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BAFTA announces rules to increase diversity of nominees and introduces ‘unconscious bias training’

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bafta announces rules to increase diversity of nominees and introduces unconscious bias training

The Bafta TV awards will introduce a raft of measures inlcuding ‘unconscious bias training’ to address a lack of diversity in the television awards. 

Other measures include increasing the number of nominees in current performance categories and launching a new award category for daytime television.

The changes are part of a slew of new rules and guidelines to be introduced following a review.

The Bafta announcement come as new research found ethnic minorities are overrepresented as actors and presenters on British television but continue to be sidelined off screen. 

The Bafta TV awards will increase the number of nominees in current performance categories and launch a new award category for daytime television to address a lack of diversity in the awards following a review

The Bafta TV awards will increase the number of nominees in current performance categories and launch a new award category for daytime television to address a lack of diversity in the awards following a review

The Bafta TV awards will increase the number of nominees in current performance categories and launch a new award category for daytime television to address a lack of diversity in the awards following a review

Bafta hope the measures, which include increasing nominees in the performance categories to six, up from four, will better represent the industry. 

The new daytime award will also recognise the important role that daytime programming plays in the lives of viewers and in providing a pipeline for new and underrepresented talent.

Hannah Wyatt, chair of Bafta’s television committee, said: ‘We are expanding the number of nominees for the performance categories and that is largely a reflection of the huge volume of fantastic drama that is being made by British creatives at the moment.

‘We have had year-on-year increases in the number of entries and so it seemed to make sense to reflect that by allowing more nominees, which also hopefully will reflect more diversity and a wider range of people who are coming through the industry.’

She added: ‘We had a really good year this year, I think if you look at what happened in the last lot of awards we were up by about 22% in our diversity in the performance categories and that’s fantastic.

‘I think we want to ensure we keep that going, this is one of the measures.

‘We are bringing in other things as well, in terms of unconscious bias training, asking broadcasters to consider diverse entries in the categories where they are entering a performance, it’s part of a range of things we want to do.

Hannah Wyatt, chair of Bafta's television committee (pictured), announced the changes following the Bafta 2020 Review, which was introduced to address a lack of diversity across Bafta's different awards

Hannah Wyatt, chair of Bafta's television committee (pictured), announced the changes following the Bafta 2020 Review, which was introduced to address a lack of diversity across Bafta's different awards

Hannah Wyatt, chair of Bafta’s television committee (pictured), announced the changes following the Bafta 2020 Review, which was introduced to address a lack of diversity across Bafta’s different awards

‘It’s not targeting anything specifically, a lot of it is about reflecting the fact that we just had lots of entrants, but of course it would be fantastic if that is also part of what we managed to achieve.’

The new criteria follows the Bafta 2020 Review, which was introduced to address a lack of diversity across Bafta’s different awards.

The 2020 television awards took place behind closed doors, with winners accepting their awards virtually.

The film ceremony has also announced a raft of changes including expanding the nominations for director, actor and actress from five to six, while the outstanding British film category will be expanded from six to 10 nominations to increase the focus on British work.

The TV awards will also formally introduce the BFI Diversity Standards, following a pilot in 2020, using a phased approach to implementation.

The total number of nominees in all non-performance categories will remain as four, however the number of named nominees or production company representatives for each entry will increase from four to six.

The eligibility window for the soap and continuing drama category has been extended to the end of January 2021 for next year’s ceremony, as a result of the coronavirus pandemic, while the sport and live events categories will be merged for the 2021 awards, and the minimum percentage of live reduced from 70% to 51%.

It has already been announced that Bafta will introduce mandatory conscious voting training for all members.

The British Academy Television Craft Awards will take place on May 24 2021, while the Television Awards will be on June 6.

BAME people ‘are over-represented on TV’: Ethnic minorities make up 22% of actors and presenters while only representing 12% of British population, research shows

By Jack Wright for MailOnline

Ethnic minorities are overrepresented as actors and presenters on British television but continue to be sidelined off screen, new research suggests.

People from Black, Asian and Minority Ethnic (BAME) backgrounds accounted for more than 22 per cent of all on-screen TV contributions last year, while representing just 12.8 per cent of the UK population.

But over the past three years, on-screen contributions by South Asian ethnic groups have fallen from 7.1 per cent to 5.6 per cent.

Off-screen, the overall proportion of contributions made by all BAME groups to UK programmes has also increased over the last three years from 9.7 per cent to 12.3 per cent.

However, this remains slightly below the UK BAME population (12.8 per cent) and well below the BAME population of London (40.2 per cent), where a high proportion of TV programmes are made.

The figures are culled from a deep-dive into BAME data collected by the Creative Diversity Network’s diversity monitoring and reporting system, used by all of the UK’s main broadcasters.

It is based on 30,000 survey responses from workers in the UK television industry, and comes after demands for TV representation intensified in the wake of the Black Lives Matter movement. 

