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.
THE Football Association (FA) has started an investigation against Crawley Town's suspended manager John Yems for allegedly abusing his own players with racist insults, according to a report.
Yems, 62, has allegedly called players ‘suicide bomber’, ‘terrorist’ and ‘Zulu Warrior’, and also ran a segregated training ground where the club’s black stars use a separate changing room, reported the Sportsmail.
Crawley’s American owners, investment group WAGMI United, removed Yems within hours of announcing the probe and asked him to leave the team hotel in Mansfield at 1.30am ahead of a match later that day.
According to the Sportsmail report, Yems even asked white players 'not to change in the black boys’ room’. He also referred players from Asian backgrounds as ‘terrorists, suicide bombers and curry munchers’.
The media report also said that the manager frequently used the n-word and referred one black player as a ‘Zulu warrior’. Yems called a young player of Cypriot extraction a ‘Greek bobble-head’ and mocking Greek music.
Later, seven players complained to the PFA last month, with at least one seeking counselling as a result of the damage the manager did to his mental health.
Sportsmail revealed that many players were left traumatised by their alleged treatment at the hands of Yems, with several of them in tears as they confided in staff at Crawley over the last couple of weeks.
"He called us terrorists, suicide bombers, curry munchers. He also called one of the players a Zulu warrior. It’s been going on since 2020-21 — in the changing room, during training. No one challenged him on it as he’s the gaffer and we didn’t feel we could. Sometimes players say things in the heat of the moment but from the manager it’s different. He’s the boss, so it’s an abuse of his power," one player was quoted as saying by the Sportsmail.
"I’ve been in a dark place and really struggled. Two players were effectively kicked out of the club last year for no reason. They were made to train on their own and haven’t been seen since. One of the lads said Yems was screaming in their faces, “F*** off you c***s, get out of our club."
A member of staff at Crawley has said that John would see it as banter, but it’s race-related bullying that has had a damaging effect on several players.
Crawley described the allegations as ‘serious and credible’. Now, the FA’s disciplinary department should decide whether to charge Yems with a breach of rule E3, which prohibits discrimination against another individual’s protected characteristics such as race, colour, religion, sexual orientation or disability.
"We are treating the allegations extremely seriously and are conducting an investigation. We cannot comment further until that has concluded," an FA spokesperson told Sportsmail.
Crawley have lost all three of their matches since Yems was suspended. Fans chanted ‘We want our Yems back’ during the club's last week 2-0 home defeat by Leyton Orient.
Crawley have launched their own inquiry and could take further action before the FA’s probe is concluded, it is learnt.
Jacqueline Fernandez has quietly built one of the most consistent records in the Indian entertainment industry when it comes to delivering chart-topping music videos. From high-voltage Bollywood dance numbers to independent cross-cultural hits, her music collaborations have repeatedly gone viral, not just for their sound but also for their styling, choreography, and screen presence.
Her latest track, Dum Dum, is currently trending across platforms, with fans and creators picking up on its hook steps and fashion cues. The song adds to a growing list of viral hits led by Fernandez, each one helping cement her image as one of the most recognisable music video stars in Indian pop culture today.
With viral choreography, bold styling, and mass appeal, Jacqueline’s music video appearances have become internet staples
Here’s a look at 12 of Jacqueline Fernandez’s most talked-about music videos, songs that continue to feature in playlists, dance reels, and party sets:
Yimmy Yimmy
One of 2024’s biggest global hits, this trilingual track featuring Shreya Ghoshal and Tayc made waves on both Indian and international charts. Jacqueline stood out for her statement styling, seamless transitions, and effortlessly catchy dance moves.
Jumme ki raat
A standout number from Kick, this collaboration with Salman Khan became a dance floor staple. Fernandez’s energetic performance and signature step made it one of the most replayed tracks of that year.
Ek do teen
Reinterpreting a classic is no small feat, but Jacqueline’s edgy rework of Madhuri Dixit’s iconic number drew both attention and debate. Her modern visual treatment and stylised choreography gave the song a new identity.
Genda phool
Pairing folk melodies with rap elements, this Badshah collaboration saw Jacqueline in a bold, traditional look. The visual contrast contributed to its mainstream appeal and high replay value.
Beat pe booty
In A Flying Jatt, her duet with Tiger Shroff introduced unconventional choreography that went on to spark a viral dance challenge. The light-hearted tone and quirky synchronisation became a hit among younger audiences.
