Vivek Mishra works as an Assistant Editor with Eastern Eye and has over 13 years of experience in journalism. His areas of interest include politics, international affairs, current events, and sports. With a background in newsroom operations and editorial planning, he has reported and edited stories on major national and global developments.
Experts have warned that a bird flu pandemic could be far deadlier than Covid-19, with the potential to kill up to half of those infected. The H5N1 strain of bird flu is causing concern, as it has been found in various mammals, including humans, raising fears of a global epidemic.
A bird flu pandemic could be '100 times worse than Covid' and kill up to half of everyone it infects, experts have warned, reported the Daily Mail.
During a briefing, Dr Suresh Kuchipudi, a leading bird flu researcher, expressed worry about the virus reaching a critical point for triggering a pandemic. He emphasized the urgent need for preparedness, stating that the virus is already infecting a range of mammals globally.
John Fulton, a pharmaceutical industry consultant, echoed these concerns, suggesting that H5N1 could be significantly more lethal than Covid-19 if it mutates to maintain its high fatality rate, reported the newspaper.
The White House says it is 'monitoring' the situation. "This is something that we are certainly monitoring. You know, we take health and safety of the American people seriously. It is very important to this President. Our top priority is to keep communities healthy, safe, and informed," the statement read.
Texas officials reported on Monday that a farm worker tested positive for H5N1, or bird flu, that has spread to dairy cows in Texas, Kansas, New Mexico, Michigan, and Idaho - the first time the virus has infected cattle, reported Reuters.
The Centers for Disease Control and Prevention in the US has said the risk to human health from this outbreak is low.
The US has a stockpile of bird flu vaccines and antivirals in case of a major epidemic, but scaling up production would be necessary in the event of a pandemic.
The World Health Organization reports a fatality rate of 52 out of every 100 cases of H5N1 since 2003, compared to less than 0.1 percent for Covid-19. However, the CDC states that the risk to human health from the current outbreak is low.
Meanwhile, concerns arise as researchers investigate the deaths of hundreds of Adelie penguins in Antarctica, suspecting the H5N1 bird flu virus as the cause. Although field tests were inconclusive, samples are being analyzed to determine the exact cause, reported Reuters.
The potential impact of bird flu on wildlife, especially threatened species like penguins, is alarming. Scientists fear that if the virus continues to spread aggressively, it could devastate penguin populations already facing challenges from climate change.
Overall, while the risk of bird flu causing a major pandemic is concerning, experts stress the importance of continued monitoring and preparedness to mitigate its potential impact on human and animal health.
Bird flu, also known as avian influenza, is a viral infection that primarily affects birds but can also infect humans and other mammals.
There are various strains of bird flu, with H5N1 being one of the most concerning due to its high mortality rate in birds and potential to cause severe illness in humans.
Bird flu is mainly transmitted through contact with infected birds or their droppings, but there have been cases of human-to-human transmission in some instances.
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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