Who is Yaser Jabbar? The surgeon at the heart of the GOSH controversy
A statement from Great Ormond Street Hospital said, "We apologise unreservedly to the children and families who have been affected by these failings."
Yaser Jabbar has not publicly commented on the findings. (Photo: Linkedin/Yaser Jabbar)
By EasternEyeSep 09, 2024
GREAT Ormond Street Hospital (GOSH) has apologised after a review revealed that several children were subjected to "inappropriate and unnecessary" leg surgeries. These procedures were conducted by consultant orthopaedic surgeon Yaser Jabbar, who has since been suspended.
The surgeries caused severe harm, leaving children in pain and requiring further medical intervention.
The review, first reported by the BBC, highlighted concerns about the surgeries performed between 2015 and 2020. The procedures were described as not only inappropriate but also unnecessary.
In one case, a child had to undergo five further operations to rectify the damage caused by the initial surgery. According to the BBC, the review noted that some children were left with long-term complications, including pain and reduced mobility.
According to UAE's Orthocure Hospital, Jabbar is a consultant orthopaedic surgeon with over 20 years of experience. He is fellowship-trained in limb reconstruction and paediatric orthopaedics and is internationally sought after for both paediatric and adult trauma and reconstruction.
Jabbar has worked in the UAE and the UK, including at SSMC, Abu Dhabi, the country’s largest trauma centre. He qualified from SGHMS, University of London, and completed his orthopaedic training in Oxford and London. He also holds an MSc in Orthopaedic Engineering from Cardiff University.
The Guardian reported that Jabbar was suspended in March 2020 after the concerns were first raised. The hospital initiated a review of 38 children who underwent surgery under his care. Of those, the review found that seven children had been severely harmed. The hospital has since contacted the families involved and offered support. A statement from Great Ormond Street Hospital said, "We apologise unreservedly to the children and families who have been affected by these failings."
In response to the findings, GOSH announced that it has implemented several changes to its surgical oversight processes. (Photo: Getty Images)
According to Sky News, the Royal College of Surgeons was brought in to review Jabbar’s work and provided recommendations to ensure patient safety in the future. The college’s report concluded that the procedures were not in line with best practices, leading to unnecessary harm to patients. The report also stated that GOSH had failed in its oversight, raising questions about the hospital's ability to monitor surgical practices.
In response to the findings, GOSH announced that it has implemented several changes to its surgical oversight processes. The hospital has strengthened its internal procedures to prevent similar incidents in the future. "We are committed to learning from these tragic events and ensuring they never happen again," the hospital said.
Jabbar has not publicly commented on the findings. Meanwhile, investigations into his work continue. The General Medical Council (GMC) is also involved, reviewing Jabbar’s conduct as part of its ongoing investigation. The results of the GMC's inquiry are expected later this year.
SEVEN men were convicted on Friday in the UK’s latest grooming trial, after a jury heard that two girl victims were forced to have sex “with multiple men on the same day, in filthy flats and on rancid mattresses”.
Jurors at the court in Manchester, northwest England, deliberated for three weeks before finding the seven men, all of whom are of South Asian descent, guilty of rape.
Mohammed Zahid, 64, Mushtaq Ahmed, 67, Kasir Bashir, 50, Mohammed Shahzad, 44, Naheem Akram, 48, Roheez Khan, 39, and Nisar Hussain, 41, will be sentenced at a later date, but judge Jonathan Seely warned that they face “lengthy prison sentences”.
They were all remanded in custody, except Bashir, who absconded before the trial began.
Operation Lytton and police investigation
The men were prosecuted as part of Operation Lytton, an investigation launched by Greater Manchester Police in 2015 into historical child sexual exploitation in Rochdale, a town near Manchester.
The issue has long been seized upon by far-right British figures, including notorious influencer Tommy Robinson, but has also been adopted as a rallying cry by the Conservatives and Nigel Farage’s hard-right Reform UK party.
The issue of grooming gangs received international attention earlier in the year when US tech billionaire Elon Musk launched incendiary attacks on his X platform against the UK government after it resisted calls for a national inquiry.