Ethnic minorities are overrepresented as actors and presenters on British television, new research suggests

Ethnic minorities are overrepresented as actors and presenters on British television, new research suggests

Ethnic minorities are overrepresented as actors and presenters on British television, new research suggests

Off-screen, the overall proportion of contributions made by all BAME groups to UK programmes has also increased over the last three years from 9.7 per cent to 12.3 per cent

Off-screen, the overall proportion of contributions made by all BAME groups to UK programmes has also increased over the last three years from 9.7 per cent to 12.3 per cent

Off-screen, the overall proportion of contributions made by all BAME groups to UK programmes has also increased over the last three years from 9.7 per cent to 12.3 per cent

People from BAME backgrounds accounted for more than 22 per cent of all on-screen TV contributions last year, despite representing 12.8 per cent of the UK population

People from BAME backgrounds accounted for more than 22 per cent of all on-screen TV contributions last year, despite representing 12.8 per cent of the UK population

People from BAME backgrounds accounted for more than 22 per cent of all on-screen TV contributions last year, despite representing 12.8 per cent of the UK population

In its report, the CDN, whose members include BBC, Sky, ITV and Channel 4, said the figures show ‘there is still a lack of racial and ethnic diversity in our industry’.

End of the ethnic pay gap: Young employees from minority groups now earn MORE than white British workers 

Young workers from ethnic minority backgrounds now earn more on average than their white British counterparts, figures reveal.

The analysis shows that the ethnicity pay gap has vanished for those who began their careers over the past 15 years.

The gap had been a major target for activists during a summer dominated by Black Lives Matter campaigning. Yet ethnic minority workers under the age of 30 now earn on average 5.5 per cent more than workers classed as white British.

The findings from the Office for National Statistics (ONS) – based on large-scale surveys collected since 2012 – also show that women from ethnic minority groups typically earn more than white British women.

Overall the ethnicity pay gap among workers of all ages and both sexes stood at 2.3 per cent in 2019, according to the report. That figure is a little more than a quarter of the 8.4 per cent gap in 2014.

The figures mean that across all age groups, an average white British worker gets £12.40 an hour and an average minority worker £12.11.

Different minority groups experience different pay levels, the report said.

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It said that ‘inclusion and equality are not yet ‘baked’ into the industry’s ways of working’ and ‘need to be in order for diversity to flourish’. 

According to the CDN’s Race and Ethnic Diversity report, people from mixed ethnic groups are most strongly represented in Diamond TV programmes across all genres, making over a third of all BAME contributions both on and off-screen.

Though people who identify with Asian ethnic groups make around 30 per cent of BAME programme contributions, this is comparatively low given that Asian ethnic groups account for more than half of the country’s BAME population.

Off-screen, people who identify with Asian ethnic groups are particularly under-represented across all genres, and those from Black and Other ethnic groups are under-represented across the majority of genres.

On-screen, people who identify as Black and Mixed are comparatively well represented. However, people from Asian groups are under-represented across most genres, with the exception of Children’s and Drama programmes.

The report found that people from BAME groups are making fewer contributions in a senior production role across most genres. 

Overall, people who identify with Black and Mixed ethnic groups are less well represented in senior production roles compared to their representation in other roles, particularly junior and entry level roles.

Although people who identify as South Asian are under-represented off-screen, they are more likely to be contributing in a senior role (4.3 per cent of senior role contributions, and 2.2 per cent of non-senior contributions).

The report also found there is a lack of ethnic diversity across the majority of senior production roles: BAME contributions account for less than 10 per cent of the contributions made in the role of Production Executive (2.4 per cent), Series Producer (4.4 per cent), Head of Production (8.3 per cent) and Production Manager (9.3 per cent). 

The exception is Commissioning, where some progress appears to have been made with regards to ethnic diversity: 16.5 per cent of Commissioning Editor contributions were made by someone who identified with a BAME group. 

Off-screen, the overall proportion of contributions made by all BAME groups to UK programmes has also increased over the last three years from 9.7 per cent to 12.3 per cent. However, this remains below the UK BAME population (12.8 per cent) and well below the BAME population of London (40.2 per cent), where a high proportion of TV programmes are made

Off-screen, the overall proportion of contributions made by all BAME groups to UK programmes has also increased over the last three years from 9.7 per cent to 12.3 per cent. However, this remains below the UK BAME population (12.8 per cent) and well below the BAME population of London (40.2 per cent), where a high proportion of TV programmes are made

Off-screen, the overall proportion of contributions made by all BAME groups to UK programmes has also increased over the last three years from 9.7 per cent to 12.3 per cent. However, this remains below the UK BAME population (12.8 per cent) and well below the BAME population of London (40.2 per cent), where a high proportion of TV programmes are made

Off-screen, the overall proportion of contributions made by all BAME groups to UK programmes has also increased over the last three years from 9.7 per cent to 12.3 per cent

Off-screen, the overall proportion of contributions made by all BAME groups to UK programmes has also increased over the last three years from 9.7 per cent to 12.3 per cent

Off-screen, the overall proportion of contributions made by all BAME groups to UK programmes has also increased over the last three years from 9.7 per cent to 12.3 per cent