Jadoo ki jhappi
One of her earlier tracks from Ramaiya Vastavaiya, this song featured Jacqueline in a more playful, bubbly avatar. Her expressive performance and dance energy were among the highlights.
Money money
From Raid 2, this high-energy track with Yo Yo Honey Singh featured Jacqueline in a glamorous, high-octane avatar. The visuals combined luxury aesthetics with fast-paced dance routines.
Chittiyaan kalaiyaan
A commercial success, this peppy number cemented Jacqueline’s place in Bollywood’s dance music scene. Her playful charm matched perfectly with the catchy hook, making it a long-running favourite.
Paani paani
Another successful team-up with Badshah, this song was visually driven, combining Rajasthani aesthetics with urban cool. Jacqueline’s look and screen presence added to the song’s viral momentum.
Mud mud ke
Paired opposite Italian actor Michele Morrone, this song expanded Jacqueline’s appeal beyond Indian borders. The music video leaned into sleek production and international styling, giving it strong crossover appeal.
Tik tik
A recent track with Dystinct and Vishal Mishra, Tik Tik brought together global sounds with Indian flair. Jacqueline’s performance showed her versatility in adapting to different musical and visual styles.
Dum dum
Currently dominating reels and dance challenges, Dum Dum taps into Fernandez’s strengths like vibrant choreography, bold styling, and magnetic on-screen energy. The track further reinforces her ability to tap into internet trends and mass appeal simultaneously.
These 12 songs reflect how Jacqueline Fernandez has turned dance numbers into viral cultural moments
With each of these tracks, Jacqueline Fernandez has managed to stay relevant in a fast-evolving music landscape. Her song choices often blur the lines between Bollywood glamour and global pop aesthetics, a combination that continues to resonate widely. From stage-ready choreography to viral fashion moments, she has become a reliable fixture in India’s music video culture.
And with Dum Dum now taking over timelines, that streak shows no signs of slowing down.
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Italian-born French fashion designer Elsa Schiaparelli
“In difficult times fashion is always outrageous.” – Elsa Schiaparelli.
The Victoria & Albert Museum has announced its first ever UK exhibition dedicated to Elsa Schiaparelli, the visionary designer who blurred the boundaries between fashion, art and performance. Titled Schiaparelli: Fashion Becomes Art, it runs from 21 March to 1 November 2026 in the Sainsbury Gallery and will draw on the V&A’s status as home to Britain’s National Collection of Dress and its foremost collection of Schiaparelli garments.
Vogue 1940; Designer Elsa Schiaparelli wearing black silk dress with crocheted collar of her own design and a turbanFredrich Baker/Condé Nast via Getty Images
Exhibition scope and highlights
Over 200 objects across media: garments, accessories, jewellery, perfume bottles, paintings, photographs, sculpture, furniture and archival sketches.
Iconic pieces on display:
The ‘Skeleton’ dress (with Salvador Dalí)
The ‘Tears’ dress and the surreal shoe hat (with Jean Cocteau)
Archive objects from Schiaparelli’s London branch, highlighting her dynamic UK clientele
Accompanying artworks by Pablo Picasso, Jean Cocteau and Man Ray
A survey of the brand’s modern era under creative director Daniel Roseberry, whose sculptural gowns have dressed Zendaya, Beyoncé, Lady Gaga and Doja Cat
“Schiaparelli’s collaboration with artists and the world of performance makes her an ideal subject,” said V&A Director Tristram Hunt, calling the show “a celebration of one of fashion’s most daring innovators.”
Delphine Bellini, CEO of Schiaparelli, adds: “Elsa Schiaparelli’s fearless imagination and radical vision redefined the boundaries between fashion and art.”
'Tears' Evening dress and head veil, designed by Elsa Schiaparelli, February 1938 for Circus Collection, summer 1938. Fabric designed by Salvador Dali Victoria and Albert Museum, London
From Paris salons to the Met Gala red carpet
Long before the V&A’s announcement, Natasha Poonawalla brought Schiaparelli’s surrealist drama to global attention. In 2022, she paired a gold Schiaparelli corset with a Sabyasachi sari, styled by Anaita Shroff Adajania. A year later, she returned to the Met Gala in a futuristic silver Schiaparelli gown, both moments underlining how Indian influencers are shaping today’s couture conversation.
Natasha Poonawalla attends The 2022 Met GalaGetty Images
Curators, press details and what’s next
Curated by Sonnet Stanfill, Lydia Caston and Rosalind McKever, the show is the first UK retrospective focusing on Schiaparelli’s output from the 1920s to 1954 and its present day revival.