Over the course of several decades, men of mostly South Asian origin in various English towns are suspected of having sexually abused thousands of mostly white girls from working class families, often from troubled homes.
Court testimony on abuse
Prosecutor Rossano Scamardella said during the trial that the men had abused the two girls for several years from the age of 13 — between 2001 and 2006.
“They were often forced to have oral sex and vaginal sex with multiple men on the same day, in filthy flats and on rancid mattresses,” he said.
“On other occasions they would be required to have sex in cars, car parks, alleyways or disused warehouses. Wherever and whenever these men wanted it.
“They were children passed around for sex; abused, degraded and then discarded,” he added.
One of the alleged victims was also “being exploited and abused by many other Asian men” not in the dock, said Scamardella.
Police response and apology
Following the verdicts, detective superintendent Alan Clitherow, of Greater Manchester Police, apologised for not acting earlier.
“There was information at the time that police and other agencies could, and should, have done something with, and we didn’t,” he said.
“The way those victims were dealt with at the time is indefensible and inexcusable. We have made comprehensive apologies for that.”
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Drawings by Victor Hugo on display include Ecce Lex
The moment I walked into the Royal Academy to see Astonishing Things: The Drawings of Victor Hugo, I thought of Rabindranath Tagore.
Both men were giants of literature, but they were visual artists as well.
Victor-Marie Hugo (February 26, 1802- May 22, 1885) is best known for his novels The Hunchback ofNotre-Dame (1831) – many will have seen the 1939 film adaptation starring Charles Laughton and Maureen O’Hara – and Les Misérables (1862), which BBC TV adapted in 2018, with a starring role for Adeel Akhtar.
The Cheerful CastleParis Musees
Rabindranath Tagore (May 7, 1861-August 7, 1941) was a Bengali poet, writer, playwright, composer, philosopher, social reformer and painter. He was the first non-European to win the Nobel Prize for Literature in 1913, for the poetry of Gitanjali.
Gallery owner Sundaram Tagore, who had flown over from New York to attend Eastern Eye’s Arts, Culture & Theatre Awards (ACTAs) at the May Fair Hotel on May 23, said: “Before leaving London, I managed to visit the Victor Hugo exhibition, which moved me deeply.”
Sundaram’s father, Subhogendranath Tagore (1912-1985), was the grandson of Hemendranath Tagore, the third son of Debendranath Tagore and the elder brother of Rabindranath Tagore.
The Victor Hugo exhibition is definitely worth seeing before it ends on June 29.
Giving a tour of the exhibition, Andrea Tarsia, director of exhibitions at the Royal Academy, said Hugo left behind some 4,000 works on paper, of which 70 were chosen for display.
“But they really are 70 of his most remarkable drawings,” commented Tarsia. Hugo often used brown ink and wash and graphite on paper.
OctopusParis Musees
Notable works include The Town of Vianden Seen Through a Spider’s Web, 1871; Mushroom, 1850; Lace and Spectres, 1855-56; The Cheerful Castle, 1847; The Town of Vianden, with Stone Cross, 1871; Mirror with Birds, 1870; Chain, 1864; Octopus, 1866–69; and The Lighthouse at Casquets, Guernsey, 1866.
There is also Ecce Lex (Latin for “Behold the Law”), 1854, done after the hanging of John Tapner in Guernsey; and The Shade of the Manchineel Tree (notes from a trip to the Pyrenees and Spain), 1856, where the shade is made to resemble a skull to denote the poisonous qualities of the fruit.
The Shade of the Manchineel TreeParis Musees
There is a photograph of Hugo seated on the Rocher des Proscrits (Exile’s Rock), Jersey, 1853, which was taken by his son, Charles Hugo.
“Hopefully, together, they will give you an intimate sense of Hugo’s remarkable, multifaceted imagination. Perhaps people are less familiar with his work as a visual artist. The exhibition is the first to be held in the UK with Hugo’s drawings in just over half a century.”
