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The Birth of a Classic The Bluetones' lead singer Mark Morriss and guitarist Adam Devlin share the story of their hit song 'Slight Return', from its humble beginnings to its massive success in the 90s. Mark Morriss' Vocals and the Song's Early Days We were still a three piece: Adam Devlin, my brother Scott and myself. We hadn’t met Eds Chesters yet, so we didn’t have a drummer. We were spending a lot of time writing songs, trying to hone this west coast, mid-60s, Crosby, Stills & Nash sound – even though it was the 90s and we were from Hounslow in London. Slight Return was the fourth or fifth song we wrote. Scott wrote the chord progressions and structure, but didn’t have any words or melody. He recorded guitar into a cassette player, then played that back on a second cassette player so he could record himself playing along to what he’d just recorded, in a very rudimentary way of four-tracking. We liked it, but we weren’t skipping around the room going: “My God, we’re going to be millionaires.” That came later. The Song's Rise to Fame It went down well at our early shows. It was catchy and memorable. We recorded a demo version and sold it on blue 7-inch vinyl at our gigs. When we got signed to A&M, they were keen for it to be a single, but we felt like it would be short-changing our fanbase, which was about 200 people, who had already bought it. We had to be talked around by the label, who said: “We can hear it being played on the radio.” But they wanted us to change the song’s name because Slight Return isn’t actually in the lyrics. The title in part refers to the last line of the song: “I’m coming home but just for a short while.” It’s also a kind of sideways tribute to Jimi Hendrix’s Voodoo Child (Slight Return). When we finally succumbed and let them release it as a single, lo and behold, it went ballistic. Adam Devlin's Perspective on the Band's Journey We thought we could write half-decent songs, so we cobbled together a set that would get us on the London circuit. I remember Scott bringing in a faster, simpler version of Slight Return. I fleshed out the guitar parts and put in a guitar solo. Mark worked out the vocal melodies, and we added a coda – the instrumental that fades out at the end, which originally had a sample from Tom Courtenay in Billy Liar, which was all very 60s. We had very different ideas from the record label and thought Can’t Be Trusted should have been the single. By then, I was living in another shared house in Wimbledon that didn’t have a washing machine. I was in the launderette when our manager phoned and said: “You’ve gone in at No 2.” I don’t think we were ready for it being so successful. The Legacy of Slight Return We've been playing it for 30 years. One tour, we’d got so bored with it, we didn’t even play it, which was a mistake because people thought we’d gone up our own arses. We learned our lesson: it’s the song everyone wants to hear. People get confused because Slight Return isn’t actually in the lyrics. I was at a farmers’ market recently when one of the stallholders said: “You were in that band who sang Where Did You Go?” I said: “Yes, but that’s not what it’s called.”

The Incident During the Performance Rosamund Pike has criticised an audience member for texting during the climax of her West End performance, saying she hoped the message was “very important”. After a performance of Inter Alia on Saturday, Pike returned to the stage after the final bows. She told the audience at Wyndham’s theatre in London: “I just wanted to say for anyone going to the theatre, it’s a huge thing that we’re trying to give you. I am trying to tell you a story, and I’m feeling you, and I hope you’re feeling me too.” Pike's Address to the Audience “Somebody was texting in this part,” she said, gesturing towards a section of the audience. “You know who you are and I’m not going to single you out. “Maybe it was very important, and maybe you’re a doctor, and you’re saving someone’s life, and I hope you are, but we do see these, we do feel them. I’ve got you, I feel like I’ve got to hold you all, so when I feel that and see it, it’s hard.” The Growing Trend of Actors Speaking Out Pike joins a growing number of actors who have criticised audience etiquette and phone usage during theatre performances. Last month, Lesley Manville told BBC Radio 4 that audiences should not take photos and videos during curtain calls. “Clap or don’t clap, but don’t just stick up your phone in our faces,” she said, “I find it insulting.” In April, Cynthia Erivo interrupted her performance of Dracula in the West End after spotting an audience member filming the show. During a performance of Hamlet in 2024, Andrew Scott halted the “to be or not to be” soliloquy when he saw an audience member had taken out a laptop to send emails. Background on the Play Pike, 47, won an Olivier award in April for her role as Jessica Parks in Inter Alia. The play follows Parks, a crown court judge dedicated to challenging the legal system’s approach to sexual violence, who is forced to contend with her own son being accused of rape. Inter Alia was written by the Australian playwright Suzie Miller, who also wrote one-woman-play Prima Facie starring Jodie Comer.