Tickets on sale autumn 2025
Accompanied by a fully illustrated V&A catalogue, available autumn 2026
Part of the V&A’s major fashion exhibition series following Christian Dior: Designer of Dreams and Naomi: In Fashion
Vogue 1936; Two models, standing in a white room with arrows painted on walls and wearing dresses by Schiaparelli;Cecil Beaton/Condé Nast via Getty Images
What it means for South Asian style
This isn’t just a show for fashion students and couture fans. It’s a chance to see how a radical female designer redefined beauty and power, and how that legacy continues through Indian influencers like Poonawalla, who proudly bring together cultural identity with high fashion on the world stage.
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The article in question described Sabalenka’s recent practice sessions
Maria Sharapova criticises WSJ coverage of Aryna Sabalenka's Wimbledon practice
WSJ article suggested Sabalenka hits so hard she must train with men
Sharapova says the practice is standard in women’s tennis
Sabalenka says sessions with Djokovic and Sinner have improved her game
Sharapova challenges headline on Sabalenka
Maria Sharapova has called out the Wall Street Journal (WSJ) over its portrayal of world No. 1 Aryna Sabalenka’s Wimbledon preparations, urging the publication to “do better”.
The 2004 Wimbledon champion took issue with an Instagram post by WSJ featuring a smiling Sabalenka under the caption: “The world No. 1 who hits so hard she practises against men.”
The caption was based on an article by reporter Joshua Robinson, which included the line: “The 27-year-old Sabalenka now crushes the ball so forcefully that she needs new practice partners. And, as it turns out, the right players for the job happen to be people she could never face in singles competition… That’s because they’re men.”
Sharapova responded by sharing the post with her 4.7 million Instagram followers and writing: “What is this headline and what is this article. You can do better @WSJ.”
Practising with men is standard, says Sharapova
The article in question described Sabalenka’s recent practice sessions with ATP stars Jannik Sinner and Novak Djokovic, presenting them as a reflection of her unmatched power on court.
However, Maria Sharapova pointed out that using male hitting partners is routine practice for elite WTA players. Sabalenka has long worked with male practice partners, including her current coach Anton Dubrov, who originally joined her team in that role.
The same approach has been taken by top players including Serena Williams, Venus Williams, and Sharapova herself, especially during Grand Slam tournaments.
Sabalenka values strategic, not just physical, training
Speaking after her first-round win, Sabalenka clarified that her training sessions with Djokovic and Sinner were not just about handling power but understanding the strategic aspects of the game.
“You see the different approach to the balls. You’re learning,” she said. “I think it really helped my tennis, to be honest. Now there are some balls that I used to struggle a little [with]. Right now, I kind of understand a little bit better how to adjust to those balls.”
Sabalenka said the opportunity to speak with Djokovic, a 24-time Grand Slam winner, has been particularly valuable. Their conversations have focused on mental preparation and tactical decision-making during high-pressure moments.
“One of the conversations went to managing energy. Another one about the mental part of the game. Then we had another conversation about mentally approaching those big finals,” she revealed.
She added that Djokovic had given her useful advice on returning serve, which she has since incorporated into her game. “Now he’s always making fun of me copying his return. I’m like, ‘Man, it’s working! I’m copying the best.’”
Sabalenka continues strong Wimbledon run
Aryna Sabalenka is through to the Wimbledon semi-finals for the third time in her career, having dropped just one set so far. In her quarter-final victory over Laura Siegemund, she converted eight out of 13 break points to secure a 4-6, 6-2, 6-4 comeback win.
She will return to Centre Court on Thursday to face 13th seed Amanda Anisimova for a place in her first Wimbledon final.
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A logo is pictured outside a Jaguar Land Rover new car show room in Tonbridge, south east England.
Jaguar Land Rover (JLR) reported a 10.7 per cent drop in sales for the April–June quarter, as a temporary pause in shipments to the United States and the phase-out of Jaguar’s legacy models weighed on volumes.
The company, owned by India’s Tata Motors, sold 87,286 units to dealers worldwide during the quarter, compared to 97,755 units in the same period last year.
Retail sales dropped 15.1 per cent in the three months to the end of June, JLR said in a statement on Monday. The company cited a halt in exports to the US in April as one of the main reasons behind the decline. The pause followed the imposition of a 25 per cent duty by President Donald Trump on all foreign-made vehicles sold in the US, one of JLR's key markets.
