FACE masks, social distancing, QR codes for entry in public places and ordering only at a table in pubs will no longer be a legal requirement in England from July 19 under prime minister Boris Johnson’s final road map out of lockdown announced on Monday (5) at a Downing Street briefing.
Commenting “if not now, then when?”, Johnson declared that all the Covid-19 restrictions in England will end on July 19, adding that the government is looking to "move away from legal restrictions" and will instead allow people "to make their own informed decisions about how to manage the virus".
Johnson has axed the mandatory use of face masks and social distancing from July 19 onward. Nightclubs will be permitted to reopen, capacity caps on businesses will be lifted, hospitality businesses will no longer be required to provide table service only and there will be no limits on numbers at weddings and funerals, as per the announcement made by Johnson.
Work from home guidance will also end and limits on named visitors to care homes will be removed. Regarding school bubbles and need for fully-vaccinated Britons to self-isolate on return from "amber list" countries, Johnson said the announcements will be made later this month.
Johnson’s announcement on removal of mandatory use of face masks is getting a mixed response in the country with many politicians, medical experts as well as business unions opposing the move.
People wear face masks while shopping at Covent Garden on July 4, 2021 in London, England. (Photo by Hollie Adams/Getty Images)
Pointing out that mask wearing is still mandatory on public transport in countries with low numbers of Covid-19 cases like New Zealand, Scientific Advisory Group for Emergencies (SAGE), advised that some baseline measures should continue beyond the summer, as this will “significantly decrease ongoing transmission”.
Calling the government decision to make mask-wearing a matter-of-choice on public transport an act of “gross negligence”, Unite, a trade union body representing tens of thousands of public transport workers, said that the idea of “personal responsibility” replacing government rules is “absolutely ridiculous”.
“Rates of infection are continuing to increase and not only does mask wearing reduce transmissions, it helps provide reassurance to drivers and to passengers who are nervous about using public transport,” Bobby Morton, Unite’s national officer for passenger transport, said, adding that Unite members have already reported a spike in passengers ignoring rules on mask-wearing and said that they should remain in place until rates of Covid-19 are “fully under control”.
London mayor Sadiq Khan has also urged Johnson to maintain the mandatory requirement to wear face coverings on public transport beyond July 19, saying masks will give all Londoners “confidence” to travel on the Transport for London (TfL) network safely.
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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