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.
A 26-year-old man from Bradford has been sentenced to 13 years in prison after pleading guilty to a series of offenses, including rape, sexual assault, and the production of indecent images of a child.
Abdullah Mhana of Hirst Lodge Court, Bradford, admitted to 17 offences at Bradford Crown Court on Monday (8).
The charges included five counts of rape, seven charges of making indecent images, one count of sexual assault of a child, one offense of causing a child to watch a sexual act, one charge of assault by penetration, and one count of causing or inciting a child under 13 to engage in sexual activity.
The court heard that a staggering 14,000 indecent images were discovered on Mhana's electronic devices.
He has also has been mandated to sign the sex offenders register and was issued with a sexual harm prevention order, aimed at safeguarding potential future victims from his predatory behaviour.
According to West Yorkshire Police, Mhana's tactics involved initiating relationships with his victims via social media platforms, subsequently arranging meetings with them in parks and within his vehicle.
One particularly disturbing aspect of his crimes was his manipulation of a vulnerable 11-year-old girl, with whom he initiated a relationship by deceitfully claiming to be 17 years old, despite being 23 years old at the time.
Detective Inspector Charlotte Bolton of Bradford district’s children vulnerable to exploitation team said, “Mhana is a dangerous sexual predator who deserves to be behind bars for a very long time. He groomed vulnerable young children, deceived them into thinking he was a young boy and then took advantage of them.
“He would use social media apps to groom his victims over a three year period, making them perform sexual acts that they didn’t consent to. These victims have been through a horrendous ordeal that no child should ever have to go through. Specially trained officers continue to support them as they look to rebuild their lives.
Bolton added, “Throughout this investigation, we have recovered images from Mhana’s phone in which we believe there are unidentified victims. I would encourage anyone who knew Mhana or who has been in contact with him to come forward. We will treat any information given sensitively and confidentially."
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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