Kuwait’s Official Condemnation of the Iranian Attack On 1 June 2026, the Kuwaiti government issued a formal statement denouncing an attack carried out by Iran. The condemnation, released through the Ministry of Foreign Affairs, emphasized Kuwait’s commitment to regional stability and called for an immediate cessation of hostilities. Details of the Iranian Strike and Emerging Iran‑US Countermeasures The Iranian operation, described in regional reports as a targeted strike, marked a new escalation in the ongoing tension between Tehran and Washington. Simultaneously, sources indicated that the United States has responded with a series of strikes tied to unresolved trade disagreements, further complicating the security landscape. Economic Ripples: Trade and Investment Concerns While concrete figures have not yet been released, analysts note that any escalation between Iran and the United States typically reverberates through oil markets, shipping routes, and cross‑border investment flows in the Gulf. Early market reactions showed modest volatility in regional energy indices, reflecting investor caution. Regional and Global Implications of the Escalation The dual‑front tension raises several strategic questions for neighboring states. Kuwait’s condemnation signals a desire to distance itself from the conflict, yet the proximity of the strikes threatens trade corridors that are vital to Gulf economies. International observers warn that prolonged hostilities could draw in additional actors and disrupt global supply chains. Outlook: Potential Diplomatic and Market Trajectories Looking ahead, diplomatic channels are expected to intensify, with the United Nations and regional bodies likely to mediate. Market participants will monitor any de‑escalation signals closely, as a rapid resolution could stabilize oil prices, whereas a protracted standoff may sustain heightened volatility.

On June 1, 2026, an Israeli strike demolished the celebrated restaurant of chef Husen Fayad in Beirut, a venue long regarded as a symbol of Lebanese culinary heritage. The bombing has intensified regional tensions and sparked widespread condemnation.Bombing of Chef Husen Fayad’s Iconic RestaurantLocation: Central Beirut, LebanonTarget: The restaurant owned by chef Husen Fayad, known for preserving traditional Lebanese cuisinePerpetrator: Israeli military forces, according to statements from local authoritiesHuman Toll and Immediate AftermathCasualties: Initial reports are still being verified; emergency services are on the sceneDamage: Complete destruction of the restaurant’s interior and surrounding storefrontsResponse: Lebanese officials have called for an urgent investigation and condemned the strike as a violation of international lawEscalating Tensions in the Israel‑Lebanon BorderStrategic context: The strike follows a series of cross‑border exchanges that have heightened security alerts on both sidesPublic sentiment: Lebanese citizens view the attack as an assault on cultural identity, fueling anti‑Israeli protestsDiplomatic fallout: International bodies are likely to demand restraint and may consider new resolutionsPotential Trajectories for Regional ConflictShort‑term: Expect heightened military readiness and possible retaliatory actions from Lebanese militiasMid‑term: Diplomatic channels may open under pressure from the United Nations and European states seeking de‑escalationLong‑term: The incident could reshape narratives around civilian targets, influencing future rules of engagement in the region

The Champions League Team of the Season This year, the Champions League team of the season has been carefully selected with a unique format: only one player per team. This approach provides an overall view of the Champions League season, highlighting exceptional players from various clubs. Goalkeeper: David Raya (Arsenal) David Raya, the Arsenal goalkeeper, had a remarkable season, making heroic saves and maintaining high standards throughout. He closed the Champions League campaign with nine clean sheets, conceding just five goals in 14 matches. Right-back: Pedro Porro (Tottenham) Pedro Porro, a Spurs player, made the cut with his impressive skills as an overlapping full-back. His performance was key in Tottenham finishing fourth in the group stage. Centre-back: Alessandro Bastoni (Inter) Alessandro Bastoni, Inter's centre-back, was instrumental in their defensive success, conceding just seven goals in the group stage. He served as the team's organiser and deep-lying playmaker. Centre-back: Odin Bjørtuft (Bodø/Glimt) Odin Bjørtuft, the Norwegian centre-back, was a standout player for Bodø/Glimt, helping the team beat top clubs like Manchester City and Atlético Madrid. He ranked third in ball recoveries with 81. Left-back: Matteo Ruggeri (Atlético Madrid) Matteo Ruggeri, the Italian left-back, was a key player for Atlético Madrid, helping the team reach the semis for the first time since 2016-17. He successfully defended against Barcelona's Lamine Yamal in a crucial quarter-final match. Defensive midfielder: Morten Hjulmand (Sporting) Morten Hjulmand, Sporting's Danish captain, was at the fulcrum of their Champions League success. He will be heavily