The report also found there is a lack of ethnic diversity across the majority of senior production roles: BAME contributions account for less than 10 per cent of the contributions made in the role of Production Executive (2.4 per cent), Series Producer (4.4 per cent), Head of Production (8.3 per cent) and Production Manager (9.3 per cent)

The report also found there is a lack of ethnic diversity across the majority of senior production roles: BAME contributions account for less than 10 per cent of the contributions made in the role of Production Executive (2.4 per cent), Series Producer (4.4 per cent), Head of Production (8.3 per cent) and Production Manager (9.3 per cent)

The report also found there is a lack of ethnic diversity across the majority of senior production roles: BAME contributions account for less than 10 per cent of the contributions made in the role of Production Executive (2.4 per cent), Series Producer (4.4 per cent), Head of Production (8.3 per cent) and Production Manager (9.3 per cent)

Meanwhile, there is a ‘considerable lack of diversity’ in technical and craft roles across UK TV production, with fewer than 5 per cent of programme contributions in Costume and Wardrobe, Hair and Make-Up and Set Design are by those from a BAME group.

Fewer than 10 per cent of programme contributions in Sound and Post Production are made by people who identify with a BAME group.

Camera is the only craft and technical area where BAME contributions (12.5 per cent) are close to the UK BAME population (12.8 per cent). There are so few BAME contributions being made in Lighting and Set Crafts, that the CDN is unable to publish the data on these departments.

In its report, the CDN recommended: ‘As policies, processes and technologies evolve in broadcasting and production, a diversity lens needs to be brought to every table in order to ensure all our activity and future ambitions are proactively supporting a more inclusive workforce, rather than maintaining the status quo or actively widening the diversity gap further.’

People from BAME backgrounds accounted for more than 22 per cent of all on-screen TV contributions last year, despite representing 12.8 per cent of the UK population

People from BAME backgrounds accounted for more than 22 per cent of all on-screen TV contributions last year, despite representing 12.8 per cent of the UK population

People from BAME backgrounds accounted for more than 22 per cent of all on-screen TV contributions last year, despite representing 12.8 per cent of the UK population

Camera is the only craft and technical area where BAME contributions (12.5 per cent) are close to the UK BAME population (12.8 per cent). There are so few BAME contributions being made in Lighting and Set Crafts, that the CDN is unable to publish the data on these departments

Camera is the only craft and technical area where BAME contributions (12.5 per cent) are close to the UK BAME population (12.8 per cent). There are so few BAME contributions being made in Lighting and Set Crafts, that the CDN is unable to publish the data on these departments

Camera is the only craft and technical area where BAME contributions (12.5 per cent) are close to the UK BAME population (12.8 per cent). There are so few BAME contributions being made in Lighting and Set Crafts, that the CDN is unable to publish the data on these departments

CDN boss Deborah Williams said: ‘If we are to end 2020 with a collective wisdom gained from our various experiences, then I hope that this report can make a significant contribution.

‘In some respects, the findings of our analysis are startling, even shocking; but at the same time, its findings are not entirely new – they are now just evidenced. Through Diamond’s long-term monitoring we will continue to provide the industry with the evidence it needs to improve and ensure diversity.

‘It is clear that there is so much more work to be done, and it is vital that we now find ways to bring together all of the conversations, debates, data and evidence to build on our foundation stones.

‘Covid-19, Brexit and a rapidly evolving industry have forced change and mean we have to adapt to future proof our industry.

‘In so doing we will find ourselves much better placed to maintain our position as world leaders in content creation, content creators and intellectual property.’

This post first appeared on dailymail.co.uk

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Amazon, Facebook, Google and Apple see profits climb

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amazon facebook google and apple see profits climb

The big four technology firms have produced a record £29billion in profits and £177billion of sales during the coronavirus pandemic. 

In a blowout set of earnings, Amazon, Apple, Google, and Facebook all reported quarterly results within minutes of each other – unveiling combined revenues of £177billion ($220.28billion) and profits of £29billion ($38billion) for July to September.

The figures stand in stark contrast to the fortunes of many traditional businesses, which have been devastated by the Covid-19 crisis, as consumers flock online to buy goods and switch to working from home. 

Big Tech’s earnings are also continuing to soar despite increased regulatory scrutiny across the four companies – including federal antitrust charges against Google’s parent company Alphabet Inc and user and advertiser boycotts of Facebook Inc. 

Amazon CEO Jeff Bezos is seen in a file photo. The company on Thursday reported record sales and profits for the quarter ended in September

Amazon CEO Jeff Bezos is seen in a file photo. The company on Thursday reported record sales and profits for the quarter ended in September

Amazon CEO Jeff Bezos is seen in a file photo. The company on Thursday reported record sales and profits for the quarter ended in September

Amazon shares initially rose 2 per cent in after-hours trading, but then slumped 1 per cent as the company forecast £3.97billion ($4 billion) in COVID-19 related costs for the fourth quarter

Amazon shares initially rose 2 per cent in after-hours trading, but then slumped 1 per cent as the company forecast £3.97billion ($4 billion) in COVID-19 related costs for the fourth quarter

Amazon shares initially rose 2 per cent in after-hours trading, but then slumped 1 per cent as the company forecast £3.97billion ($4 billion) in COVID-19 related costs for the fourth quarter

Making a fortune: Jeff Bezos – pictured with partner Lauren Sanchez

Making a fortune: Jeff Bezos – pictured with partner Lauren Sanchez

Making a fortune: Jeff Bezos – pictured with partner Lauren Sanchez

On Wednesday, a day before the earnings were published, Republican senators in a virtual Senate commerce committee tongue-lashed Facebook, Google and Twitter, accusing them of censoring conservative content on their platforms.  