MushroomParis Musees
He explained it was “a rare chance to see these works because the inks and the paper are so fragile that once exhibited, even at these very low lighting levels, they then need to be kept in the dark for an extended period of time”.
The exhibition’s curator, Sarah Lea, said: “We made a decision to arrange these spectacular works in a thematic structure, because although Hugo drew across his lifetime, he often returns to similar motifs. And it’s really interesting to be able to see, for example, the collections of the castles, one of his great passions. Despite writing so much, he doesn’t leave us very much direct commentary on the drawings themselves. He was inspired by the way ink moves on paper. He was never intending to be an artist.”
She referred to his “mysterious” drawing of a mushroom: “Who knows what was really meant by the mushroom? It appears to us as a total enigma.”
“We have him exploring nature on the monumental level with mountains, and a minute level with spiders’ webs and birds’ nests,” she went on. “The drawings were largely private during his lifetime. Sometimes he made works that he would send to friends. But the drawings themselves weren’t exhibited until three years after his death. They’re first shown in a public exhibition in Paris in 1888.”
A photograph of Hugo taken by his son, CharlesParis Musees
Hugo lived in exile from 1856 to 1870 on the island of Guernsey, where he bought a house. “He redecorated it from bottom to top in a most extraordinary manner of eclectic collecting and reassembling different pieces of furniture and decorative arts. And it was from the lookout, which was a vast conservatory that he constructed at the top of this house, that he would be able, on a clear day, to see the coastline of France. And it was there that he completed some of his most important literary works. A profound source of inspiration for Hugo was the ocean.”
He strongly opposed the death penalty. After the execution by hanging of convicted murderer John Tapner in Guernsey in 1854, Hugo made many drawings of a hanged man, including Ecce Lex.
He also appealed – unsuccessfully – to the US to pardon John Brown, an abolitionist who had been sentenced to death in Virginia on charges of treason, murder and conspiracy to incite a slave insurrection. Hugo appeared to be an early supporter of Black Lives Matter.
Hugo’s brother-in-law, Paul Chenay, made print reproductions of his earlier Ecce drawings, which were published with a new title, John Brown, and circulated in protest at Brown’s execution.
In a letter to Chenay in 1861, Hugo said: “John Brown is a hero and a martyr. His death was a crime. His gallows is a cross. Let us therefore once again draw the attention of all to the lessons of the gallows of Charlestown. My drawing, which through your fine talent has been reproduced with striking fidelity, has no other value than this name: John Brown – a name that must be repeated unceasingly, to the supporters of the American republic, so that it reminds them of their duty to the slaves: to call them forth to freedom. I shake your hand.”
When Hugo died in 1885, aged 83, over two million people lined the streets of Paris to see his funeral procession. But many of Hugo’s admirers wouldn’t have been aware of his private love of drawing.
Incidentally, the Royal Academy last week announced that Simon Wallis, currently the director of The Hepworth Wakefield, will take over in September as its new secretary and chief executive. In his earlier career, he held curatorial positions at Kettle’s Yard, Cambridge, and Tate Liverpool. He was the director of Chisenhale Gallery, London.
Wallis, who succeeds Axel Rüger, said: “The Royal Academy of Arts is at a pivotal moment of development and positive change. The RA is the central London home for artists, art and art lovers, generating powerful experiences and innovative teaching about art in a rapidly changing society. As the UK’s oldest and foremost artist-led organisation, the extraordinary talent and vision of the Royal Academicians and their team lead the creative conversation on a national and international stage.”
Now that Hugo has been featured at the Royal Academy, maybe Tagore, too, will merit an exhibition one day under Wallis’s leadership.
The Royal Academy won the ACTA for community engagement last year. It was collected by Tarsia.
In Astonishing Things: The Drawings of Victor Hugo, at the Jillian and Arthur M Sackler Wing of Galleries at the Royal Academy, ends on June 29.
With a voice that echoes both the glamour and grit of a bygone era, British singer Aisha Khan is set to take centre stage at London’s legendary Ronnie Scott’s Jazz Club on June 29.
