Indian doctor performs leg surgery on patient with head injury

(Shutterstock photo)
Updated 24 April 2018
0

Indian doctor performs leg surgery on patient with head injury

  • The surgeon at state-run Sushruta Trauma Center in New Delhi has been removed from his post
  • Before that, a woman was incorrectly put on dialysis at India’s top-ranked All Indian Institute of Medical Sciences after complaining of minor abdominal pain

NEW DELHI: A surgeon has been stood down from his post at a New Delhi hospital for performing an unnecessary operation on a patient’s leg after confusing him with another man, an official said Tuesday.
The surgeon last week drilled a hole in the right leg of 50-year-old Vijendra Tyagi to insert a pin before realizing he had operated on the wrong patient.
Tyagi had been admitted to the state-run Sushruta Trauma Center in the Indian capital with head injuries after a car accident.
But he was mistaken for another man who had a broken leg, and underwent surgery to repair a fracture he had not sustained.
Hospital medical superintendent Ajay Bahl told AFP the patient was under anesthesia and could not correct the mistake.
The doctor, whose name has not been disclosed, was removed from his post at the center for negligence and placed in a separate facility under the close supervision of a senior doctor.
“The surgeon realized the mistake and removed the pin in corrective surgery. He also apologized for the error but we took strong exception and acted against him,” Bahl said.
Tyagi was discharged from hospital at the weekend but would need a week to completely recover from the unnecessary leg surgery, doctors said.
Reports of medical negligence, often resulting in fatalities, are widespread in India.
Last week two doctors were arrested for negligence after being accused of failing to diagnose a 51-year-old physiotherapist admitted with high blood pressure. She went into cardiac arrest and died.
A week before that incident, a 30-year-old woman was incorrectly put on dialysis at India’s top-ranked All Indian Institute of Medical Sciences after complaining of minor abdominal pain. The doctor tried to tamper with documents to cover up the blunder.
In December a Delhi hospital incorrectly declared a pair of premature twins dead despite one being alive, causing outrage and forcing the government to shut the institution. The infant died at another hospital a few days later.


Chip Wickham ushers in winds of change on the jazz scene

Updated 22 May 2018
0

Chip Wickham ushers in winds of change on the jazz scene

PARIS: The hotly hyped “British jazz invasion” has been the toast of international scenesters for some months now, with breathy adjective-heavy sprawls penned on both sides of the Atlantic paying tribute to a fresh generation of musos who grew up not in the conservatoires but the clubs, channelling the grit and groove of grime into a distinctly hip, 21st century strain of freewheeling, DIY improvised music.

Now the Arab world has its own outpost in the form of Chip Wickham, a UK-born flautist, saxophonist and producer whose second album grew out of extended stints teaching in the GCC. “Shamal Wind” takes its name from the Gulf’s primal weather patterns, and there’s a distinctly meditative, Middle Eastern vibe to the title track, a slow-burning, moody vamp, peppered with percussive trills, with hints of Yusef Lateef to be found in Wickham’s wandering woodwind musings.

There’s rather less goatee-stroking to be found across the four further up-tempo cuts, which swap soul-searching for soul-jazz, soaked in the breezy bop of a vintage Blue Note release. Recorded over a hot summer in Madrid, a heady Latin pulse drives first single, “Barrio 71” — championed by the likes of Craig Charles — with Spanish multi-percussionist David el Indio steaming up a block party beat framing Wickham’s gutsy workout on baritone sax.

Having previously worked with electronic acts, including Nightmares on Wax and Jimpster, one imagines the dancefloor was a key stimulus behind Wickham’s rhythmically dense, but harmonically spare compositional approach. Phil Wilkinson’s sheer, thumped piano chords drive the relentless nod of second single “Snake Eyes,” Wickham’s raspy flute floating somewhere overhead, readymade to be skimmed off for the anticipated remix market.

In truth, Manchester-raised Wickham is both too thoughtful, and too thoughtless, to truly belong to the London-brewed jazz invasion — Shamal Wind yo-yos between meditative meandering and soulful strutting with a wilful disrespect for trend.