In a pivotal development for WikiLeaks founder Julian Assange, the High Court in London granted him the opportunity on Tuesday to continue his legal battle against extradition to the United States. The decision comes amid ongoing international scrutiny over the implications of Assange's potential trial in the US.
Assange, 52, has been embroiled in a legal saga for years, with US prosecutors seeking his extradition to face 18 charges, primarily related to espionage. However, the High Court ruled that the US must provide "satisfactory assurances" regarding Assange's rights, including the ability to invoke the First Amendment and clarity on whether he could face the death penalty if convicted. The latest ruling stems from Assange's legal team's efforts in February to challenge Britain's approval of his extradition to the US, arguing that his prosecution was politically motivated. In a significant turn, two senior judges acknowledged Assange's realistic prospect of successfully challenging extradition on multiple grounds, setting the stage for a prolonged legal battle. While the US has accused Assange of "indiscriminately and knowingly" publishing the names of sources, rather than merely expressing his political views, his defense team has vehemently contested these allegations. Assange's case has drawn widespread attention from human rights advocates, free speech proponents, and legal experts, who argue that his extradition could set a dangerous precedent for journalistic freedom and whistleblowing. As the legal proceedings unfold, Assange remains confined in the high-security Belmarsh prison in London, where he has spent years fighting extradition and facing numerous legal challenges. The decision by the High Court to allow Assange to continue his appeal underscores the complex legal and ethical dilemmas surrounding his case, with implications that extend far beyond his individual fate.
0 Comments
The US Justice Department is considering whether to allow WikiLeaks founder Julian Assange to plead guilty to a misdemeanour offense in order to avoid extradition to the US on espionage charges, the Wall Street Journal reported on Wednesday.
The potential deal would see Assange plead guilty to mishandling classified information, with the five years he has already served in London’s Belmarsh Prison counting as his sentence, the unnamed sources told the newspaper. Assange’s lawyers and US officials have held preliminary talks in recent months to sketch out a possible bargain, the sources said. However, Barry Pollack, a lawyer for the jailed journalist, told the newspaper that “there are no signs” that the department is ready to accept the deal. If a deal were reached, it would end a legal battle in play for more than a decade. After his arrest by British police in 2010 for sexual offense allegations that he denied, Assange jumped bail in 2012 and was granted asylum in the Ecuadorian embassy in London. He was arrested again in 2019 when Ecuador revoked his asylum, and has remained in Belmarsh ever since. The Justice Department unsealed an indictment against Assange on the day of his arrest, charging him with 17 counts of espionage. If extradited to the US and convicted, the former WikiLeaks boss faces up to 175 years in prison. The charges stem from his publication of classified material obtained by whistle-blowers, including Pentagon documents detailing alleged US war crimes in Iraq and Afghanistan. The UK Home Office approved his transfer to American custody in 2022, but Assange – now in poor health after nearly five years of solitary confinement – has filed repeated appeals, none of which have been successful. Last month, Britain’s High Court postponed a decision on granting Assange a final chance to appeal his extradition. Washington’s use of the Espionage Act to prosecute Assange is controversial, as the Australian-born journalist published, but did not steal, the classified material in question. Former US President Barack Obama refused to press charges against Assange for this very reason, arguing that his activity was no different from that of any newspaper, and was therefore protected by the First Amendment of the US Constitution. With an election coming up this November, US President Joe Biden is keen to avoid the “political hot potato” of an extradited journalist arriving in Washington to face criminal prosecution, the Wall Street Journal wrote. Furthermore, American “prosecutors face diminishing odds that he would serve much more time even if he were convicted stateside,” the paper noted.
The British government is planning to establish an independent football regulator to oversee the sport and encourage financial stability via a bill introduced in the Parliament. The regulator will be independent of government and football authorities with the power to fine clubs up to 10 percent of their turnover for noncompliance with financial regulations, the government said in a press release on Tuesday. The legislation will strengthen tests of the suitability of those running clubs and would also block “closed-shop competitions” such as the frequently proposed European Super League. Clubs will also be obliged to consult fans over matters such as strategic direction and anything that impacts their heritage. “For too long some clubs have been abused by unscrupulous owners who get away with financial mismanagement, which at worst can lead to complete collapse,” Prime Minister Rishi Sunak said.
