts warn that online radicalisation only worsened during pandemic lockdowns.
Harris's lawyer said he was withdrawn from mainstream schooling aged seven and said there had been "quite disgraceful failings" by his family and the local authority.
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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