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.
WHEN Simon Harris made headlines in his local County Wicklow newspaper in 2003 for criticising the government, the future Irish prime minister was described as "a well-known local activist". He was 16 years old.
Now 37, Harris became Ireland's youngest ever premier on Tuesday (9), an ascent that while swift owing to Leo Varadkar's shock departure, has also been more than 20 years in the making, say those who have worked with the ambitious political devotee.
He quit university aged 20 to work as a political aide, was elected a councillor at 22, a member of parliament at 24 and appointed to cabinet five months shy of his 30th birthday, where he would make his name helping steer the country's initial response to Covid-19.
His first boss, former Irish deputy prime minister Frances Fitzgerald, recalls being struck at just how keen her future cabinet colleague was to work in politics, something that was "unusual enough, even then" for a 20-year-old.
"What I thought was how very impressive he was, how very eager, energetic, intelligent and interested but most of all how he really wanted to work in the political system," Fitzgerald, currently a member of the European parliament, told Reuters.
Harris has spoken about how he became involved in politics to campaign for support for his autistic younger brother Adam. He set up an autism awareness charity aged 15, calling it "the formative experience of my life".
"I would say that's what defines him, he does believe in politics and to this day, he believes in the political system as the place to be to get things done," Fitzgerald said of her Fine Gael party colleague.
That description of a politician who works "all the hours of the day and night" was echoed by Niall Collins, a junior minister from coalition partners Fianna Fail, who has worked alongside Harris in the higher education ministry since 2020.
"His work ethic and attention to detail is enormous," Collins told national broadcaster RTE on Sunday.
With less than a year to leave his mark in office before he must call a general election, Harris' chief political challenge will be clawing back the more than three-year unbroken opinion poll lead the main opposition Sinn Fein party has on its rivals.
A recent slide in support for the left-wing party has opened up a possible path to re-election for another Fine Gael and Fianna Fail-led government. Polls suggest they may need the support of increasingly popular independent candidates, an arrangement the first government Harris was part of relied on in 2016.
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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