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 five-person submersible vessel taking wealthy adventurers on a over £195,000 trip to see the wreckage of the 1912 Titanic disaster 12,500 feet (3,800m) undersea is missing in the Atlantic off Canada.
It was missing for a third day on Tuesday (20) as US and Canadian ships and planes swept a huge area trying to find the vessel.
Those aboard the submersible called Titan included British billionaire Hamish Harding and Pakistani businessman Shahzada Dawood with his son Suleman.
Here is all you need to know about the Titanic expedition
The submarine belongs to OceanGate Expeditions, a company that provides crewed submersible services for exploration, industry and research purposes.
Based in Everett in Washington, OceanGate says it uses next generation crewed submersibles and launch platforms to increase deep ocean access as far as 4,000 metres.
Although popularly called a submarine, in marine terminology the "Titan" vessel carrying the five is a submersible. While a submarine can launch itself from a port independently, a submersible goes down off a support ship.
OceanGate’s expeditions to the Titanic depart from St. John’s, Newfoundland, to the wreck of the Titanic about 370 miles away.
The trips take eight days and each dive to the wreck and ascent to the surface reportedly takes roughly eight hours. The latest expedition to the Titanic is reportedly OceanGate’s fifth of the year.
OceanGate, which was founded in 2009 by Stockton Rush, has several custom-built submersibles including Titan, which was designed to reach depths of 13,123 feet necessary to visit the wreck of the Titanic, which lies at a depth of about 12,500 feet. The Titan utilizes SpaceX's Starlink satellite communications system when at sea.
The submersible is designed to surface automatically if it encounters technical problems. OceanGate’s website says that the Titan has life support capabilities sufficient to sustain its five-person crew for 96 hours.
Aside from its trips to the Titanic, OceanGate’s website lists several expeditions that its submersibles have conducted in recent years.
It lists expeditions in spring 2022 and fall 2023 for its "Four Subs Project" – a mission to document the wrecks of four historic submarines in the Atlantic Ocean off the coast of Rhode Island, including one German U-boat from World War II.
OceanGate also lists expeditions to Hudson Canyon off the coast of New York City that interested tourists may inquire about.
"OceanGate has successfully completed over 14 expeditions and over 200 dives in the Pacific, Atlantic and Gulf of Mexico," its website says. "Following every mission, the team evaluates and updates the procedures as part of a continued commitment to evolve and ensure operational safety."
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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