Google has also been sued by the Department of Justice for anti-competitive behaviour and Apple is being watched after it emerged that it was charging a premium for companies to advertise through its App Store.   

Amazon said yesterday that its sales surged 37 per cent for the quarter to a record $96.2 billion (£74.4billion), generating a $6.3 billion (£4.87billion) profit, roughly three times its profits from the same period last year. 

Shares in iPhone maker Apple fell by more than four per cent as the firm reported a one per cent rise in revenues to £50billion ($64.7 billion) and a seven per cent drop in profits to £9.8billion ($7billion). 

This was slightly better than expectations but Apple did not offer any forecasts of sales for Christmas, leaving investors in the dark about how well the firm thinks its new iPhone 12 handset will sell. 

Handout photo issued by Apple of Tim Cook during the Apple Event for the unveiling of the iPhone 12 Pro, which was introduced along with the iPhone 12 Pro Max by the technology company earlier this month

Handout photo issued by Apple of Tim Cook during the Apple Event for the unveiling of the iPhone 12 Pro, which was introduced along with the iPhone 12 Pro Max by the technology company earlier this month

Handout photo issued by Apple of Tim Cook during the Apple Event for the unveiling of the iPhone 12 Pro, which was introduced along with the iPhone 12 Pro Max by the technology company earlier this month 

Shares in iPhone maker Apple also fell by more than four per cent as the firm reported a one per cent rise in revenues to £50billion and a seven per cent drop in profits to £9.8billion

Shares in iPhone maker Apple also fell by more than four per cent as the firm reported a one per cent rise in revenues to £50billion and a seven per cent drop in profits to £9.8billion

Shares in iPhone maker Apple also fell by more than four per cent as the firm reported a one per cent rise in revenues to £50billion and a seven per cent drop in profits to £9.8billion

However the company reported a 21 per cent drop in iPhone sales in the July to September quarter, worse than analysts had predicted, with strong sales of its Macbook computers and iPad tablets failing to make up for the decline.  

At the same time, Google parent Alphabet’s shares roared almost eight per cent higher. 

It reported a 14 per cent rise in third-quarter revenues to £35.7billion ($46.1 billion) and a 60 per cent rise in profits to £8.7billion ($11.25 billion). 

Sundar Pichai, CEO of Google's Alphabet Inc., is seen as he testifies remotely during a Senate Commerce hearing on Wednesday

Sundar Pichai, CEO of Google's Alphabet Inc., is seen as he testifies remotely during a Senate Commerce hearing on Wednesday

Sundar Pichai, CEO of Google’s Alphabet Inc., is seen as he testifies remotely during a Senate Commerce hearing on Wednesday 

Google parent Alphabet's shares roared almost eight per cent higher in post-session trading after the firm blew analysts' expectations out of the water

Google parent Alphabet's shares roared almost eight per cent higher in post-session trading after the firm blew analysts' expectations out of the water

Google parent Alphabet’s shares roared almost eight per cent higher in post-session trading after the firm blew analysts’ expectations out of the water

The company, which makes most of its income from digital ads, benefited from higher spending by businesses seeking to attract online shoppers over the summer as well as a 45 per cent rise in sales at its cloud computing division. 

Elsewhere, the return to higher advertising spending by businesses also buoyed the rival ad businesses of social networks Facebook and Twitter. 

Facebook reported a 22 per cent rise in revenues to £16.6billion ($21.2billion) and a 29 per cent rise in profits to £6.1billion ($7.84 billion). 

It said daily users rose 12 per cent to 1.82billion during the quarter.    

Founder and CEO of US online social media and social networking service Facebook Mark Zuckerberg is pictured in February

Founder and CEO of US online social media and social networking service Facebook Mark Zuckerberg is pictured in February

Founder and CEO of US online social media and social networking service Facebook Mark Zuckerberg is pictured in February 

Facebook reported a 22 per cent rise in revenues to £16.6billion and a 29 per cent rise in profits to £6.1billion

Facebook reported a 22 per cent rise in revenues to £16.6billion and a 29 per cent rise in profits to £6.1billion

Facebook reported a 22 per cent rise in revenues to £16.6billion and a 29 per cent rise in profits to £6.1billion

Since the start of the virus outbreak in the United States eight months ago, consumers have turned increasingly to Amazon for delivery of groceries, home goods and medical supplies. 

As brick-and-mortar shops closed their doors under lockdown orders, Amazon moved to recruit over 400,000 more workers and earned the largest profits in its 26-year history.