“This bill is a historic moment for football fans – it will make sure their voices are front and centre, prevent a breakaway league, protect the financial sustainability of clubs, and protect the heritage of our clubs big and small.” “Football is nothing without its fans,” Culture Secretary Lucy Frazer said. “We are determined to put them back at the heart of the game, and ensure clubs as vital community assets continue to thrive. “The new independent regulator of football will set the game on a sustainable footing, strengthening clubs and the entire football pyramid for generations.” Facing a possible reduction of its powers, the Premier League – the most-watched and most lucrative domestic league in the world – said it would study the bill and work closely with the government, having previously voiced concerns about how a regulator could potentially damage the league’s ability to attract investment.
In 1982, Sykes joined Thin Lizzy as their lead guitarist, following the departure of legendary guitarist Gary Moore. His arrival injected new life into the band, revitalizing their sound and reigniting their creative spark. Sykes' contributions to Thin Lizzy's album "Thunder and Lightning" are nothing short of monumental, with his electrifying guitar work elevating tracks like "Cold Sweat" and "The Sun Goes Down" to iconic status. Despite his undeniable talent and success with Thin Lizzy, John Sykes' true legacy would be forged with the formation of the band Whitesnake. In 1984, he joined forces with rock icon David Coverdale to create what would become one of the most revered lineups in the history of the band. As the co-writer and lead guitarist on the multi-platinum album "Whitesnake," Sykes played an integral role in shaping the band's sound and delivering timeless hits such as "Still of the Night" and "Is This Love." However, it was his magnum opus, the eponymous 1987 album "Whitesnake," that would catapult Sykes to superstardom. Featuring his masterful guitar work and songwriting prowess, the album became a global sensation, selling over eight million copies in the United States alone and cementing Sykes' status as a guitar virtuoso of unparalleled talent.
Despite his monumental success with Whitesnake, Sykes' career would take an unexpected turn in the years that followed. His departure from the band in 1987 marked the beginning of a tumultuous period characterized by lineup changes, solo projects, and collaborations with various artists. While his subsequent endeavors may not have reached the same heights as his work with Whitesnake, Sykes continued to push the boundaries of his artistry, exploring new musical avenues and leaving an indelible mark on the rock landscape. Today, John Sykes' legacy looms large over the world of rock music, his influence reverberating through the work of countless artists and bands. His mastery of the guitar, coupled with his innate songwriting ability, remains unmatched, serving as a testament to the enduring power of rock 'n' roll. Whether shredding through blistering solos or crafting unforgettable melodies, Sykes' impact on the genre is nothing short of legendary, ensuring that his place in the pantheon of rock gods is secure for generations to come. White people have been told not to attend two upcoming performances of a play about racism and sexuality in London’s West End. Prime Minister Rishi Sunak’s office has condemned the move as “wrong and divisive.”
Written by Jeremy O Harris, who is black, ‘Slave Play’ opens in London’s Noel Coward Theater in June and runs until September. Two performances of the play – on July 17 and September 17 – are billed as “Black Out” nights, tickets for which will only be sold to “all-black-identifying audiences.” “The idea of a Black Out night is to say this is a night that we are specifically inviting black people to fill up the space, to feel safe with a lot of other black people in a place where they often do not feel safe,” Harris told the BBC on Tuesday. Despite explicitly asking only black people to attend the performances, Harris then claimed that “nobody is saying that by inviting black audiences here [white people] are uninvited.” In an apparent climbdown the following day, Harris wrote on X that black people “can bring their white friends or lovers if they want.” Sunak’s office nevertheless condemned the plan. “Clearly, restricting audiences on the basis of race would be wrong and divisive,” a spokesperson for the prime minister said on Thursday. Asked by the BBC whether the government would consider stripping public funding from theaters that engage in such discrimination, the spokesperson did not offer a definitive yes or no answer. “It’s a statement of principle that clearly the arts should be inclusive,” they said. “And I think that particular taxpayers would particularly expect that to be the case when public funding is involved.” ‘Slave Play’ tells the story of three interracial couples who engage in slave-era sexual fantasies to save their relationships. It debuted on Broadway in 2019 to rave reviews from liberal critics and got 12 Tony Award nominations, but has been savaged by conservatives, with American writer Peachy Keenan calling it the “gayest piece of woke race trash ever conceived.” The Noel Coward Theater is not the first British institution to face backlash for hosting a ‘Black Out’ event. Last summer, London’s Theatre Royal Stratford East was hammered for recommending that white people don’t attend two performances of American playwright Dave Harris’ ‘Tambo & Bones.’ Bedfordshire Police and Crime Commissioner Festus Akinbusoye, the first black man to hold his office, described the event as a “mistake” which “sets a bad precedent.”