JLR does not manufacture cars in the US. Its Range Rover lineup is produced in Britain, subject to a 10 per cent levy, while its top-selling Defender SUVs are built in Slovakia, which falls under the higher 25 per cent tariff.
North America, which accounts for around one-third of JLR’s global sales, saw a 12.2 per cent drop in volumes in the first quarter. Jaguar’s luxury sedans, SUVs and sports cars saw a 72 per cent decline in sales, falling to 2,339 units, as part of a planned wind-down of legacy models. Jaguar is set to become a fully electric brand by 2026.
Excluding Jaguar’s performance, JLR’s overall sales declined by 5.1 per cent.
In the UK, Jaguar’s sales were also affected by the phase-out of older models in preparation for its electric vehicle line-up. According to automotive trade body SMMT, British car exports to the US dropped by over 50 per cent in May. However, a new trade agreement between the UK and US is expected to support future sales. The agreement reduces tariffs on UK car exports to 10 per cent from 27.5 per cent, up to an annual limit of 100,000 vehicles.
JLR is among the top car exporters from Britain and contributes about two-thirds of Tata Motors' revenue. Both JLR and Tata Motors are expected to announce their first-quarter earnings in August.
In June, JLR revised its forecast for earnings margin before interest and taxes for the fiscal year 2026 to 5–7 per cent, down from the earlier target of 10 per cent, citing global uncertainty triggered by US tariffs.
(With inputs from agencies)
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Sri Lanka's players pose with the trophy after winning the third and final one-day international (ODI) cricket match against Bangladesh at the Pallekele International Cricket Stadium in Kandy on July 8, 2025. (Photo by ISHARA S. KODIKARA/AFP via Getty Images)
SRI LANKA stormed to a 99-run win over Bangladesh in the third and final ODI at Pallekele on Tuesday (8), sealing the three-match series 2-1 with a clinical all-round display.
Set a challenging target of 286, Bangladesh faltered under pressure and were bundled out for 186 inside 40 overs as Sri Lanka flexed their bowling muscle to wrap up the contest with ease.
The victory caps a remarkable turnaround for Sri Lanka in the 50-over format since their dismal World Cup campaign in India in 2023, where they finished ninth and failed to qualify for this year's Champions Trophy.
Since that debacle, they have won seven of nine ODI series, including notable triumphs over heavyweights Australia and India.
"This is probably one of our best games," Sri Lanka captain Charith Asalanka said. "We were under pressure and we wanted to win badly and Kusal Mendis was superb today. When we ended up scoring 285, we knew we had the runs on the board and the bowlers' job became easy."
The architect of the series-deciding win against Bangladesh was indeed Mendis, who silenced his critics with 124 off 114 balls – his sixth ODI hundred.
The wicketkeeper-batter came into the game under fire after his rash dismissal during Sri Lanka's 16-run defeat in the second ODI in Colombo.
But at Pallekele, with the series on the line, Mendis dropped anchor and rebuilt the innings with a mature knock laced with 18 boundaries.
Coming in during the fourth over, he put on a vital 124-run stand for the fourth wicket with skipper Asalanka to lay the foundation for a competitive total.
Sri Lanka's Kusal Mendis celebrates after scoring a century (100 runs) during the match. (Photo by ISHARA S. KODIKARA/AFP via Getty Images)
"Very pleased with the knock today. Was disappointed with what happened in Colombo. I had got a start and couldn't finish," said Mendis, who was named man of the match and player of the series.
"Here I was determined to bat through the innings and very satisfied."
At one stage the hosts looked set for a 300-plus total, but Bangladesh clawed back with tight death bowling to restrict them to 285 for seven.
The target proved to be a tall ask once the tourists' top order caved in.
Dushmantha Chameera, returning to the fold in this series after more than a year on the sidelines due to injury, hit the deck hard and was a handful with the new ball.
The right-arm quick rattled the stumps of in-form Najmul Hossain Shanto (0) with a gem that jagged back sharply to kiss the top of off.
With Towhid Hridoy then offering some resistance with a half-century, Chameera returned to breach his defence with another sharp in-swinging delivery that crashed through the gate.
The quick finished with three for 51 and was ably supported by Asitha Fernando, who also claimed three wickets. The two sides will now be involved in a three-match T20I series beginning Thursday, also at Pallekele.
"We started off well and we tried to bat positive, but the scoreboard pressure got to us," Bangladesh captain Mehidy Hasan Miraz said.
"But we are rebuilding the team and (there are) a lot of young players... we have a lot of positives."