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A Critical Portrait of George MichaelIn 1998, George Michael was arrested for public lewdness in an LA lavatory, an incident that finally led the singer to publicly come out. The following day, Sathnam Sanghera found himself unable to leave his room at university: the doorway had been mockingly plastered with tabloid newspaper headlines – "ZIP ME UP BEFORE YOU GO-GO!" – by fellow students aware of his longstanding fandom. As a writer, Sanghera is best known for a series of award-winning books on the British empire, which he calls his "specialist subject". Judging by Tonight the Music Seems So Loud – not a biography so much as a miscellany, a set of themed essays that tend to digress in all kinds of intriguing directions – the life and work of one Georgios Panayiotou runs imperialism and its legacy a very close second.The Complex Legacy of a Pop IconIt is an unashamedly partisan book, although not an uncritical one. Sanghera is as alive to Michael's personal and professional failings (whether the naffness of some of his early work as one half of Wham! or his high-handed treatment of the duo's other half, Andrew Ridgeley) as he is in love with his artistic triumphs. These, of course, range from Careless Whisper and Wham!'s annually inescapable Last Christmas to the 1996 solo masterpiece Older, a peculiar and peculiarly effective cocktail of raw grief at the Aids-related death of his lover Anselmo Feleppa and unrepentant horniness.The Evolution of Critical ReceptionSanghera's love for his subject is evidently sharpened by the opprobrium of others. Indeed if the book has a flaw, it's that the author is old enough to remember an era when George Michael was deemed insufferably uncool by some arbiters of taste (incredibly, when Wham! performed at a 1984 benefit show for striking miners, the only mainstream pop act to show support for the cause, they were received stone-faced by the audience and savaged by the music press for their trouble), and thus has a tendency to underestimate how much both he and his music have been critically re-evaluated in the 21st century.The Artistic Journey of George MichaelHe says one of the spurs to write the book was his belief that "most truly popular music is not generally deemed worthy of serious analysis and George Michael's music most certainly is not". That might have been true once, but certainly not of late: when he died, this newspaper alone ran six features by critics analysing different aspects of his music. "He sang so exquisitely about the marrow of life, about the vital, corporeal things", wrote one, which definitely doesn't amount to taking George Michael insufficiently seriously.double quotation markEven as he skinned up in front of journalists and discussed his drug use and sex life, he was concealing the extent of the addictions that eventually killed himFamily Background and Cultural IdentitySanghera is very good on the climate of homophobia in the 80s, which might have given any gay public figure serious qualms about coming out, and fascinating on Michael's family background: how growing up embedded in north London's Greek Cypriot community impacted on everything from Wham!'s image – not camp, Sanghera suggests, but "the vision of two children of immigrants imagining a kind of glamour they had not actually experienced before" – to his work ethic and control freakery. His dad made good in England by working exceptionally hard, running such a tight ship at his restaurant that he summarily fired his only son for messing up the drinks orders. The fact that the same son went on to hire 12 different saxophonists before finding one that could play the solo on Careless Whisper to his satisfaction doesn't come as a huge surprise.The Perfectionist and Contradictory ArtistThis my-way-or-the-highway perfectionism could yield hugely impressive results – Careless Whisper's sax hook may well be the most famous in pop history – but it could equally lead to intransigence and self-sabotage. Michael worked incredibly hard to transform himself from a member of a teen pop band into a more adult-facing solo artist, but having sold a staggering 25m copies of his 1987 solo debut Faith, he refused to promote its follow-up Listen Without Prejudice Vol. 1, or even make videos for its singles: a better album than its predecessor, it achieved only a fraction of its sales as a result. It was evidence of a deeply contradictory nature that occasionally has Sanghera throwing up his hands in bewilderment.The Public and Private Faces of George MichaelMichael was a polymath, keen to be duly credited as the sole singer, writer, producer and musician on a succession of tracks, but also had a weird habit of talking down his abilities, claiming he couldn't play instruments he was perfectly capable of playing. He was a Stakhanovite who increasingly worked at an agonisingly glacial pace, endlessly fussing over details, a state of affairs not much helped by his gargantuan appetite for marijuana: coupled with bouts of writers' block, it meant he released only six albums of original material in a career that lasted 34 years. He was a Labour voter, booster of the NHS and famously generous philanthropist who also engaged in tax avoidance. After being publicly outed, he became a notoriously frank interviewee ("as if nothing can embarrass him anymore" the Guardian's Simon Hattenstone suggested when he met him in 2009). But even as he skinned up in front of journalists and freely discussed his drug use and sex life, he was concealing the extent of the addictions that eventually killed him.The Decline and Final YearsMichael emerges as a messy, unpredictable but ultimately hugely likable figure, which makes the essay about his demise particularly tough reading. Listed starkly on the page, the facts of his final 10 years make it obvious that he was a deeply unwell man whose life had spun wildly out of control: drug busts, medical emergencies, visits to rehab, rumours of breakdowns and suicide bids and seven incidents in which he either crashed his car or was found comatose at the wheel.The Professional Mask of Personal StruggleThat it somehow didn't appear obvious at the time – that his death at 53 felt like a shock rather than a grim inevitability – seems remarkable, but as Sanghera points out, Michael's professionalism did a lot to paper over the cracks. He was always available to the media and always smart, funny and self-effacing: to use a modern turn of phrase, he controlled the narrative. He was punctilious about his appearance – the star certainly never looked like an ailing drug addict – and unfailingly superb onstage.The Hidden Realities Behind the FameBehind the scenes, it was a different story. He struggled to make new music: at one juncture he booked six months of recording sessions but never turned up to the studio once. His once-acute commercial instincts seemed to desert him: even Sanghera can't muster much enthusiasm for the handful of still-unreleased songs he completed in his final years. He cut off close friends and family who tried to intervene. No one who knew him seems to have been particularly surprised by his death: the list of adjectives used to describe him on his official website now includes not just "icon" "legend" "soul singer" and "philanthropist" but "addict" "repeat offender" and "depressive".An Imagined Alternative LegacyAs the book draws to a close, Sanghera offers a heartbreaking alternative history. He imagines Michael conquering his addictions, coming to a complete accommodation with his musical past (to the end of his life, he was dismissive of Wham!, describing their oeuvre as an exercise in "ignoring my own intelligence" and declining to play most of their hits live) and headlining Glastonbury, "getting pleasure from the audience reaction to Club Tropicana".The Enduring Power of George Michael's MusicIt's affecting because you can imagine it so vividly: the endless succession of hits that anyone with even a passing interest in pop music knows, the pandemonium in the crowd when he breaks out Careless Whisper, the encore of Freedom '90. You don't have to be a fan on Sanghera's level to understand what a triumph it would have been. Tonight the Music Seems So Loud: The Meaning of George Michael by Sathnam Sanghera is published by Picador (£22). To support the Guardian, buy a copy at guardianbookshop.com. Delivery charges may apply.