Performing with her acclaimed band The Rajahs, Khan will present a rich cocktail of 1940s and 1950s American roots music, jazz and rhythm and blues – blending timeless classics with her own original songs. Known for her evocative vocals, magnetic stage presence and deep reverence for the great female vocalists of the past, Khan promises a night filled with toe-tapping rhythm and heartfelt emotion.
Ahead of the show, she spoke to Eastern Eye about her lifelong love affair with vintage sounds, the power of live performance, and her inspirations and musical heroes.
What first connected you to music?
There was not just one thing. As a little girl, I was always singing and had no idea why – I just could not help it. I did not come from a musical family. My mum had a couple of Bollywood LPs with Mohammed Rafi and Lata Mangeshkar, and my dad listened to Andy Williams and The Carpenters in the car. Apart from that, there was not much music at home. I watched Top of the Pops as a teenager, but I fell in love with Elvis Presley when I was 13 – that is where my passion for vintage music began.
How would you describe your brand of music? Mostly, I perform authentic 1940s and 1950s American music – blues, rhythm and blues, and rock and roll. I sing cover versions, but I also write a lot of original songs in the same style. I have also been developing a new Americana/country project, so the music keeps coming.
What does live performance mean to you? At its best, it means pure connection with the audience – almost a transcendental experience. It does not always happen like that, but subconsciously, I think that is what I am always striving for. I go on stage with songs I love and musicians who are great and always have my back. With that secure foundation, I try to see where the music can take me, and I bring the audience along with me. I love being close to the audience and drawing them into the live experience. It can bring so much energy and joy.
How much are you looking forward to performing at the iconic Ronnie Scott’s Jazz Club? We performed our first sell-out show upstairs there last year, but this is our first gig in the main room downstairs. I cannot express what an honour and privilege it is to appear at such a legendary venue. To think we will be on the same stage as so many iconic performers – from Ella Fitzgerald to Miles Davis – is mind-blowing.
What can we expect from the show? We will perform some of our most loved original songs, as well as several from our latest album Seven Shades of Blue, released this spring. We also have the honour of introducing Haylen, an incredible artist from Paris, as our special guest. There will be a lot of toe-tapping and happy vibes.
What do you hope people will take away from your performance – musically or emotionally? I hope they leave with a range of emotions. I want them to feel moved, but also to walk out feeling joyous and uplifted.
What do you most love about the jazz and rhythm and blues of the 1940s and 1950s? There are so many things I love about the music of that era. The musicianship, the danceability – how you just cannot help but move to it. I love the lyrics, the humour and the storytelling. When I was younger, I learned a lot of jazz standards and loved them. But it was only after living life – experiencing love, loss and heartbreak, having children, going through disappointment and great happiness – that I truly connected with those songs. Many of them now bring tears to my eyes, or even ecstasy when I sing or hear them. These are songs that truly stand the test of time.
Do you remember the first time you heard a song from that era that truly moved you? It was when I began listening to jazz in my teens. I idolised Sarah Vaughan and her craft. Then, as I discovered more popular music from the 1940s and 1950s and started dancing, I began to feel it not only emotionally but physically too.
Aisha Khan
Who is your own music hero from that bygone era? Sarah Vaughan, definitely. I also loved Billie Holiday.
If you could duet with any artist from the 1940s or 1950s, who would it be? It would have to be one of the great rhythm and blues vocalists – Wynonie Harris, Louis Jordan or Joe Turner. That would be so much fun.
Which classic songs do you most enjoy performing live? I love rhythm and blues by the many powerful female vocalists of that era – songs like Voodoo Voodoo by LaVern Baker, They Call Me Big Mama by Big Mama Thornton, or Pretty Good Love by Big Maybelle.
What inspires you as an artist? A life lived. Everything I have experienced – from having children to feminism. People, places, books – you never know where inspiration will come from. I also love collaborating with other musicians and singers; you never know what kind of magic might be created.
