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.
THE Chairman of Pakistan People's Party (PPP) Bilawal Bhutto is likely to meet Pakistan Muslim League-Nawaz (PML-N) supremo Nawaz Sharif in London on Wednesday (20), a day after he excused himself from taking oath as the foreign minister.
The two leaders are expected to "discuss the current political situation" in Pakistan, PTI reported. According to sources, Bhutto want to discuss the non-inclusion of Awami National Party (ANP), Balochistan National Party-Mengal (BNP-Mengal) and Moshin Dawar in the cabinet with Nawaz.
"If all goes well in talks with Nawaz Sharif, it is expected that Bilawal may take the oath as foreign minister on his return from London,” sources said.
Bhutto, 33, did not take the oath on Tuesday (19), despite attending the cabinet oath-taking ceremony as a guest. There are speculations about his reluctance to join the government led by prime minister Shehbaz Sharif.
If confirmed, the Oxford-educated Bhutto would be one of the world's youngest foreign ministers and tasked with repairing links with the West that frayed under the leadership of Khan, who accused Washington of conspiring to oust him.
FILE PHOTO: Nawaz Sharif speaks to media after appearing before an anti-corruption commission at the Federal Judicial Academy in Islamabad on June 15, 2017. (AAMIR QURESHI/AFP via Getty Images)
Bhutto is the son of former president Asif Ali Zardari and assassinated ex-premier Benazir Bhutto, as well as the grandson of another prime minister, Zulfikar Ali Bhutto, who was executed in 1979.
The two main political parties- PPP and PML-N-have been alternatively in power when the military was not ruling the country. The powerful Army has ruled the coup-prone country for more than half of its 75 plus years of existence.
Confirming Bhutto's departure for London, PPP secretary-general Farhatullah Babar said the main purpose of meeting Sharif, is to congratulate him on the coalition government and "discuss the current political situation, reports said.
Sharif, against whom several corruption cases were launched by the government of former prime minister Imran Khan, had left for London in November 2019 after the Lahore High Court granted him a four-week permission allowing him to go abroad for his treatment.
Sharif, 72, had given an undertaking to the Lahore High Court to return to Pakistan, citing his record to face the process of law and justice within four weeks or as soon as he is declared healthy and fit to travel by doctors. He was also given bail in the Al-Azizia Mills corruption case in which he was serving seven-year imprisonment in Lahore's high-security Kot Lakhpat jail.
PPP is the second-largest party in the current coalition government. The cabinet formation was delayed for days due to differences among the coalition parties, mainly due to the initial refusal by the PPP. Later, Sharif ensured that Bhutto's party joined his government.
Sources said that Bhutto is still reluctant to join the cabinet because it may hinder his political activities ahead of elections which are likely to be held by the end of the 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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