BP has confirmed that Dame Amanda Blanc, its senior independent director and chief executive of Aviva, will again head the search for a new chair after the abrupt removal of Albert Manifold.BP Re‑instates Amanda Blanc to Steer Chair SearchThe BP interim chair, Ian Tyler, issued a statement saying the board has formally requested Blanc to lead the next chair‑search process. Blanc previously oversaw the 2025 search that resulted in Manifold’s appointment in July. The board emphasizes that the upcoming process will be “rigorous” and involve the entire board, with the final decision reflecting a collective view.Investor Pushback and Shareholder Vote FiguresLarge institutional investors have publicly questioned whether Blanc, who also runs insurer Aviva, is the right person to guide the search.During Manifold’s first annual meeting, 18% of votes were cast against his re‑election after he blocked a climate‑focused resolution from the shareholder group Follow This.Manifold’s removal came after just eight months in the role, intensifying concerns about board stability.Governance Turmoil Signals Deeper Boardroom InstabilityThe ousting of Manifold follows a recent cascade of leadership changes at BP: former chair Albert Manifold removed chief executive Murray Auchincloss after less than two years, and Meg O’Neill was hired from ExxonMobil to become CEO in December, officially starting in April. Earlier, former chair Bernard Looney was forced out in September 2023 over undisclosed relationships. This pattern underscores mounting governance challenges and heightened scrutiny from shareholders.What the Next Chair Search Could Mean for BP’s Strategic DirectionAnalysts note that the new chair will inherit a company pivoting back toward fossil‑fuel extraction while scaling back renewable‑energy investments. The choice of chair could therefore influence whether BP accelerates its “culture shock” strategy or seeks a more balanced energy transition. With investor confidence at stake, the board’s ability to appoint a figure who can restore stability and align with long‑term strategic goals will be critical in the months ahead.