featured in summer transfer talk due to his impressive performances. Central midfielder: Aleix García (Bayer Leverkusen) Aleix García, Bayer Leverkusen's central midfielder, was a key player in their run to the last 16. He completed 91.25% of his passes and scored a spectacular goal against PSG. Central midfielder: Dominik Szoboszlai (Liverpool) Dominik Szoboszlai, Liverpool's Hungarian midfielder, was among the exceptions in an otherwise disappointing season. He scored five goals in 12 Champions League matches and was star man in a 4-0 win against Galatasaray. Left-wing: Khvicha Kvaratskhelia (PSG) Khvicha Kvaratskhelia, PSG's left-winger, was one of the best players in the competition this season. His blend of orthodox wing play and explosive power made him a standout performer. Right-wing: Lamine Yamal (Barcelona) Lamine Yamal, Barcelona's young talent, showed moments of brilliance despite injuries and growing pains. His skills and creativity on the field made him an inevitable choice for the team of the season. Striker: Harry Kane (Bayern Munich) Harry Kane, Bayern Munich's striker, had an impressive season with 14 goals. He showed another side of his game, understanding and creativity with Bayern's wingers, making him a worthy successor to Robert Lewandowski.

The Dance Challenge: A Weekend Immersion As I wait for my first Cuban salsa class to begin, I have the distinct feeling that I am poorly prepared. I'm wearing heavy jeans, a bulky woollen sweater and boots. I have never done a dance class in my life – or any kind of exercise class. I don't know anything about salsa, Cuban or otherwise. Standing alone, I notice that everyone has come with at least one friend, and begin to suspect that it takes two to Cuban salsa. This year, Rising festival – Melbourne's winter arts offering – has consolidated its longstanding dance focus into a mini-festival: the inaugural Australian Dance Biennale, showcasing Australian and international work. There's also a series of dance classes, romantically titled The Land of 1000 Dances, held in the romantically decrepit Flinders Street Ballroom. Running daily until 7 June, with classes costing $29 a pop, the diverse schedule includes Afro-fusion, ballroom, voguing, waltz and K-pop for teens and tweens. From Salsa to Shuffle: A Dancer's Journey As an audience member, I am an avid appreciator of dance; as a participant, I can most kindly be described as "curious" but uncoordinated. What if I went to a bunch of dance classes and then wrote about it? Precisely 24 hours before my first class, the misgivings begin – doing my first dance class while dressed for the show I'm seeing directly afterwards sounds like a bad idea. At the ballroom, I am briefly reassured: the crowd is a diverse mix of ages, genders and bodies, and hardly anyone is wearing dance-appropriate clothing. But the class itself is a blur – sometimes literally – as I try to learn and enact the cucaracha, the guapo and other basic Cuban salsa moves; attempt to locate the beat, my hips, any sense of coordination at all. Every time I feel as though I'm starting to get the hang of something, the instructor adds a new step. Then he corrals us into pairs – and a series of new moves, yelling "change partners!" every three minutes. Going solo, it turns out, is fine: everyone is friendly; many seem as unsure as I am. Some are nailing it but there's a sense of camaraderie: we're all in this together. That said, we're all a bit too sweaty to be holding each other. The Social Dynamics of Dance Classes I move from absolute befuddlement, through occasional moments of triumph, to a sense of quiet despair. A move that involves a 360-degree rotation to an eight-count almost breaks my spirit and I consider quitting. To my surprise, this awakens a latent fighting spirit: screw the rules, I'm doing it my way. I experience brief elation. Then we change partners and I find myself in a cursed duet involving four left feet. The elation shrivels. The class ends and I run to the theatre feeling like a dank, demoralised biohazard. I spend the next hour watching a show by the Irish choreographer Oona Doherty featuring a mix of professional, student and untrained dancers – and I mentally salute them all, with a newfound appreciation for the dark art of dance. Finding Joy in Movement I approach my next class, Melbourne shuffle, with a sense of dread. Not only do I now know how bad I am but I have agreed to be photographed. And I made the choice without knowing anything about the Melbourne shuffle, mistakenly assuming it was somewhere in the ballpark of the city's other great cultural tradition. This feeling I am experiencing, I discover, is known as "endorphins". The physical exertion, the mental focus required, the social connection – it all combines to create a chemical cocktail that makes the experience worthwhile despite the occasional humiliation. By the end of my dance weekend, I haven't become a dancer, but I've gained a profound respect for those who are. The Australian Dance Biennale and The Land of 1000 Dances offer not just entertainment, but an invitation to participate, to challenge oneself, and to discover new dimensions of movement and expression.