It has kept the world’s largest online retailer at the center of workplace and political tumult. Democratic politicians this month accused Amazon of holding ‘monopoly power’ over merchants on its platform, which the company disputes. 

Meanwhile, more than 19,000 of Amazon’s U.S. employees contracted COVID-19, and some staff protested for site closures.

Amazon has responded with an array of precautions and a virus testing program for employees that have helped the company stay operational.

Jeff Bezos, Amazon’s chief executive and richest person in the world, said in a press release, ‘We’re seeing more customers than ever shopping early for their holiday gifts, which is just one of the signs that this is going to be an unprecedented holiday season.’

At the same time, logistics costs have been rising in recent months as Amazon worked to cut standard delivery times for Prime loyalty club customers — and the pandemic has only added to its challenges.  

This post first appeared on dailymail.co.uk

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Is YOUR mask safe? New research shows some stop just seven per cent of bacteria

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is your mask safe new research shows some stop just seven per cent of bacteria

A health alert has been issued over some reusable facemasks with evidence that some filter out just 7per cent of harmful bacteria.

The warning comes from consumer experts at Which? after a survey of 15 masks which suggest some offer little or no protection.

Three of the masks, available online and in the high street, were so flimsy that they have been issued with a ‘Don’t Buy’ rating.

These include the Etiquette mask, which is sold by Superdrug, the Termin8 Lightweight Breathable, available at Lloyds Pharmacy and elsewhere, and the Asda White Patterned.

Asda has pulled its face covering from sale as a result of the findings.

Three of the masks, available online and in the high street, were so flimsy that they have been issued with a ‘Don’t Buy’ rating

Three of the masks, available online and in the high street, were so flimsy that they have been issued with a ‘Don’t Buy’ rating

Three of the masks, available online and in the high street, were so flimsy that they have been issued with a ‘Don’t Buy’ rating

Asda has pulled this face covering from sale as a result of the findings.

Asda has pulled this face covering from sale as a result of the findings.

The Termin8 Lightweight Breathable

The Termin8 Lightweight Breathable

Asda has pulled its face covering (left) from sale as a result of the findings. Right, the Termin8 Lightweight Breathable mask did not fare well in the tests

Why you really aren’t washing your mask enough and CAN’T wear a disposable one more than once 

As many as 85 per cent of us aren’t washing our fabric face coverings properly in between uses, and 15 per cent have never washed theirs, suggests a YouGov survey from August.

And among those who opt for disposable masks, more than half aren’t binning them after use, but re-wearing them multiple times.

UK Government guidelines advise washing reusable masks ‘in line with manufacturers’ instructions at the highest temperature appropriate for the fabric’, while the World Health Organisation recommends washing them ‘at least once a day’. 

Enzymes in the detergents break down the protective envelope around the virus and so destroy it — they work in the same way as 70 per cent alcohol hand sanitisers.

Washing by hand at lower temperatures also means you are less likely to degrade the material and damage the mask — which could make it less effective as a barrier to virus droplets. 

To avoid contamination in between uses, you should store your fabric mask, or your spare disposable ones, in a clean, resealable plastic bag.

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Termin8 and Superdrug disputed the findings and said that their masks conform to government guidelines for fabric face coverings and that the guidance doesn’t require them to have bacterial filtration.  

Scientists tested the masks for how well they filter bacteria, how breathable they are, and how they fare after multiple washes.

Perhaps surprisingly, Which? found that many of the masks performed better after they were put through a hot wash as this meant the fibres became more compressed.

Which? said reusable fabric face coverings are not designed to block ultra-fine particles such as Covid-19 like a higher-grade medical respirator mask would.

However, they can help because they are intended to help block larger droplets and aerosols breathed out by the wearer, who may be infected but asymptomatic.

In theory, this should help protect the wider community by minimising exhalation of virus particles in enclosed spaces.

Masks with multiple layers were much more effective than single layer versions at filtering particles. 

However, the fact they had more layers meant it was more difficult to breathe easily through them.

Which? awarded two of the products tested ‘Best Buy’ status because they were comfortable and breathable without compromising on filtration. 

These are the NEQI reusable face mask (£15 for 3), which is available from retailers including Boots and Ocado, as well as Bags of Ethics Great British Designer face coverings (£15 for 3), available at Asos and John Lewis.

Head of Home Products and Services at Which?, Natalie Hitchins, said: ‘With face coverings now such an important part of daily life, they not only need to be durable and comfortable, but also provide effective filtration from harmful particles in order to keep us and others safe.

‘We would urge manufacturers to use our findings to up their game and improve their products.’

The Etiquette mask, which is sold by Superdrug

The Etiquette mask, which is sold by Superdrug

The NEQI reusable face mask was awarded 'Best Buy' status

The NEQI reusable face mask was awarded 'Best Buy' status

Three of the masks were issued with a ‘Don’t Buy’ rating. These include the Etiquette mask, which is sold by Superdrug (left). Right, The NEQI reusable face mask was awarded ‘Best Buy’ status

What is ‘bacterial filtration efficiency’?

