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.
An NHS nurse has alleged that a Gatwick parking company took her BMW on a huge road trip while she was abroad, according to a media report.
Kajal Bhagwandas, 30, has said that when she returned from a week-long family holiday in Mexico the car had 600 extra miles on the clock.
Besides, her car was out of engine oil, the brakes were worn out and there was gum stuck to the ceiling, the MailOnline reported. According to Bhagwandas, there was also a tourist map of Bristol in the boot, which she has never visited.
"The car was filthy, with mud splashed across the outside of the blue vehicle. They didn't even try and get rid of the evidence, they didn't clean the car. It's obviously been used but there's no cover up at all. They just didn't care," Bhagwandas was quoted as saying by the MailOnline.
"The first thing we noticed was some mud which was sprayed across one side, and we thought it must have been parked in a muddy field. We got into the car and on the screen inside, a message popped up to say the brake pads were worn and thought that was a bit odd. Then as we started the car, we looked to see there were 600 miles which had been added to our mileage. We couldn't believe it."
Bhagwandas and her husband Praven drove the car home to Kingston-upon-Thames. They later found more indications the car had been used while they were away.
The couple parked the vehicle at the facility on August 20. They returned to the car park eight days later and paid £115 as parking fee.
The healthcare worker said that they had to wait for over an hour for the vehicle to be driven back to them.
"When we came back, the guy handed us the keys and basically ran off. He didn't give us a chance to check the car or anything. In the terms and conditions, it says if you don't mention any concerns you have to the person handing over the keys then the complaints are void," she told the newspaper.
The couple claimed the mileage had been 133,400 when they dropped it off and showed 134,000 when they returned.
Later, Bhagwandas shared her experience on social media. There many people reacted saying that they also had similar experience wit the parking firm. Now, they have lodged an official police complaint about the incident.
Other customers also raised complaints such as extra mileage on their cars, dirty vehicles and even McDonalds bags and crisp packets left inside
A Gatwick Airport spokesperson said: "The airport has no relationship with these firms and, like other airports, Gatwick cannot prevent competitor parking companies from operating on site, provided they abide by bye-laws and terms and conditions of use of relevant facilities.
"Any passengers affected by the actions of rogue parking companies like this should contact Trading Standards, which should be able to investigate the matter. Gatwick Airport strongly recommends that passengers use official on-airport parking."
Meanwhile, the parking company denied knowledge of the incident. The firm said that its staff are not allowed to remove cars from the business.
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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