Australian Cycling History Made at Giro d'ItaliaJai Hindley has roared again in the "pinnacle of cycling", making history as just the second Australian to enjoy three overall podium finishes in Grand Tours as he rode home for a valiant third place in the Giro d'Italia. As new champion Jonas Vingegaard confirmed his place among the sport's all-time elite in Rome by completing his set of the three Grand Tour triumphs and dominating the 109th Giro with five magnificent stage wins, Hindley underlined why he is one of Australia's greatest.Hindley's Remarkable Comeback JourneyThe 30-year-old had been ill during the race, needing to take antibiotics in the second of the three weeks, yet recovered spectacularly to complete his own set of Giro podium finishes, having won in 2022, been runner-up in 2021 and now third. Only the great former Tour de France winner Cadel Evans has had more Grand Tour podium finishes among Australians, with five.The often unsung Perth rider Hindley said on the eve of the race from Bulgaria that he and his Red Bull BORA-hansgrohe team "aren't here to lick stamps". That was his 2026 version of his famous but bewildering affirmation "we're not here to put socks on centipedes" in the year he won. The translation was that he and his team weren't once again there to mess around, and after he proved stronger over the race than his talented young co-team leader Giulio Pellizzari to assume the role of main man, Hindley lived up to his promise."The second week was very hard for me, I was really quite sick. I even had to take antibiotics, but I seem to be back in time," Hindley had smiled after a remarkable third-week resurgence saw him move into third place overall on the 19th of the 21 stages.Australian Cyclists Dominate Final StandingsOn Sunday, the largely processional ride into the capital ended with Italian Jonathan Milan winning the final-stage sprint and Vingegaard clinching his fourth Grand Tour, having twice won the Tour de France and last year's Vuelta, where Hindley had signalled he was recovering his best form with a fourth-place finish. Hindley did suffer a mechanical mid-race on Sunday but swiftly got back to the peloton. He ended 6 minutes 25 seconds behind Vingegaard, and 1:03 behind runner-up, Austrian Felix Gall."I haven't had a good result in a Grand Tour for a long time, and to be fighting for the podium again was really nice," said Hindley. "For me, the Grand Tours are the pinnacle of cycling, and being competitive in them is what I train for."It was only the second Giro in a decade in which there wasn't a stage won by an Australian, following the early abandonments of the luckless Kaden Groves and Jay Vine with crashes, but, impressively, there were four Australian finishers in the top 17. Michael Storer (Tudor Pro) finished a career-best seventh at 10:13 down, Ben O'Connor (Jayco AlUla) was 16th at 24:12 and Chris Harper (Pinarello Q36.5 Pro) 17th at 30:43.Elevating Australian Cycling on World StageHindley's achievement places him among the elite of Australian cycling history, with only Cadel Evans boasting more Grand Tour podium finishes. His consistent performances across multiple Grand Tours demonstrate the growing strength of Australian cycling on the international stage. The presence of four Australians in the top 17 of the Giro d'Italia further highlights the depth of talent coming from Australia.Future Prospects for Australian CyclingWith Hindley establishing himself as a consistent contender in Grand Tours and younger Australian riders like Pellizzari showing promise, the future looks bright for Australian cycling. The country's ability to produce multiple top-tier cyclists suggests that Hindley's historic achievement may be just the beginning of a new era for Australian cycling excellence on the world stage.