The Ancient Art of Altamira The aurochs, the mammoth, and the steppe bison are long extinct, but their painted likenesses still look relatively fresh across the walls and roofs of Altamira. Or so said Diego Garate Maidagan, who is one of the very few humans allowed to enter that exalted cave in northern Spain. The Technique of Prehistoric Painters Garate's specialism requires close attention to the etching or “pecking” technique whereby the artists used flint blades to outline figures on the rock before applying their ochre and charcoal. Altamira is rare and precious, he told me, because those reds and blacks are still so solid and vivid. The colours were preserved in the near-quarantine conditions imposed by that long-ago landslide. The Impact of Human Presence on Cave Art The site was opened to the public in 1917, partly closed in the 1970s, then shut for good in 2002, as a century or so of gaping admiration revealed the paint-stripping effects of moisture and carbon monoxide from the breath of too many beholders. A replica cave, with replica artwork, was created on an adjacent site. Today, only Garate and other select scholars have access to the original sanctuary. The Future of Cave Art Research In the far north of the Basque Country, the recent search for such apparitions has stirred “a little revolution”, by Garate’s reckoning. He and his colleagues in Santander planned a campaign to test a working theory: that the caves of northern Spain and south-western France were once lavishly decorated with pictograms and petroglyphs, now barely visible to the untrained eye. Unlocking the Secrets of Prehistoric Image-Making The general idea, Garate told me, was to reverse-engineer the processes of prehistoric image-making: to unpack the practical, mechanical decisions of the artists, and thus to better understand their skill set, their knowledge base, their means and modes of communication. One project gauged the “luminous intensity” and “radius of action” achieved by burning different woods and fats to light the cave.

The Rise of Youthful Talent in England Rugby League The Challenge Cup finals have provided a platform for England's young rugby league players to shine, with Wigan's dominant performance against Hull KR showcasing their impressive youth talent. Wigan's Youthful Squad Impresses at Wembley Wigan's 40-10 win over Hull KR in the Challenge Cup final was led by 20-year-old Jack Farrimond, who received the Lance Todd Trophy. Farrimond's performance, along with that of his teammates, has caught the attention of England coach Brian McDermott, who will be monitoring their progress closely. The Data Analysis: England's Youthful Options Jack Farrimond, 20, scored in his sole appearance for London Broncos last May and has now announced himself on the big stage. Zach Eckersley, another young winger, looks like a seasoned Super League player and his versatility should see him on the plane to Perth for the World Cup. Noah Hodkinson, a fledgling winger, shone at Wembley, playing his eighth senior game like it was his 80th. The Impact Analysis: A New Era for England Rugby League The Challenge Cup finals have demonstrated that England's future is in good hands, with a new generation of players emerging. This youthful talent will be crucial in the upcoming World Cup, particularly given the heat and challenges that come with playing in Australia, Papua New Guinea, and New Zealand. The Prediction: A Bright Future for England With players like Farrimond, Eckersley, and Hodkinson leading the charge, England's rugby league team has a bright future ahead. The experience gained from the Challenge Cup finals will serve them well in the World Cup, and fans can expect to see more of these young players in the years to come.

Mayor Khan’s Commitment to Override Soho Society’s Licensing Ban London’s mayor, Sadiq Khan, said he will "call in" and overturn licensing decisions that hinder the city’s night‑time economy. The Soho Society, a residents’ group founded in 1972, voted to challenge every new licence application for pubs and restaurants in the district, including renewals and extensions beyond the council’s "core hours" that end at 11 pm. New Licensing Powers Set to Shift Control from Local Councils Under powers granted by the central government and due to take effect later this year, the mayor can intervene in licensing matters deemed of "strategic importance" to the night‑time economy. This authority allows him to "call in" applications and reverse local council refusals, effectively centralising decision‑making for venues in key entertainment zones. Power to overturn local council licensing refusals. Ability to extend operating hours beyond the current 11 pm limit. Potential to support alfresco dining initiatives previously halted after the pandemic. Nightlife Footfall Trends Highlight Economic Pressure Recent reports indicate a decline in footfall for London’s night‑time venues, with several establishments closing in recent years. While exact figures were not disclosed, industry observers note a steady erosion of patronage that threatens the city’s reputation as a global entertainment hub. Implications for Soho’s Night‑time Economy and Urban Planning The clash pits the mayor’s growth‑oriented agenda against the Soho Society’s concerns about noise, crime, and insufficient infrastructure. Residents argue that intensified nightlife has outpaced upgrades to public services, while hospitality owners warn that the blanket opposition could "destroy Soho’s reputation on the international stage". What the New Powers Could Mean for London’s Late‑Night Scene If exercised, the mayor’s authority may lead to: Extended opening hours for bars and restaurants, boosting revenue for the night‑time economy. Increased alfresco dining options during summer months. Potential push‑back from community groups demanding stronger noise‑abatement and safety measures. Stakeholders anticipate a period of negotiation as the city balances economic revitalisation with quality‑of‑life concerns for local residents.