This is the standard test used to measure the effectiveness of disposable surgical masks at blocking particles. Coronavirus particles can be much smaller than bacterial particles (as little as 0.1 micrometre in diameter). 

Face coverings aren’t intended to block all particles down to these ultra-fine particles, but instead to help capture larger droplets and aerosols that the wearer breathes out, which can carry the virus. 

Collectively, this reduction in particles escaping is thought to reduce the risk of community transmission in enclosed public spaces.

Source: Which? 

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Lloyds Pharmacy said: ‘We take the quality and efficacy of the products we sell very seriously and work with our suppliers to ensure they comply with UK regulations and standards. 

‘We have confirmed with the supplier of the Termin8 mask in question that it is compliant with all necessary requirements as set out by the Department for Health & Social Care and the British Retail Consortium, for use as a face covering in numerous public settings as required by UK law.’

Superdrug said: ‘We dispute the testing methods that have been used by Which? and are disappointed that the fabric Face Cover by our supplier Etiquette Super Mask has been given a ‘Don’t Buy’ rating because it has been tested against the EN 14683 standard for surgical masks and the CEN Workshop Agreement which is not an official standard. 

‘This product was clearly retailed as a fabric face covering and not a surgical mask – designed to help the wearer reduce the spread of a cold or virus, as per Government guidelines.’

Asda said: ‘Product safety is our key priority and all of our George face coverings comply with and British Retail Consortium guidance and the Office for Product Safety and Standards. 

‘The covering that featured in this review was produced before the CWA17533 guidelines were published and is no longer on sale.’

35033606 8896379 image a 18 1604051477236

35033606 8896379 image a 18 1604051477236

FACE MASK POLICY IN THE UK

Face masks must be worn on public transport and in many indoor spaces, including shops, shopping centres, indoor transport hubs, museums, galleries, cinemas and public libraries. 

It is currently the law for passengers to wear face coverings in taxis and private hire vehicles, in hospitality venues, like restaurants and bars, other than when you are eating and drinking. Staff in retail and hospitality settings are also legally required to wear face coverings. 

If necessary, the police and Transport for London (TfL) officers have enforcement powers including issuing fines of £200 (halving to £100 if paid within 14 days).

It comes after the World Health Organisation and numerous studies suggested they are beneficial.

As announced, the Government will bring forward changes to mean that for repeat offenders these fines would double at each offence up to a maximum value of £6,400.  

The Prime Minister has also announced tougher enforcement measures, with businesses facing fines or closure for failing to comply with coronavirus rules, meaning there will be consequences for pubs that try to serve you at the bar.

National Police Chiefs’ Council chairman Martin Hewitt said: ‘Individuals, businesses and households all have a responsibility to ensure the virus is suppressed and police will play their part in supporting the public to navigate the measures in place for our safety.

‘Our approach of engaging with people and explaining the regulations in place will remain. The vast majority of situations are resolved following those two stages, with little need for further encouragement or enforcement action to be taken,’ he said.

‘Police will continue to work with their communities and only issue fines as a last resort.

‘Chiefs will be stepping up patrols in high-risk areas and will proactively work with businesses, licensing authorities and local authorities to ensure the rules are being followed.

‘If members of the public are concerned that the law is being broken or they are experiencing anti-social behaviour, they can report this to the police, who will consider the most appropriate response and will target the most problematic behaviour.’  

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Tracey Emin, 57, reveals she lost her mother to a bladder tumour four years ago

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tracey emin 57 reveals she lost her mother to a bladder tumour four years ago

Tracey Emin today revealed she lost her mother four years ago to the same bladder cancer that left her critically ill and claimed she predicted her own diagnosis in a painting. 

The artist, 57, discovered she had a tumour in her bladder in June and feared she would be dead by Christmas, but is now in remission after doctors removed the growth and put her on chemotherapy.  

Miss Emin was diagnosed with squamous-cell bladder cancer, an illness she was tragically familiar with. ‘My mother died of the same cancer,’ she told the Telegraph. ‘Four years ago today.’ 

Her mother, Pam, died in October 2009 aged 88, after doctors decided following a course of radiotheraphy that it would not be possible to operate.

Tracey Emin is pictured with her mother Pam in 2009, who died from the same cancer she has been diagnosed with four years ago

Tracey Emin is pictured with her mother Pam in 2009, who died from the same cancer she has been diagnosed with four years ago

Tracey Emin is pictured with her mother Pam in 2009, who died from the same cancer she has been diagnosed with four years ago 

Pam was regularly seen supporting her daughter at shoots, and the artist has described how losing her felt unreal and ‘so untrue’. 

She took the surname Cashin, and admitted in an interview that because of this ‘not many people’ knew she was Miss Emin’s mother.  

The artist realised something was wrong with her own body when she began to feel tired in the spring, and would wake up in the morning after dinner the night before hungover and vomiting. 

She added: ‘During lockdown, I realised it would be impossible for me to have a UTI, because I hadn’t been out of the house for 12 weeks. Then, during lockdown, I became more and more ill.