Why do you love music? The same reason I breathe. It is part of all of us – from the rhythms in nature to the cadence of the languages we learn as children. It can tell great stories and express deep emotions. It has the power to change lives – to comfort those in pain and bring joy to those open to it. I believe it is one of the purest art forms and forms of self-expression. I feel incredibly fortunate to have done this for so many years, and I hope to continue for the rest of my life.
Aisha Khan and The Rajahs at Ronnie Scott’s, 47 Frith Street, London W1D 4HT on Sunday, June 29. www.ronniescotts.co.uk
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Lewis Hamilton served as co-producer and advisor for F1, guiding everything from story to technical racing details
Brad Pitt’s upcoming Formula One film, titled F1, owes much of its realism and racing soul to none other than seven-time world champion Lewis Hamilton. According to director Joseph Kosinski, the film wouldn’t exist in its current form without Hamilton’s hands-on involvement, from the first pitch to the final details.
Kosinski, best known for Top Gun: Maverick, shared that Hamilton was the first person he contacted when the project was just an idea. An email led to a partnership, and Hamilton came on board not only as an executive producer but as a consultant whose lived experience shaped everything from the screenplay to on-track movements.
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Every detail came from someone who’s lived it
Set for global release on 25 June (27 June in North America), F1 was filmed across real Grand Prix weekends with full support from Formula One’s organisers. Pitt plays Sonny Hayes, a seasoned driver making a surprise return to the circuit, while Damson Idris stars as his rookie teammate.
Hamilton’s role, however, extended far beyond a name on the credits. He worked closely with the filmmakers to ensure the racing looked and felt accurate, including giving track-specific advice. For instance, he told Kosinski that if Pitt’s character were to pull aside under a blue flag, turn six in Hungary would be the most realistic spot to do so. That level of detail could only come from someone who knows the sport inside out.
Brad Pitt stars as a veteran driver, with scenes shot during actual race weekends for authenticityGetty Images
Producer Jerry Bruckheimer added that Hamilton even corrected gear shifts in the audio during a Silverstone scene, pointing out the sound didn’t match the gear a driver would realistically use in that corner. His obsession with accuracy gave the film its edge.
Beyond the racetrack, Hamilton’s spirit fuels the story
The racing scenes are just one part of the film’s core. Hamilton’s insights also inspired character development. One pivotal moment, where Pitt’s character reflects on the deeper meaning behind his love for racing, was drawn from a real-life conversation with Hamilton about the emotional and spiritual connection drivers have with the sport.
Brad Pitt, Director Joseph Kosinski, Damson Idris, Kerry Condon and Producer Jeremy Kleiner at the fan event for "F1: The Movie" Getty Images
As Formula One looks to expand its global fanbase, especially in the US, F1 aims to build on the success of Netflix’s Drive to Survive. But unlike the docuseries, this film brings together Hollywood storytelling with Hamilton-approved authenticity. And without him, the filmmakers say, this story simply couldn’t be told.
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The alert is based on elevated geomagnetic activity levels
A rare display of the aurora borealis was expected over Hertfordshire after a red alert was issued on Friday, 13 June, by space weather experts. The phenomenon, also known as the Northern Lights, is expected to be seen across large parts of the UK if conditions remain clear.
Red alert signals strong aurora activity
AuroraWatch UK, a monitoring service run by Lancaster University’s Space and Planetary Physics group, issued a red alert on Friday morning. According to the service, this means: “It is likely that aurora will be visible by eye and camera from anywhere in the UK.”
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The alert is based on elevated geomagnetic activity levels, which are often triggered by solar storms interacting with Earth’s magnetic field.
Best time and places to watch
While the exact time of visibility has not been confirmed, previous sightings of the aurora borealis have typically occurred between 11 pm and the early hours of the morning. Experts recommend heading to dark, open spaces away from streetlights for the best chance of witnessing the lights.
What causes the aurora borealis?
The aurora borealis occurs when charged particles from the sun collide with gases in Earth’s atmosphere. Oxygen creates green light, while nitrogen can produce shades of purple, pink, or blue.
Skywatchers are advised to monitor AuroraWatch UK for real-time updates.