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George Steinbrenner, the legendary owner of the New York Yankees, left an indelible mark on baseball during his tumultuous reign. Known as 'The Boss,' Steinbrenner purchased the Yankees in 1973 for $8.8 million and went on to build a dynasty that won seven World Series championships under his watch.Steinbrenner's tenure was marked by both remarkable success and controversy. He was suspended from baseball twice - once for illegal campaign contributions to Richard Nixon and again for paying a gambler to discredit Yankees star Dave Winfield. Despite these setbacks, Steinbrenner continued to shape the Yankees into a formidable team, with stars like Reggie Jackson and Derek Jeter leading the charge.The book, which draws from Vaccaro's extensive experience covering the Yankees, offers a nuanced portrayal of Steinbrenner's complex personality and his relationships with key figures like Billy Martin, who served as Yankees manager during five separate stints. Vaccaro also explores the contributions of other influential Yankees executives, including Gabe Paul and Gene 'Stick' Michael, who played crucial roles during Steinbrenner's periods of exile from baseball.Under Steinbrenner's leadership, the Yankees entered into lucrative partnerships, including the creation of the YES Network, and secured a new stadium, which has helped maintain the team's value at an estimated $7 billion to $10 billion. Despite the team's recent struggles, including a championship drought since 2009, Steinbrenner's legacy continues to shape the Yankees' identity and influence.Vaccaro notes that Yankees fans remain passionate and spoiled by the team's past successes, with some expressing concerns about the current leadership under Hal Steinbrenner, George's son, and the team's management, including Brian Cashman and Aaron Boone. However, Vaccaro suggests that the modern baseball landscape is inherently unpredictable, making it challenging for any team to sustain long-term dominance.

A remarkable fossil discovery in Victoria, Australia, has revealed that giant echidnas once roamed the region. The Owen's giant echidna, Megalibgwilia owenii, lived during the Pleistocene epoch, which began 2.5 million years ago.The fossil, discovered in the Buchan cave complex in East Gippsland, is a significant find, as it fills a 1,000km gap in the species' known distribution. Previously, specimens of the extinct monotreme had been found across Australia, from Western Australia to Tasmania, but mysteriously absent from the fossil record in Victoria.The Owen's giant echidna was about twice the size of Australia's modern echidnas, growing up to 1 metre long and weighing up to 15kg. Its skeleton is much more robust than that of comparably sized animals, with deeper, more prominent muscle scars and larger attachments for ligaments, indicating it was using much greater force when interacting with the landscape.According to Tim Ziegler, the collection manager of vertebrate palaeontology at the Museums Victoria Research Institute, the fossil was likely used for digging for buried larvae, larger prey of beetles, or bogong moths, or tearing tree bark to access food.The research, published in Alcheringa: An Australasian Journal of Palaeontology, provides new insights into the distribution and habitat of the Owen's giant echidna during the ice age.

Senator Bernie Sanders declared on Monday that he will force a vote later this week on a resolution designed to stop the sale of nearly $500 million in bombs and bulldozers to the Israeli military. The procedural maneuver bypasses the Senate majority leader, signaling a direct challenge to the administration’s policy of unconditional support for Israel.Sanders framed the measure as a response to what he described as the "extremist Netanyahu government" responsible for alleged genocide in Gaza, arguing that American taxpayers should not fund further military operations that exacerbate civilian suffering.While the Republican‑controlled Senate is unlikely to approve the resolution, the vote will serve as a barometer of Democratic sentiment toward Israel, especially as anger over the U.S.–Israel war on Iran and ongoing atrocities in Gaza and the West Bank intensifies.Last year, Sanders introduced a comparable bill that was defeated 27‑70. At that time, a majority of Senate Democrats had supported the effort, reflecting an erosion of the once‑solid bipartisan consensus backing Israel.Public opinion data underscores this shift: a February Gallup poll found that only 46 % of Americans hold favourable views of Israel, and a mere 17 % of Democratic respondents say they sympathise more with Israelis than Palestinians.Since the conflict began, the United States has provided Israel with over $21 billion in military assistance during the first two years of the Gaza war, a figure that critics argue fuels continued violence.Adding pressure from the advocacy side, liberal Zionist organization J Street issued its first call to phase out U.S. aid to the Israeli military, citing the combined impact of the Gaza war, rising extremist activity in the West Bank, and the U.S.–Israel confrontation with Iran.J Street urged Washington to consistently apply existing legal restrictions—such as the Leahy Law—that prohibit security assistance to countries implicated in human‑rights abuses, a standard it says has been routinely overlooked in Israel’s case.The upcoming Senate vote, therefore, not only tests the durability of the U.S.–Israel security partnership but also reflects a broader reevaluation of American foreign‑policy priorities amid a volatile Middle‑East landscape.