‘I got an appointment with my urogynaecologist, and she found a giant tumour. I had an MRI scan the next day, and a phone call that night saying, ‘You’re going nowhere, you’re doing nothing – you’re going straight to hospital.’

The artist was working on a large red canvas at the time she saw her urogynaecologist, and felt that in some way it predicted the terrible news she was to receive. 

WHAT IS BLADDER CANCER?

Bladder cancer is caused by a tumour developing in the lining of the bladder or the organ’s muscle.

Around 10,200 new cases are diagnosed in the UK each year and 81,400 people in the US, according to figures.

It is the 10th most common cancer in the UK – but a little more prevalent in the US – and accounts for about three per cent of all cases.

The cancer is more common in men and has a 10-year survival rate of about 50 per cent. Around half of cases are considered preventable.

Symptoms of the disease include blood in the urine, needing to urinate more often or more urgently than normal and pelvic pain.

However, unexpected weight loss and swelling of the legs can also be signs of the killer disease.

Smoking and exposure to chemicals in plastics and paints at work can increase the risk of getting bladder cancer.

Treatment varies depending on how advanced the cancer is, and may include surgery, radiotherapy or chemotherapy.

Source: NHS Choices

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After returning home from the MRI scan, she walked over the painting to inspect it. 

‘It looked finished, but it wasn’t – I could paint more on it, paint over it,’ she said. ‘I was wondering what it was, looking at it, for something like two hours.’

Shortly afterwards Miss Emin heard the news, she was suffering with very aggressive squamous cell cancer, which surgeons feared would kill her in months if it spread to her lymph nodes.

As a result, a decision was made to remove not only her bladder but also her uterus, fallopian tubes, ovaries, lymph nodes, urethra and part of her colon and vagina.

Prior to the surgery, Miss Emin said, she stayed up for 24 hours with her solicitor rewriting her will before sending an email to 70 friends breaking the news of her cancer and instructing them: ‘Do not contact me’. 

But now, following a six-and-a-half-hour operation carried out by 12 surgeons in July, she is in remission.

She has been left with a stoma bag as a result of having ‘half my body chopped out’ and is still struggling to find the energy to paint.

In another frank interview with The Times, Miss Emin admitted that if she had received the diagnosis last year she ‘probably would have topped myself’.

But, she said, she was now glad finally to be talking about the illness, as it would stop people assuming she was just hungover when too unwell to attend events.

Discussing her ordeal she said: ‘It was squamous cell cancer, which means it’s really rapid, really aggressive. It’s known as bad cancer.’

She recalled her surgeon telling her: ‘We have to move fast. But the good news is, your bladder is really c**p and what we’re going to do is just take all your bladder out and the cancer will be gone.’ But, she added: ‘It didn’t turn out like that.’ 

Miss Emin was told if they found cancer in her lymph nodes during surgery she would be dead before Christmas. ‘That’s what the stakes were.’

Remembering her conversation with the surgeon, she recounted: ‘He said, ‘So we’re going to remove your bladder and we’re going to remove your uterus, your fallopian tubes, your ovaries, your lymph nodes, part of your colon, your urethra.’

‘I said to him, ‘Oh my God, anything else?’ And he said, ‘Yes, part of your vagina.’ And I went, ‘Oh ****ing hell’.’  

Miss Emin was diagnosed with cancer earlier this year and is in remission after an operation. She is picture (above) in a selfie taken in August but released yesterday

Miss Emin was diagnosed with cancer earlier this year and is in remission after an operation. She is picture (above) in a selfie taken in August but released yesterday

Miss Emin was diagnosed with cancer earlier this year and is in remission after an operation. She is picture (above) in a selfie taken in August but released yesterday

Miss Emin had suffered from frequent bladder infections as a result of having to self-catheterise since doctors discovered her bladder had ‘blown out and stopped working’ when she was in hospital for appendicitis five years ago.

However she decided to seek help from a Harley Street urologist in June after finding her catheters blood-stained and experiencing pain that felt ‘really wrong’.

An MRI scan detected the growth and she underwent the dramatic surgery a month later, she told The Times. 

Following the diagnosis Miss Emin joked: ‘I said to the doctors, ‘So I’m going to lose a load of weight and have a really tight vagina – and this is bad?’ ‘ Of the surgery, she added: ‘I managed to keep all of my clitoris. Not that it’s working.

‘But they had to cut away a whole side of the vaginal wall and sew it back together, so it’s really, really sealed.’

She said she hoped that would not be permanent but will require a series of therapies. Despite her upbeat attitude to her ordeal, Miss Emin admitted: ‘If it was a year ago I probably would have topped myself anyway, because I was so depressed.’

She added that while she was now on the road to recovery she had not yet been able to do the thing she loves most – paint.

Miss Emin told The Times it had been a relief to her that she was childless, explaining: ‘There was one big problem I didn’t have to face, did I? Didn’t have to look my children in the face and say, ‘Mummy might be dying’.’ 

In a separate interview, with art website Artnet, she said: ‘Yesterday, I was crying because I wanted to paint and I didn’t have the energy to do it.’ 