If you’re looking for a new guitar, the Chapman ML1 Pro Modern is a great contender for anyone who wants a guitar with great specs without spending ridiculous amounts of money.
Chapman Guitars offer a Standard line made in Indonesia and a Pro line built in South Korea. In this review, we’ll be taking a look at a guitar from their Pro line – the ML1 Modern. I’ll kick off with a bit of background on Chapman, then I’ll cover specs, my thoughts on the guitar, etc. If you somehow missed all of the buzz surrounding Chapman Guitars in recent years, let me bring you up to speed: Chapman Guitars was founded in 2009 by Rob Chapman – one of the first guitarists to make a name for himself on YouTube. What started as a small limited run of guitars has grown into a guitar company that pushes the envelope year after year. Chapman Guitars stand out amongst guitar brands partly due to the collaborative nature of their guitar design process. Instead of just guessing the spec and designs people want on guitars, they allow people to vote for their favourite configurations on a regular basis. Quite a nice idea. Now, let’s take a closer look at the ML1 Pro. As I mentioned earlier, the Pro line of guitars from Chapman are made in South Korea by WMI who happen to make some of the best guitars in the world. This is why other brands such as PRS, Schecter and ESP LTD have used this exact factory for their higher end import models. The quality is exceptional. Before we dive into the spec, it is worth noting that the current ML1 Pro may vary slightly in specification. In the case of this particular iteration, we’ve got a maple through-neck with a satin finish, ebony fingerboard, a volute headstock joint for extra stability and 24 jumbo stainless steel frets with rolled edges. With exceptional upper fret access.
There’s also a dual action truss rod and glow in the dark side-dots. The neck carve is stated to be a C shape. It’s fairly thin but not quite as thin as an Ibanez wizard neck.The body features a beautiful flamed maple carved top in satin with a mahogany body. There are a few comfort cuts on the body and there’s a spoon cut that allows for great upper fret access. A string-through hardtail bridge, locking tuners, 5 way selector switch and a pair of Chapman humbuckers round out the package. Later versions of this model come with Seymour Duncan pickups.
This guitar is quite a looker and the same can be said for a lot of the Chapman lineup. The build quality is excellent and the playability is right up there with guitars that cost 3x the price. While the guitar has a modern feel and will appeal to those who are more into heavy rock & metal, it is still an extremely flexible guitar. And it is great to see a hard case included – something not too many brands offer at this price point. The lack of traditional fret markers may not be to everyone’s liking. This is something to consider if you plan to record instructional videos or teach with this guitar.
What about tones? The ML1 Pro offers plenty of sustain and resonance thanks to the through-neck design. The ebony fretboard provides a good balance of warmth and brightness. It’s a nice ‘middle of the road’ option between the tonal characteristics of rosewood and maple. Positions 2 and 4 of the selector switch offer coil-split sounds so there are plenty of tones to be had. The pickups in this model offer plenty of clarity. They’re fairly hot in terms of output. When cranking the gain, these pickups remain tight and controlled. Rob has mentioned in various videos that part of the approach to their guitar building process is on making sure that all of the parts you can’t easily swap out – neck, fretboard, frets, body, etc – is as good as possible. Some may take this to mean that the parts you can change – pickups, tuners, electronics, etc. – are of lower quality. But in the case of this guitar, that definitely is not the case. I’ve had the guitar in my collection for a few years now and there have been no issues. The electrics have been spot on and the pickups sound great. It is worth noting that the newer version of this guitar comes loaded with Seymour Duncan pickups rather than the Chapman branded ones.