According to a recent Al Jazeera report, Israel is pursuing policies intended to change the religious identity of Jerusalem. The move has ignited debate among local communities and international observers who view the city as a focal point of religious heritage for multiple faiths. While specific actions were not detailed, the statement underscores the sensitivity surrounding any shift in Jerusalem's cultural and spiritual landscape.

A 27-year-old woman, Sana, living in western Tehran with her roommate, Fatemeh, has survived two wars in the past year. The latest conflict began on February 28, when missiles hit Tehran at 9:40 am. Sana had already experienced the 12-day war in June 2025 and was determined not to leave the city again.As the war intensified, Sana and Fatemeh learned to anticipate strikes during certain windows: early morning, afternoon, and after 11 pm. They relied on supermarket deliveries and made frantic dashes to shops when necessary. The internet was often down, and they used virtual private networks (VPNs) to stay connected.On March 16, Sana experienced one of the worst nights of her life when a massive explosion occurred near Mehrabad airport. She and Fatemeh sprinted down the fire escape to the parking garage, fearing for their lives. The war had turned her daily life into a grim routine.Despite the challenges, Sana tried to maintain a sense of normalcy. She kept her job while many others were laid off, and she booked an appointment for a haircut and nails after the ceasefire was announced. These small acts helped her feel human again in the midst of chaos.

The National Gallery of Art's latest exhibition, 'Dear America: Artists Explore the American Experience', is a thought-provoking collection of over 100 works by 95 artists. This 'open letter to the nation' offers a multifaceted exploration of the American experience, delving into themes of land, community, and freedom.Upon entering the exhibition, visitors are immediately struck by the unconventional representations of iconic American symbols. The Statue of Liberty, for instance, is reimagined through the lens of South African photographer Zanele Muholi and a geometric screenprint by Roy Lichtenstein.The exhibition's curatorial approach is to create 'provocative conversations across centuries, disciplines and demographics.' E Carmen Ramos, the gallery's chief curatorial and conservation officer, notes that the show was 'years in the making' and showcases an 'embarrassment of riches' from the gallery's permanent collection of over 160,000 works.Structured around three core themes – land, community, and freedom – the exhibition presents a diverse array of works. These include Thomas Moran's idyllic watercolours of the American West juxtaposed with Thomas Hart Johnson's photographs of a landscape ravaged by coal mining and railroads. The exhibition also features poignant pieces such as Carrie Mae Weems's haunting silhouette and Gordon Parks's indelible 'American Gothic.'The show's second section, 'Community,' features Richard Avedon's massive 1976 commission 'The Family,' which comprises 69 stark, uniform portraits of the bicentennial era's political, media, and corporate elite. This is contrasted with John Wilson's tender sketches of his teenage children and their friends.The final act of the exhibition turns its lens to 'Freedom,' showcasing historical portraits of figures such as Frederick Douglass, Sojourner Truth, and George Washington, alongside powerful works by Kara Walker, Martha Rosler, and Faith Ringgold. As visitors exit, they are met with Robert Indiana's boldly coloured screenprint 'Liberty '76,' created for the 1976 bicentennial.Ramos reflects on the exhibition's significance, stating that it 'explores how artists in the United States have explored the American experience across different moments in time.' The exhibition will be on view in the National Gallery's West Building until 20 September.

The US political landscape is increasingly dominated by money, with billionaires and corporations spending vast amounts to influence elections and policy. In California, signature collectors are being paid $15 apiece to gather signatures in support of countermeasures against a proposed billionaire tax.The crisis has escalated since the 2010 Citizens United decision, which shredded limits on independent corporate election spending, fueling the growth of cash-flush Super Pacs and anonymous dark money non-profits. In 2024, $1.5bn in Super Pac donations came from organizations that aren’t required to name their donors.The ruling has, on balance, boosted conservatives, with Republicans receiving a four-point electoral bump in states where Citizens United struck down existing bans on corporate donations. Meanwhile, rampant income inequality has fueled a parallel democratic deficit, with the richest 10% of Americans now owning 93% of the stock market.To rebalance the scales, alternatives such as public election financing are being explored, which helped Zohran Mamdani secure his mayoral victory in New York City last year. Currently implemented in 15 states and Washington DC, these programs issue grants, vouchers and matching funds that augment the power of small donations.Citizens United might also be circumvented by novel legal maneuvering, with states holding considerable authority to define the powers they grant to incorporated entities. In Montana, organizers are collecting signatures for a Transparent Election Initiative that would strip corporations of the power to engage in election spending.