The LeadMaggie O'Farrell's 10th novel, "Land," is a sweeping narrative set in the aftermath of the Irish famine, exploring themes of trauma, identity, and cultural preservation through the lens of mapmaking and Celtic mythology. The novel follows multiple generations across various locations, blending historical realism with mythical elements to create a complex tapestry of Irish heritage.The Historical and Mythical Framework"Land" opens in 1865 on a rainswept Irish peninsula, where Tomás and his 10-year-old son Liam are mapping territory for the English Ordnance Survey. Tomás, a famine survivor working for the English, must navigate complex local legends and toponyms while dealing with his own trauma. The narrative expands to include Dublin, Rome, Quebec, and Kerala, weaving together the stories of multiple generations and incorporating elements of Celtic mythology through a magical well that transforms those who drink from it.The Narrative Structure and StyleO'Farrell adopts the role of a "seanchaí" (traditional storyteller) in this novel, employing fable-like elements, direct address to the reader, and shifting perspectives between human characters, animals, and even the land itself. The narrative unfolds episodically with an uneven passage of time, creating a storytelling approach that feels more traditional than conventional. However, this results in a book that is light on dialogue and dense in description, with characters that don't always feel fully developed.The Literary and Cinematic PotentialThe reviewer notes that "Land" feels "uncomfortable in its own skin," neither fully fable nor history nor family saga. However, the novel's visual quality and episodic nature suggest strong cinematic potential. Indeed, the film rights have already been acquired by the same production company that adapted O'Farrell's "Hamnet," with several award nominations. The novel contains scenes written with a cinematic perspective, as if describing character movements for a screenplay.The Cultural Significance"Land" explores the complex relationship between Ireland and its colonial rulers through the lens of mapmaking—a process that both documented and erased Irish place names and cultural knowledge. By incorporating Celtic mythology and focusing on the trauma of the famine, O'Farrell creates a narrative that grapples with cultural preservation and identity in the face of historical upheaval. The novel's magical elements serve as a counterpoint to the harsh realities of colonial mapping and famine survival.

The Elephants Return to the World StageThe 2026 World Cup marks Côte d’Ivoire’s first appearance since 2014, ending a 12‑year absence from football’s biggest stage. The 2023 Africa Cup of Nations champions arrived in North America unbeaten in ten qualifiers, setting a tone of defensive resilience and high expectations from federation president Yacine Idriss Diallo, who has publicly set a quarter‑final target.Coach Emerse Faé’s Pragmatic BlueprintEmerse Faé, a former midfielder turned head coach, favours a compact defensive shape that often shifts into a back‑three, relying on swift counter‑attacks from his wingers. After stepping up mid‑tournament at the 2024 home Afcon and guiding the hosts to the title, Faé brings a winner’s mentality and a clear objective: “I’m not going to the United States for a holiday – I want to go as far as possible.”Key Players and Tactical PillarsFranck Kessié (captain, Al‑Ahli) – box‑to‑box midfielder providing balance and experience.Ivory Coast’s defensive core: Evan N’Dicka (Roma), Odilon Kossounou (Atalanta) and Emmanuel Agbadou (Reims) form a versatile back line.Ibrahim Sangaré (Nottingham Forest) expected to fill the holding‑midfield role vacated by Jean‑Michaël Seri.Nicolas Pépé (Villarreal) arrives after a La Liga season with 8 goals and 8 assists, poised to lead the attack.Christ Inao (Trabzonspor, 19) – a rising talent highlighted as a future star.Group E Fixtures and Fan DynamicsThe Elephants’ group matches are:14 June – vs Ecuador in Philadelphia (7 pm local)20 June – vs Germany in Toronto (4 pm local)25 June – vs Curaçao in Philadelphia (4 pm local)Travel restrictions mean few Ivorian supporters will reach the United States, leaving the diaspora to create the atmosphere, especially in Toronto and Philadelphia. The team’s orange‑blue strip and vibrant fan chants are expected to compensate for the limited physical presence.Outlook: Can Côte d’Ivoire Reach the Quarter‑Finals?With a solid defensive record, a clear tactical plan, and a mix of experienced leaders and hungry youngsters, the Elephants have the ingredients to surpass the group stage. However, success will hinge on the midfield’s ability to replace Seri’s influence and on Pépé’s consistency in front of goal. If Faé’s counter‑attacking system clicks, a quarter‑final berth—and a chance to revive the nation’s World Cup legacy—appears within reach.