While the ML1 Pro Modern will appeal best to rock and metal players, traditional variations of this line are available. As you might expect, these come with a more traditional styling and configuration. This includes S-style and T-style variations – both with carved tops. For those who want to go even lower, baritone and 7-string variations are available. If you’re on a tighter budget, consider the ML1 Standard line as an alternative. These are built in Indonesia and come in at a more affordable price point. The Standard line loses the locking tuners and have a few other changes but they offer excellent value for money.
It is not a secret that Julian Assange can divide opinion. But now is a time to put all such issues firmly to one side. Now is a time to stand by Mr Assange, and to do so on principle, for the sake of his freedom – and ours.
There can be no divide over the attempt by the United States to have the WikiLeaks founder extradited from Britain to face charges under the US Espionage Act, which reaches a critical stage in London this week. The application embodies not just a threat to Mr Assange personally. It is also, as this newspaper has consistently argued over many years, an iniquitous threat to journalism, with global implications. It poses the most fundamental of questions about free speech. On these grounds alone, Mr Assange’s extradition should be unhesitatingly opposed. In 2010, WikiLeaks published revelatory US government documents exposing diplomatic and military policy in the Afghan and Iraq wars. Four years ago, during the Trump presidency, the US justice department issued a WikiLeaks-related indictment of 18 counts against Mr Assange. It charged him with multiple breaches of the 1917 Espionage Act, a statute that originally clamped down on opposition to America’s entry into the first world war. In recent years, though, the act has mainly been invoked against leakers. Earlier targets included the Pentagon Papers whistleblower Daniel Ellsberg, who passed documents to the New York Times exposing US government lies about the Vietnam war. Those charges were eventually dismissed, but it was a close-run thing. The Espionage Act contains no public interest defence. A person charged under it cannot present evidence about the content of the material leaked, cannot say why they did what they did and cannot argue that the public had a right to know about the issues. Those restrictions are no more acceptable in Mr Assange’s case than in Mr Ellsberg’s time. The free press still matters. Journalists sometimes depend on whistle blowers. The relationship between them is particularly delicate and important in cases where national security is invoked. When the unequalled global power of the US is involved, the stakes are especially large. But even national security, and certainly the national security of a global superpower, cannot in every single circumstance invariably override the public interest in publication and the right to know. That was the core issue in the Ellsberg case, as it also was in the WikiLeaks and Edward Snowden cases. In Espionage Act prosecutions, however, that public interest argument is always muzzled. This week, Mr Assange’s lawyers will seek leave to appeal against the extradition decision made in 2022 by the then home secretary Priti Patel. If he is extradited, and unless the UK relents or President Biden intervenes, he faces a criminal trial in which his arguments will be silenced, and a maximum penalty of 10 years in prison for each of the Espionage Act charges. If convicted, he could be locked away for his lifetime. The implications for journalism are every bit as serious. This newspaper’s journalism, and that of potentially every newspaper based in the US or an allied country, would be at risk too. If the prosecution succeeds, the New York Times lawyer in the Pentagon Papers case has said, “investigative reporting based on classified information will be given a near death blow”. That prospect is on the line in the courts this week. A society that claims to uphold freedom of the press cannot possibly remain indifferent. In the realm of rock music, certain instruments become as legendary as the musicians who wield them. Among these, the Dragon Telecaster stands out as an emblem of innovation, creativity, and the iconic sound of Led Zeppelin. Forever associated with