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Big Mama Thornton, born Willie Mae Thornton in 1926, was a force to be reckoned with in the music industry. Standing at 6ft 2in, with an imposing physique and a razor-scarred face, she exuded uncompromising intensity. Her voice conveyed struggle and defiance, fury and hurt, like few others.Thornton's music career began in the 1940s, performing with comedians, dancers, and musicians in the touring Hot Harlem Revue. In 1950, she was signed to Duke and Peacock Records and adopted the stage name 'Big Mama' by Johnny Otis. Her most famous song, 'Hound Dog', was written for her by Mike Stoller and Jerry Leiber and topped the R&B charts for nearly two months in 1953.Despite her early success, Thornton's career was marked by financial struggles and racism. She was often forced to perform animal-themed comedy songs and was underpaid by her manager, Don Robey. Her frustration with the music industry and her experiences with racism and sexism are etched in her voice, says Black British blues singer Dawnette Fessey.Thornton's legacy extends beyond her music. She was a trailblazer for Black female artists and an inspiration to many, including Janis Joplin, who recorded Thornton's song 'Ball and Chain'. A new documentary, Big Mama Thornton: I Can’t Be Anyone But Me, aims to right the wrongs of her overlooked legacy and celebrate her contributions to blues music.

Roberto De Zerbi has vowed to bring back the attacking style of football known as 'Ange-ball' to Tottenham Hotspur in a bid to prevent the club's first relegation in 49 years. The Italian manager has only seven games to impart his complex football philosophy to his players. De Zerbi wants to replicate the rampant, marauding style of his predecessor Ange Postecoglou, who won Tottenham's first trophy in 17 years but was dismissed after finishing 17th in the Premier League last season. “I want to keep the ball,” De Zerbi said. “I want to see again the Tottenham I watched with Postecoglou because, in my second season in Brighton, there was Postecoglou here with a lot of these players and it was one of the best teams in terms of quality of play.” De Zerbi has kept things simple in his early days at Tottenham, with individual meetings and training sessions on the pitch. The first test of what has been absorbed will be away to Sunderland on Sunday. De Zerbi has often been criticised for short stays at previous clubs, but he insists he is committed to Spurs “for a long time” after signing a contract to 2031, which does not include a break clause if they are relegated. Spurs have lost seven of their past nine games but De Zerbi has analysed their recent matches and taken encouragement from the 1-1 draw at Liverpool and 3-2 Champions League win against Atlético Madrid. “We have to show this for 90 minutes and we have to believe in ourselves,” he said. “The most important part in football is the mental part. You are used to speaking too much about the style of play, the tactical disposition, blah, blah, blah. But in the end, the mental part is crucial in every work, especially in football, especially in this moment in Tottenham.”

Arne Slot acknowledges that last season’s Premier League title postponed the inevitable end of an era at Liverpool, but stresses that the club recognised the need for a rebuild when he was appointed to succeed Jürgen Klopp. Two more stalwarts of the Klopp era – Andy Robertson and Mohamed Salah – will exit on free transfers this summer, further signalling the transition. The remaining veterans who delivered league and Champions League glory – Virgil van Dijk, Alisson and Joe Gomez – are now entering the final years of their contracts. The campaign has been harsh, with Liverpool suffering 16 defeats, a tally Slot describes as “unacceptable”. Yet he insists that he, sporting director Richard Hughes, chief executive of football Michael Edwards, and the owners at Fenway Sports Group remain aligned on the causes of the club’s struggles and the path forward. “It’s normal for clubs to go through cycles,” Slot explained. “We were fortunate that last season’s success delayed the start of this cycle, but now we must manage the break‑up of a great Liverpool side.” He highlighted that the departing players have benefited from last summer’s signings, gaining insight into the club’s ethos and work ethic. Despite the recent run of poor results, Slot feels the backing of the board and, surprisingly, the fans. “Support isn’t always shouted daily; it’s felt in the conversations we have and the shared understanding of the challenges,” he said, adding that he has sensed that support since arriving at Anfield. Slot concluded, “Everyone – the ownership, Richard, Michael and the wider club – sees the same issues. We are all aligned on what needs to be done and why.”