The artist said that following her recovery she was hoping to find love.

When asked about her future ambitions she said: ‘Well, it’s a lot different from what it was before.

‘To get past Christmas would be a good one. I would like to be with someone who really, really loved me for who I am. But also they’d have to really love my art.’

Pictured, arriving at the annual British Book Awards (known as the Nibbies) at Grosvenor House, Park Lane on April 20, 2005 in London

Pictured, arriving at the annual British Book Awards (known as the Nibbies) at Grosvenor House, Park Lane on April 20, 2005 in London

Pictured, arriving at the annual British Book Awards (known as the Nibbies) at Grosvenor House, Park Lane on April 20, 2005 in London

Miss Emin said: ‘I can feel more than ever that love is allowed. At my age now, love is a completely different dimension and level of understanding. I don’t want children, I don’t want all the things that you might subconsciously crave when you’re young – I just want love.

‘And as much love as I can possibly have. I want to be smothered in it, I want to be devoured by it. And I think that is okay.’

Squamous cell cancer of the bladder accounts for about five in 100 of all bladder cancers.

The survival rate for women at one year is 64.5 per cent and falls to 43.9 per cent at five years. Miss Emin, who lives in Margate, Kent, was nominated for the Turner Prize in 1999. Her famous works include her unmade bed installation.

She is gearing up for the launch of her latest exhibition Details Of Love, but she will not be at the opening in Brussels this Friday.

Next month Miss Emin will exhibit her never-before-seen paintings alongside works by Norwegian expressionist Edvard Munch as part of a ‘landmark exhibition’ at the Royal Academy. 

Tracey Emin/Edvard Munch: The Loneliness Of The Soul will focus on themes of grief, loss and longing, with Miss Emin picking 19 oil paintings and watercolours by Munch, including his 1907 painting The Death Of Marat, to explore his complex relationship with women.

These will sit alongside 25 of her own pieces, including paintings – some of which will be on display for the first time – neons and sculpture.        

Highlights of Tracey Emin’s career 

1995, Everyone I Have Ever Slept With 1963-95: This piece first brought Tracey Emin to wider fame, both in the art world and among the general public

1995, Everyone I Have Ever Slept With 1963-95: This piece first brought Tracey Emin to wider fame, both in the art world and among the general public

1995, Everyone I Have Ever Slept With 1963-95: This piece first brought Tracey Emin to wider fame, both in the art world and among the general public

1999, My Bed: The piece is Emin's record of several days spent in bed in the grip of depression. The bed is unmade and the sheets are stained. All around are strewn a variety of items such as condoms, contraceptive pills, underwear stained with menstrual blood, money, and cigarette ends. The work was nominated for the Turner prize in 1999 and received a hugely mixed response from the public and press

1999, My Bed: The piece is Emin's record of several days spent in bed in the grip of depression. The bed is unmade and the sheets are stained. All around are strewn a variety of items such as condoms, contraceptive pills, underwear stained with menstrual blood, money, and cigarette ends. The work was nominated for the Turner prize in 1999 and received a hugely mixed response from the public and press

1999, My Bed: The piece is Emin’s record of several days spent in bed in the grip of depression. The bed is unmade and the sheets are stained. All around are strewn a variety of items such as condoms, contraceptive pills, underwear stained with menstrual blood, money, and cigarette ends. The work was nominated for the Turner prize in 1999 and received a hugely mixed response from the public and press

2001, The Perfect Place to Grow: This work pays homage to the artist’s Turkish Cypriot father who, she says, is a fantastic gardener but a terrible carpenter. It consists of a wooden birdhouse-like structure on wooden stilts

2001, The Perfect Place to Grow: This work pays homage to the artist’s Turkish Cypriot father who, she says, is a fantastic gardener but a terrible carpenter. It consists of a wooden birdhouse-like structure on wooden stilts

2001, The Perfect Place to Grow: This work pays homage to the artist’s Turkish Cypriot father who, she says, is a fantastic gardener but a terrible carpenter. It consists of a wooden birdhouse-like structure on wooden stilts

2004, Hate and Power Can be a Terrible Thing: This appliquéd blanket work is a blistering attack Margaret Thatcher, and her participation in the Falklands War of 1982

2004, Hate and Power Can be a Terrible Thing: This appliquéd blanket work is a blistering attack Margaret Thatcher, and her participation in the Falklands War of 1982

2004, Hate and Power Can be a Terrible Thing: This appliquéd blanket work is a blistering attack Margaret Thatcher, and her participation in the Falklands War of 1982

2011, I Promise To Love You: In the 2000s, Emin began working extensively with neon lighting. These works feature words and phrases in her handwriting. Pictured, 2011's neon sculpture I Promise To Love You

2011, I Promise To Love You: In the 2000s, Emin began working extensively with neon lighting. These works feature words and phrases in her handwriting. Pictured, 2011's neon sculpture I Promise To Love You

2011, I Promise To Love You: In the 2000s, Emin began working extensively with neon lighting. These works feature words and phrases in her handwriting. Pictured, 2011’s neon sculpture I Promise To Love You

 

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