British prime minister Boris Johnson on Tuesday (6) likened his own health with that of the country’s economy, which was superficially healthy but had some chronic underlying conditions which were exposed by COVID-19.
Johnson, who was hospitalised after testing positive for coronavirus earlier in the year, has often spoken about his struggle to lose weight in order to ward off an added risk from the deadly virus.
Addressing delegates of the Conservative Party for its annual conference, being held virtually in keeping with the coronavirus guidelines for large meetings, the Tory party chief set out his vision for a post-COVID British economy in a rousing speech, even as he hit back at critics who have questioned if his bout of COVID had somehow robbed him of his "mojo".
“I have to admit the reason I had such a nasty experience with the disease is that although I was superficially in the peak of health when I caught it, I had a very common underlying condition. My friends I was too fat,” he said, claiming that he has since lost nearly 12 kg.
“When you look at the general economic condition of this country when we went into lockdown there was a similarity because we were on the face of it in pretty good shape… And yet if you looked more carefully you could see – and indeed many of us said so at the time – that the UK economy had some chronic underlying problems: long-term failure to tackle the deficit in skills, inadequate transport infrastructure, not enough homes people could afford to buy… that isn’t good enough,” said Johnson.
The 56-year-old went on to lay out his party's plans that would mean not to “restore normality” but to "reform and renew" the country.
Evoking the UK's recovery from the Second World War, he said he wanted to build a "new Jerusalem", with opportunity for all, improved housing and healthcare.
Among the policies he detailed for the future include making the UK a "world leader" in green energy by announcing £160 million of investment in ports and factories to increase electricity generation from offshore wind; boost house building through changes to England's planning system; and greater provision of one-to-one teaching for pupils who had fallen behind during the pandemic.
Amid repeated references to UK chancellor Rishi Sunak, his neighbour at No 11 Downing Street, and the various economic measures put in place by the Conservative Party government to fight against the economic impact of the pandemic, the UK prime minister admitted that increased bail-outs and subsidies to prop up the economy go against his party’s traditional free market instincts but there was "simply no reasonable alternative".
Overall, he sought to strike a note of optimism with the annual party policy speech as he promised that the government was working “night and day to repel this virus”.
“I know the people of this country are going to defeat this virus… I believe it is a measure of the greatness of this country that we are simply not going to let it hold us back or slow us down, and we are certainly not going to let it get us down,” he said.
The UK has so far reported 518,222 cases of coronavirus with 42,549 deaths so far due to the contagious disease, according to Johns Hopkins University.
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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