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 STARK warning from a psychiatrist three years ago suggested that Valdo Calocane, diagnosed with paranoid schizophrenia, could potentially "end up killing someone."
This chilling prediction, revealed in newly surfaced medical records, highlights a series of missed opportunities that might have prevented the Nottingham attacks in June 2023.
In an interview with BBC Panorama, Calocane's mother, Celeste, and brother, Elias, shared their anguish, asserting that the mental health system's failures led to a preventable tragedy.
Despite being sectioned four times and repeatedly displaying dangerous behaviour, Calocane was discharged from psychiatric care without the sustained support he needed.
In the aftermath, he went on a violent rampage, fatally stabbing university students Barnaby Webber and Grace O'Malley-Kumar, both 19, and 65-year-old school caretaker Ian Coates.
The Calocane family, who were unaware of his schizophrenia diagnosis until after the attacks, are now calling for urgent reforms in mental health services and a public inquiry into the systemic failings that allowed such a catastrophe to occur.
Valdo Calocane
They argue that the system is "broken" and warn that there are many more like Valdo who might slip through the cracks if significant changes aren't made.
The Independent Office for Police Conduct (IOPC) is investigating complaints from the families of Calocane’s victims against Nottinghamshire Police. The IOPC stated it cannot provide any comments while the investigation is ongoing.
BBC faces backlash over documentary
Meanwhile, families of the Nottingham attack victims have expressed their distress and anger towards the BBC for airing a controversial Panorama documentary without their consent.
The programme, titled The Nottingham attacks: A search for answers, included interviews with the family of the killer, Calocane, a decision that has left the victims' loved ones feeling "traumatised."
The families of Barnaby Webber, Grace O'Malley-Kumar, and Ian Coates were only informed about the documentary two weeks ago, despite filming having started months earlier.
They claim they were given minimal details about the content and were not provided an opportunity to contribute, leading them to demand that the BBC include a disclaimer stating that the documentary was made without their knowledge or consent.
BBC said that the documentary, which was aired on Monday (12), is in the public interest and focuses on the decline of Calocane’s mental health and questions whether systemic failings and missed opportunities by health services could have prevented the attacks.
However, the families, still reeling from the decision not to prosecute Calocane for murder, feel betrayed by the broadcaster's approach, particularly as the episode is scheduled to air just before a review of Nottingham NHS Mental Health Trust’s handling of the case is published.
Emma Webber, mother of Barnaby Webber, voiced her frustration, stating that the families "deserved better" and criticised the BBC for adding to their torment during an already difficult time.
“All the families feel very disappointed and alarmed at the way they have managed this. We feel very let down, very disappointed. We expected better. We deserved better," she was quoted as saying.
She voiced her concerns to health secretary Wes Streeting, who reportedly contacted the broadcaster regarding their engagement with the families.
A BBC spokesperson responded, expressing deep sympathy for the families. They stated that the Panorama team has been sensitive in their approach, keeping the bereaved families informed about the programme's focus.
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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