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.
GLOBAL satellite communications company OneWeb targets to be a 'truly global force for good' by the end of 2022 as the UK government has completed its acquisition.
The UK government and the Indian conglomerate Bharti Global are the new owners of OneWeb which will begin commercial connectivity services to the UK and the Arctic region in late 2021.
Neil T Masterson, former Thomson Reuters chief operating officer, has been appointed as the chief executive officer of the company. Its previous CEO Adrián Steckel will continue as an adviser to the board.
"This strategic investment demonstrates government’s commitment to the UK’s space sector in the long-term and our ambition to put Britain at the cutting edge of the latest advances in space technology. Access to our own global fleet of satellites has the potential to connect people worldwide, providing fast UK-backed broadband from the Shetlands to the Sahara and from Pole to Pole," said UK business secretary Alok Sharma.
"This deal gives us the chance to build on our strong advanced manufacturing and services base in the UK, creating jobs and technical expertise. The government is committed to work with OneWeb’s shareholder partners to use this investment as a platform to promote UK jobs and supply chains and protect UK critical assets and intellectual property."
OneWeb will provide a new broadband connectivity for businesses, communities, and governments around the world.
It plans is to take 648 spacecraft aloft to deliver internet connectivity to nearly all land and seas surfaces around the globe.
The company has already launched 74 satellites and infrastructure development is in progress in strategic locations around the world.
The next 36 satellites were despatched from a Florida factory to Russia's Vostochny Cosmodrome for launch on a Soyuz rocket, currently scheduled for 17 December.
Sunil Bharti, founder and chairman of Bharti Global said: "Together with our partners at HMG, we are looking forward to a new Low Earth Orbit opportunity. Innovation, resilience and growth in the high-tech sector are all served by this powerful global opportunity."
OneWeb sought Chapter 11 protection in the US in March after its then biggest shareholder, Japanese tech funder Softbank, stepped back from further investment in the project.
The bidding process to pick up the assets, including the radio frequencies used by the constellation, was won by a consortium led by the London government and Bharti, who are both injecting $500m into the venture, reported the BBC.
The new CEO Masterson will return to London from New York to take up the role.
"I am looking forward to helping the OneWeb team deliver and commercialise their vision to provide internet access across the globe," he said.
The UK government's involvement in the company's rescue has attracted criticism as many questioning why ministers would invest so much money in what remains a risky venture.
Alok Sharma even had to issue a 'ministerial direction' to push the investment forward after civil servants stated their objection.
The services of OneWeb include precise positioning, navigation and timing, a capability the UK government is keen to establish in some form as its partnership in the EU's Galileo sat-nav project has ended following Brexit.
OneWeb was founded in 2012, and raised $3.4 billion from Softbank Group, Airbus SE and other big names, but lead investors pulled their money at the height of the coronavirus pandemic.
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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