Fort Wayne, Indiana police announced the arrest of 55‑year‑old Michelle Dick on Saturday, acting on a California warrant that accuses her of stalking former Fleetwood Mac guitarist Lindsey Buckingham. According to a statement released by the department, Dick was taken into custody without incident after authorities traced her movement from California to Indiana, a journey of more than 2,000 miles (3,500 km). Police allege that in March, while Buckingham was entering a building in Santa Monica for an appointment, Dick doused him with an unknown substance and damaged his vehicle before fleeing the scene. Buckingham, 76, escaped physical injury, but the episode prompted renewed legal action. The statement noted that Buckingham secured a restraining order in 2024 after years of alleged harassment, which required Dick to remain at least 100 yards from him, his wife, and his son, and prohibited any contact. Investigators say the stalking began in late 2021, with dozens of persistent phone calls and lengthy messages in which Dick claimed, “she was my child,” and allegedly threatened to kill Buckingham and his family. She is also accused of a “swatting” incident that led to a heavily armed police response at Buckingham’s home. Following the March attack, Dick was held in the Allen County jail pending extradition back to California, where she faces a suite of charges including stalking, vandalism, battery, and criminal threats. Legal experts note that the case underscores the challenges of prosecuting cross‑state stalking offenses, especially when they involve high‑profile public figures. Coordination between California and Indiana law‑enforcement agencies illustrates the growing emphasis on protecting celebrities from persistent harassment. Buckingham, a former member of Fleetwood Mac from 1975‑1987 and again from 1997‑2018, is best known for his work on the Grammy‑winning album Rumours and the band’s 1998 Rock and Roll Hall of Fame induction.

Chala Chala Nav Bala (Maze Baal, 1943) marks the debut of Asha Bhosle, who entered the film world at ten years old. Paired with her sister Lata Mangeshkar, her bright falsetto captures the youthful innocence of the Marathi romance, foreshadowing the emotive style that would define her career. Aaiye Meherbaan (Howrah Bridge, 1958) showcases Bhosle’s rise during Hindi cinema’s golden age, thanks to her partnership with composer O.P. Nayyar. The song’s sultry vibrato and lush orchestration set the tone for the film’s noir atmosphere, establishing her as a leading‑lady playback voice. Aao Huzoor Tumko (Kismat, 1968) became a chart‑topping hit, featuring intricate vocal runs over a flamenco‑style guitar. Bhosle’s lower‑register chorus broke the conventional shrillness of female playback, while her nuanced phrasing added depth to the on‑screen heroine’s drunken allure. Dum Maro Dum (Hare Rama, Hare Krishna, 1971) stands out as her most successful crossover, later sampled by Western rappers. The track, produced with R.D. Burman—her future husband—blends psychedelic Beatles‑inspired grooves with Hindi lyrics, demonstrating her ability to bridge Eastern and Western pop sensibilities. Piya Tu Ab To Aaja (Caravan, 1971) pushes the fusion further into jazz‑cabaret territory, with bold horn sections and cinematic guitar reverb. Bhosle’s breathy, suggestive delivery sparked controversy, yet the performance remains a masterclass in balancing sensuality with technical agility. Chura Liya Hai Tumne Jo Dil Ko (Yaadon Ki Baaraat, 1973) epitomises the “masala” film soundtrack, merging drama, romance, and crime. Over a gentle guitar backdrop, Bhosle’s tender humming conveys quiet longing, contrasting with the film’s high‑octane narrative. In Ankhon Ki Masti (Umrao Jaan, 1981) sees Bhoske venture into Urdu ghazals with composer Khayyam. Her lower, huskier timbre—adjusted a half‑step down—highlights her continued artistic experimentation even as she approached fifty. Bow Down Mister (1991) illustrates her early 1990s foray into international collaborations, lending wordless, soaring vocals to Boy George’s post‑Culture Club project. The track transforms into a rave‑infused anthem, underscoring Bhosle’s versatility across genres. Radha Kaise Na Jale (Lagaan, 2001) pairs Bhosle with a young A.R. Rahman, reaffirming her status as an elder stateswoman of Indian music. The duet with Udit Narayan blends tabla and flute with powerful vocal runs, marrying traditional Hindustani scales to contemporary film scoring. The Way You Dream (2002) features an unexpected partnership with REM frontman Michael Stipe on the 1 Giant Leap project. The eight‑minute piece weaves tabla rhythms, subtle guitar, and a dramatic breakbeat, proving that Bhosle’s voice can seamlessly inhabit New Age and electronic soundscapes.