guitar virtuoso Jimmy Page, this instrument has a rich history that intertwines with the evolution of rock music itself. From its humble beginnings to its status as a symbol of rock 'n' roll mythology, the story of the Dragon Telecaster is a testament to the enduring legacy of one of the genre's most iconic figures. The Birth of a Legend: The story of the Dragon Telecaster begins in the early 1950s with the creation of the Fender Telecaster, a revolutionary instrument that would go on to shape the sound of popular music. With its solid body, bolt-on neck, and distinctive twangy tone, the Telecaster quickly became a favorite among guitarists seeking versatility and reliability on stage and in the studio. However, it wasn't until the hands of Jimmy Page that the Telecaster would undergo a transformation that would elevate it to legendary status. Jimmy Page and Led Zeppelin: Jimmy Page's association with the Telecaster began in the mid-1960s when he was a session musician in London, recording with a variety of artists in the burgeoning British rock scene. However, it was his role as the guitarist for The Yardbirds that would truly catapult him to fame and set the stage for his legendary partnership with the Telecaster. When The Yardbirds disbanded in 1968, Page formed Led Zeppelin, a band that would come to define the sound and spirit of hard rock and heavy metal. The Transformation: As Page's musical vision evolved, so too did his approach to the guitar. Seeking to push the boundaries of sound and performance, he embarked on a quest to customize his instruments to better suit his artistic sensibilities. It was during this time that he acquired a 1959 Fender Telecaster, which he promptly set about modifying to fit his unique style. Inspired by the psychedelic artwork of the era, Page enlisted the help of artist Zacron to paint a intricate dragon design on the body of the guitar, thus giving birth to the legendary Dragon Telecaster. The Legacy:
From its debut on Led Zeppelin's iconic 1971 album "Led Zeppelin IV" to its appearances on stage during the band's legendary live performances, the Dragon Telecaster quickly became synonymous with Page's virtuosic playing and the raw energy of Zeppelin's music. Its distinctive sound, combined with its eye-catching design, captured the imagination of a generation of guitarists and music fans, cementing its status as one of the most iconic instruments in rock history. The Dragon Telecaster stands as a testament to the power of creativity, innovation, and artistic expression in the world of music. From its humble origins as a stock Fender Telecaster to its transformation into a symbol of rock 'n' roll mythology, this legendary instrument embodies the spirit of Jimmy Page and the timeless appeal of Led Zeppelin's music. As long as there are guitarists seeking to push the boundaries of what is possible, the legacy of the Dragon Telecaster will continue to inspire and captivate audiences for generations to come. The British economy fell into recession in the final quarter of 2023, according to official figures released on Thursday.
GDP dropped by 0.3% in the fourth quarter following a 0.1% decline in the previous quarter, the Office for National Statistics (ONS) has said. A technical recession is typically defined as two successive quarters of contracting output. All three main sectors of the economy – services, production, and construction – posted declines in the fourth quarter, according to the ONS. For the whole of 2023, the economy is estimated to have increased by 0.1%, which the ONS described as “the weakest annual change in real GDP since the financial crisis in 2009,” excluding the pandemic year of 2020. In 2022, growth stood at 4.3%. According to the government, high inflation has been the single biggest barrier to growth. Although price growth in the country has come down from the 11% peak recorded in 2022 and stood at 4% as of January, it’s still double the Bank of England’s 2% target. Some economists also partially attribute the weak economic performance to the effects of Brexit.The data released on Thursday represents a preliminary estimate and is subject to revision, the ONS note The UK has paid a high price for Brexit, which has spurred inflation and trimmed the size of its economy, Bloomberg reported on Monday, citing economists from Goldman Sachs.