The US inflation rate experienced a significant surge in March, rising to 3.3% over the year, with prices increasing by 0.9% compared to the previous month. This spike is largely attributed to the escalating conflict with Iran, which has resulted in a substantial increase in energy prices.The Consumer Price Index (CPI) for energy rose by 10.9% in March, primarily driven by a 21.2% increase in gasoline prices. This increase accounted for nearly three-quarters of the monthly all-items increase. Airfares also saw a notable rise, increasing by 2.7% in March and 14.9% higher than a year earlier.Core inflation, which excludes volatile food and energy prices, rose at a more modest 0.2% over the month and was 2.6% higher over the year. The annualized inflation rate has not exceeded 3% since summer 2024.The conflict with Iran has driven the American economy into deeper uncertainty, adding to the precariousness that began with Donald Trump's tariffs last year. The war has also led to a rise in oil prices, with US crude oil priced 10% higher than before the conflict and nearly 30% higher since the start of the year.Recent data shows that prices are affecting producers, with the gross domestic product (GDP) for the last quarter of 2025 revised down from an initial 1.4% to 0.5%. The prices index in the Institute for Supply Management's survey of managers saw its largest one-month increase in 13 years, rising from 63 in February to 70.7 in March.Consumer confidence is also falling, with the University of Michigan's closely-watched consumer confidence survey recording a 10.7% drop to its lowest level on record. Survey director Joanne Hsu noted that many consumers blame the Iran conflict for unfavorable changes to the economy.Despite the challenges, the labor market appears resilient, with employers adding 178,000 jobs in March and the unemployment rate falling to 4.3%. However, the Federal Reserve faces a tricky situation in adjusting interest rates amid the conflict, as raising rates could help curb inflation but risk destabilizing the labor market and increasing unemployment.

Bafta has issued an unreserved apology for the events surrounding John Davidson's Tourette's outburst at this year's ceremony. An independent review found 'weaknesses' in the organization's planning and crisis procedures.Davidson, an executive producer on the Bafta-winning film I Swear, made headlines after involuntarily shouting the N-word during a live broadcast. The incident sparked widespread criticism and concern.The review identified 'structural weaknesses' in Bafta's planning, escalation procedures, and crisis coordination arrangements. Specifically, it noted that the organization did not fully appreciate the risks associated with a live broadcast appearance and lacked a clear operational command structure to respond effectively.Bafta's board accepted the review's conclusions and apologized to the Black community, the disability community, and all members, guests, and viewers. They acknowledged that the incident diminished and overshadowed what was supposed to be a celebratory event.The apology comes after the BBC ruled that its airing of the slur, despite a two-hour tape delay, breached editorial standards. Bafta has committed to addressing the recommended areas of improvement to prevent similar incidents in the future.

Compiling a definitive Top 10 of superhero movies proves as elusive as “herding thunder through a spreadsheet.” Critics must decide whether to prioritize cinematic craftsmanship, cultural influence, or the raw emotional resonance that these films generate.Over the past two decades the genre has diversified dramatically, spanning crime‑driven Batman sagas, family‑friendly adventures like The Incredibles and Guardians of the Galaxy, political allegories such as Captain America: The Winter Soldier and Black Panther, and experimental visual feats exemplified by Spider‑Man: Into the Spider‑Verse. This breadth makes any hierarchical ranking inherently subjective.Influence remains a key metric. Richard Donner’s Superman (1978) demonstrated that audiences would pay to see a man fly, paving the way for half a century of cape‑wearing blockbusters. Similarly, Iron Man reshaped the modern blockbuster formula, launching the Marvel Cinematic Universe and redefining franchise economics.Emotional impact also matters. Logan stands out as a bruised, mournful western that subverts the genre’s usual invincibility myth, presenting a weary Wolverine confronting mortality. Its rawness offers a rare catharsis rarely found in superhero narratives.Event status cannot be ignored. Avengers: Endgame turned its opening weekend into a cultural ritual, with multiplexes resembling revival tents where audiences collectively cheered, gasped, and celebrated. Even a “colder” analysis must acknowledge that the film transformed anticipation into a generational sacrament.Visual innovation is another hallmark. The Oscar‑winning animation Spider‑Man: Into the Spider‑Verse made comic‑book ink feel alive, delivering a sensory overload that redefined what animated superhero storytelling could achieve.Cultural relevance caps the discussion. Black Panther emerged as a modern myth that forced critics to confront race, identity, and heritage within blockbuster fantasy, expanding the perceived centre of the superhero universe beyond the traditional Batman, Superman and Spider‑Man triad.While outliers like Alex Garland’s Dredd and Guillermo del Toro’s Hellboy II: The Golden Army deserve mention, the critic’s final Top 10 list reflects a balance of influence, artistry, and cultural weight:1. The Dark Knight2. Spider‑Man: Into the Spider‑Verse3. Superman (1978)4. The Incredibles5. Spider‑Man 26. Dredd7. Spider‑Man: No Way Home8. Avengers: Endgame9. Spider‑Man10. Logan

In an era where pop stardom is measured by a patchwork of streaming figures, award nods and high‑profile support slots, Holly Humberstone has built a credible résumé without ever cracking the singles chart. The 26‑year‑old from Lincolnshire has leveraged a Brit Rising Star award, a coveted opening for Taylor Swift, and four million monthly Spotify listeners to cement her place in the contemporary pop landscape.Her second album, ‘Cruel World’, marks a decisive shift from the gothic melancholy that defined her debut, Paint My Bedroom Black. The new record embraces an 80s‑inspired synth‑pop palette brimming with ear‑catching hooks, delivering lyrics that are both earnest and conversational, reminiscent of Swift’s confessional style.Highlights include the sun‑soaked breakup anthem ‘To Love Somebody’, which builds to a stadium‑ready pre‑chorus, and the irresistibly catchy ‘White Noise’, a nostalgic nod to disco that channels the energy of early‑2000s Kylie Minogue. Even the cheeky, self‑aware line on “Drunk Dialling” – “I’m gonna shake my nonexistent ass to this shitty song” – showcases Humberstone’s willingness to blend humor with polished production.The album’s production is consistently confident, featuring a surprising happy‑hardcore breakdown on the closing track “Make It All Better.” Combined with Humberstone’s knack for crafting crowd‑pleasing melodies, these elements suggest she is poised for a long‑term pop career that can thrive in both traditional and modern market models.

Roberto De Zerbi, the new head coach of Tottenham, recently apologized for his past comments about Mason Greenwood, a forward he managed at Marseille. De Zerbi's apology was seen as insufficient by some, as it focused on his self-description rather than taking accountability for his words. Greenwood had denied charges of attempted rape, controlling and coercive behavior, and assault occasioning actual bodily harm in 2022, and the case was discontinued. The conversation around De Zerbi and Greenwood has brought the issue of male violence against women back to the center of football's public discourse. Research has shown that men who perpetrate serious harm rarely identify themselves as perpetrators, and instead displace blame onto the victim, alcohol, or circumstance. This is why character references, although sincerely offered, are often inadequate in addressing the issue. Male violence against women is not an isolated issue, but rather a product of societal norms that shape what is seen, named, and tolerated. The World Health Organization and decades of academic research on gender and masculinity have consistently identified these norms as the root cause of the problem. Football is not immune to this issue, and research has shown that strong group cultures in sport can inhibit men from speaking up against harmful behavior. Men in positions of power, such as De Zerbi, have a responsibility to use their platform to speak out against male violence and to educate others about the impact of their behavior. Genuine ownership and accountability require men to name what was wrong with their actions, accept the impact of their behavior, and commit to not repeating it. De Zerbi's response fell short of this standard, and instead offered a character reference for himself. Football has a unique influence on society, particularly among young men, and it is essential that players, managers, and clubs use this influence to shape positive attitudes and behaviors. The heat generated by this incident has put male violence against women on the front pages of sports coverage, and it is crucial that the game uses this momentum to have a serious conversation about what it teaches, tolerates, and expects of men at every level.

Winter Garden Theatre’s latest revival of Arthur Miller’s 1949 classic reimagines the Loman household as a bleak garage, its sheet‑metal doors and dust‑laden floor evoking a timeless industrial backdrop rather than a specific era. Designed by Chloe Lamford, the set’s grayscale palette and sepia‑tinted flashbacks reinforce the play’s decay‑laden atmosphere.Directed by Joe Mantello, the production leans into minimalist staging to amplify the emotional rawness of the script. Nathan Lane inhabits Willy Loman with a mix of frantic energy and tragic vulnerability, his trademark brassiness turning the character’s long‑winded rants into a hypnotic rhythm. Opposite him, Laurie Metcalf delivers a razor‑sharp Linda, whose pragmatic fury and exhausted composure anchor the family’s disintegration.The cast also includes Christopher Abbott as Biff, Ben Ahlers as Happy, and K. Todd Freeman as the Black neighbor Charley, a casting choice that subtly flips the racial dynamics explored in the 2022 revival, where the Lomans were portrayed as a Black Brooklyn family.Lane’s Willy wrestles with the collapse of the post‑war American Dream, clinging to a broken promise of prosperity while refusing Charley’s offer of work—a moment that lands with a palpable “I just can’t work for you” that resonates as a critique of white entitlement and crumbling masculinity.Metcalf’s Linda, meanwhile, embodies the often‑unseen labor of holding a family together, delivering lines with “blistering anger” that underscores the personal toll of Willy’s delusions. Their interplay creates a “stark and gutting tragedy” that, despite its familiar arc, feels freshly relevant.Beyond the performances, the revival reflects a three‑decade‑long journey for Mantello’s vision, now backed by producer Scott Rudin, whose return to Broadway follows years of controversy. The production’s success suggests that Miller’s meditation on failure and aspiration still strikes a chord with contemporary audiences.In a theater climate often wary of bleak narratives, this revival proves that the American Dream’s collapse can still command attention, especially when delivered by a duo as compelling as Lane and Metcalf.