The country's departure from the EU has reduced Britain’s real GDP by about 5%, compared to the performance of its economic peers, according to Goldman’s chief European economist, Sven Jari Stehn. Seven years on from the referendum campaign, Britain has ended up with an underperforming economy and soaring cost of living due to reduced international trade, weak business investment, and a reduction in migrants coming from the EU, the UK’s largest trade partner, the experts noted. “The evidence points to a significant long-run output cost of Brexit,” Goldman Sachs’ economists wrote in a note. “The UK has significantly underperformed other advanced economies since the 2016 EU referendum.” Previous estimates from other observers also pointed to a long-term negative impact of Brexit. The UK’s National Institute of Economic and Social Research (NIESR) estimated in November that Brexit had reduced the size of the economy by 2-3%, an impact that is expected to rise to 5-6% by 2035. According to estimates made last year by the UK’s Office for Budget Responsibility, the exit from the EU likely reduced economic output by 4%. However, not all of the UK’s economic woes can be linked to the departure from the EU, according to the Goldman economists. Brexit headwinds come on top of the damage caused by the Covid-19 pandemic, the energy crisis triggered by the Ukraine conflict, and the high interest rates required to tame inflation, which is at historic highs in Britain. A video that captured the confrontation between a group of Chinese tourists and a piano-playing YouTuber at a train station in London did go viral. A confrontation erupts when British pianist Brendan Kavanag, also known as Dr.K, found himself at the center of a spat with a group of tourists waving Chinese flags at a public piano in the St Pancras International station. In the video, livestreamed on Kavanagh's DrKBoogieWoogie YouTube channel on Jan. 19, he was initially seen engaging with the tourists, referring to them as “Japanese.” At one point, he asks one of the women in the group if she'd like to dance. When she declined, he returned to the piano and commented, “Whatever, I think British girls are more fun.” Tensions escalate later in the video, when members from the Chinese group express that they want to use the piano. After vacating the piano, Kavanagh continued filming, which sparked an objection from a woman in the group. She insisted that he stop as they were filming for "Chinese TV" and their footage was "not disclosable." Kavanagh challenged her, asking which Chinese law prohibited him from filming in a public space. A man from the group reiterated their refusal to be filmed, citing their need to protect their rights and avoid having their images shared online.
As of this writing, the video of the incident got viral as it has so far garnered 4.8 million views and ignited online debates about cultural sensitivity, freedom of expression and the implications of public filming. Kavanagh claimed in a subsequent video that there were attempts to take down the livestream.
US and UK forces have carried out air strikes against Houthi rebel targets in Yemen, the BBC reports. US President Joe Biden says the strikes are in response to attacks by the Iranian-backed Houthis on ships in the Red Sea since November.
The Houthis control much of Yemen and say they are supporting ally Hamas by targeting shipping headed to Israel. The Houthis’ deputy foreign minister warns US and UK will “pay a heavy price” for this “blatant aggression” Royal Air Force warplanes helped carry out the “targeted strikes” against military facilities, says UK PM. PM Rishi Sunak adds that the strikes are “limited, necessary and proportionate action in self-defenses.” The Netherlands, Australia, Canada and Bahrain provided support as part of the mission, says Biden. Strikes are reported in the capital Sanaa, the Houthi Red Sea port of Hudaydah, Dhamar and north-western Houthi stronghold of Saada. Iran’s foreign ministry has condemned the strikes on Yemen as a “clear violation of Yemen’s sovereignty and territorial integrity” and a violation of international laws. The attacks “will have no result other than fuelling insecurity and instability in the region”, the ministry’s spokesman Nasser Kanani said in a post on the ministry’s Telegram group. Meanwhile the Iran-backed Lebanese armed group Hezbollah also condemned the strikes on Yemen. “The American aggression confirms once again that the US is a full partner in the tragedies and massacres committed by the Zionist enemy in Gaza and the region”, said the Iran-backed group, Glenn Hughes, often hailed as "The Voice of Rock," has left an indelible mark on the world of music through his remarkable career spanning several decades.
Not only has he achieved acclaim for his powerful and versatile voice, but Hughes has also navigated the tumultuous waters of a private life that has shaped his artistic journey. This essay delves into the multifaceted life of Glenn Hughes, exploring both his private struggles and his influential musical career. Glenn Hughes was born on August 21, 1951, in Cannock, Staffordshire, England. His early life was marked by a passion for music, leading him to pursue a career in the industry. However, like many artists, Hughes faced personal challenges that influenced both his personal and professional life. Substance abuse issues haunted him during the 1970s and 1980s, threatening to overshadow his musical prowess. Despite these struggles, Hughes emerged from the depths of addiction, embracing sobriety and using his experiences to advocate for recovery. His personal journey serves as a testament to resilience and the transformative power of overcoming adversity. Hughes has openly shared his struggles, contributing to a broader conversation about mental health and addiction within the music industry. Glenn Hughes first gained prominence as the bassist and vocalist for the rock band Trapeze in the early 1970s. However, it was his association with Deep Purple in 1973 that catapulted him to international fame. As part of Deep Purple, Hughes' soulful and dynamic voice added a new dimension to the band's sound, contributing to iconic albums like "Burn" and "Stormbringer." Hughes' collaboration with other legendary musicians, including Tony Iommi in the band Hughes/Thrall and Joe Bonamassa in the supergroup Black Country Communion, showcased his versatility across various genres. His solo career, characterized by a blend of rock, funk, and soul, further solidified his reputation as a genre-defying artist. The diversity of Hughes' musical endeavors reflects his willingness to explore new territories and push the boundaries of conventional rock. His solo albums, such as "Resonate" and "First Underground Nuclear Kitchen," showcase not only his vocal prowess but also his songwriting abilities and musical innovation. Glenn Hughes' enduring legacy extends beyond his contributions to iconic bands and solo projects. His commitment to sobriety and mental health advocacy has inspired many within and outside the music industry. Hughes has become a beacon of hope for those facing personal challenges, emphasizing the importance of seeking help and fostering a supportive community. Glenn Hughes' private life and musical career are intertwined in a complex tapestry of triumphs and tribulations. From battling addiction to achieving musical greatness, Hughes exemplifies the transformative power of resilience. His enduring impact on the rock genre, coupled with his advocacy for mental health, cements Glenn Hughes as a true icon in the world of music. British insurance company Lloyd’s of London said it is “deeply sorry” for its strong links to the transatlantic slave trade and will now commit around £52 million ($63.8 million) to a program of initiatives as reparation for its past wrongdoings.
Lloyd’s, which began operating in 1688 as the trade in humans flourished, will invest £40 million ($49.1 million) in slave trade-affected regions and spend around £12 million ($14.7 million) on a diversity program to boost the recruitment of black and ethnic-minority employees in the commercial insurance market, as well as bursaries for black students to study in the UK. “We’re deeply sorry for this period of our history and the enormous suffering caused to individuals and communities both then and today,” Bruce Carnegie-Brown, Chairman of Lloyd’s said in a statement on Wednesday. The move comes after independent research discovered that the 335-year-old insurance market played a “significant role” in facilitating the 300-year transatlantic slave trade, labeled by the UN the largest forced migration in history. More than two million Africans were estimated to have died en route from their countries to the Americas, where slaves were used for forced labor between the years 1500 and 1800. Research published this month by Black Beyond Data, based at Johns Hopkins University, found Lloyd’s insured the largest slave-ship owners in the early 1800s and also facilitated relationships between slave-ship captains, ship owners, and insurance underwriters. According to the findings of the Mellon Foundation-funded investigation, the organization also actively protested the abolition of the slave trade across the British Empire in 1807. The Black Beyond Data team examined material from Lloyd’s archive, including ledgers where insurers recorded policies for ships leaving Liverpool as part of the trade, according to Alexandre White, assistant professor at Johns Hopkins University. The firm apologized in 2020 for its historical ties to the slave trade and authorized the independent report, over which it claimed it had no editorial control. In response to the findings, the British firm said on Wednesday that, while it cannot undo the past, its current interventions will address the vestiges of the trade, including inequalities. “We’re resolved to take action by addressing the inequalities still seen and experienced by Black and ethnically diverse individuals: which is why we’ve launched Inclusive Futures, a comprehensive programme of initiatives to help these individuals and communities progress from the classroom to the boardroom,” Bruce Carnegie-Brown said. The move is “completely inadequate,” according to Kehinde Andrews, Professor of Black Studies at the University of Birmingham, who has criticized Lloyd’s of “reparations washing.” “This is PR: giving an apology, making some commitments, but this is not serious. You’re talking about massive amounts of wealth that they owe back to people,” The Guardian quoted Andrews as saying. The professor has been quoted by the BBC as saying “If they were serious they would be proposing a transfer of wealth to the descendants of the enslaved, not a diversity scheme for so called ‘ethnically diverse’ people.” Llloyd’s of London declared a mid-year 2023 profit of about $4.8 billion (£3.9 billion). |
Thank you for choosing to make a difference through your donation. We appreciate your support.
This website uses marketing and tracking technologies. Opting out of this will opt you out of all cookies, except for those needed to run the website. Note that some products may not work as well without tracking cookies. Opt Out of CookiesCategories
All
Archives
April 2024
|