The Lead: Alphabet Announces $80 bn Equity Offering to Accelerate AIAlphabet, Google’s parent, disclosed on June 2 2026 a plan to sell $80 bn of shares to fund its AI infrastructure rollout.Alphabet's $80 bn Equity Offering to Finance AI RolloutThe company will allocate the proceeds to expand compute capacity, data‑center assets, and the Gemini family of AI assistants.$10 bn to be sold directly to Berkshire Hathaway, led by Warren Buffett.$30 bn via underwritten offerings.$40 bn through staggered open‑market sales.Financial Scale: $80 bn Funding Structure and Market ImpactAlphabet’s market capitalisation exceeds $4.5 trillion. After the announcement, shares slipped about 1 % in after‑hours trading.Analysts at Goldman Sachs estimate that U.S. tech giants will spend roughly $800 bn on AI‑related capital in 2026, positioning Alphabet’s raise as a significant share of that total.Strategic Implications for the AI Race Among HyperscalersBy opting for equity rather than debt, Alphabet secures permanent capital, mitigating balance‑sheet strain as it targets capital expenditures of $180‑190 bn this year, with further increases expected in 2027.Industry voices, such as Troy Hooper of Mergermarket, note that compute capacity directly drives future revenue for hyperscalers, and ownership at scale lowers marginal training costs, creating a competitive moat.What the Equity Drive Signals for Alphabet’s Future GrowthThe funding underscores the “existential risk” narrative: under‑investing in AI could erode market position, while over‑investing is merely costly. Alphabet’s move suggests confidence in sustained demand and a bid to secure the largest, most efficient compute platform.Analysts will watch how the capital is deployed across data centres and Gemini services, which could shape the competitive landscape through 2027 and beyond.

The Unexpected Outcome Less than two hours after polling stations closed on Sunday, it was clear that Colombia’s presidential race would be settled in a run-off between two finalists: hard-right political outsider Abelardo de la Espriella and leftist Senator Ivan Cepeda. Though the overall result surprised few, de la Espriella’s strong showing upended pollsters’ predictions. De la Espriella's Strong Performance Cepeda, President Gustavo Petro’s chosen successor, had been expected to win the most votes, based on public opinion surveys. But instead, de la Espriella came in first place, winning 43.74% of the vote. Cepeda trailed with 40.90%. Supporters of de la Espriella, a criminal defence lawyer, held rapturous celebrations in the coastal city of Barranquilla, where the candidate has an office. The Candidates' Platforms The far-right candidate has modelled himself after politicians like Donald Trump in the United States and Javier Milei in Argentina, flamboyant media personalities who won the presidency despite having little to no political experience. Like them, de la Espriella has pledged a return to “law and order”, as well as a pared-back national government and policies to support traditional family values. Notably, he promises to use an “iron fist” to stamp out crime and build megaprisons to jail criminals, mimicking the policies of Salvadoran strongman Nayib Bukele. The Impact on Colombia's Political Landscape Analysts say de la Espriella’s populist messaging resonated with voters in Colombia’s interior, where urban crime is a growing concern. De la Espriella’s success also highlights growing anti-establishment sentiment in Colombia, according to experts. The lawyer, who has never run for public office before, comfortably beat his main rival on the right, Senator Paloma Valencia, who was backed by former President Alvaro Uribe, the figurehead of Colombian conservatism. The Road to the Second Round A second round of voting, between Cepeda and de la Espriella, is scheduled for June 21. Up for grabs are more than a million votes for centrist candidate Sergio Fajardo and 1.6 million for Paloma Valencia. Experts warn that Cepeda is losing precious time by focusing on fraud allegations and should instead concentrate on swaying moderate voters.

The Unlikely Alliance Pope Leo XIV's recent encyclical highlighted the dangers of AI, including job displacement, accelerated war, and environmental degradation. At a ceremony honoring the teaching, Anthropic co-founder Chris Olah was a guest speaker, sparking questions about the company's commitment to AI safety. The Event Details The pope's encyclical emphasized the need to preserve human dignity in the face of AI-driven job displacement. However, Anthropic's own labor market analysis suggests that certain professions, such as coding and customer service, are vulnerable to automation. The Data Analysis Anthropic's labor market analysis found that AI could automate tasks for 20% of full-time workers in the US. The company's own CEO, Dario Amodei, has warned of an apocalyptic loss of white-collar jobs due to AI. Anthropic spent a record $1.6m on lobbying in the first quarter of 2026, beating out competitor OpenAI. The Impact Analysis The alliance between Anthropic and the Vatican raises concerns about 'Vatican-washing,' or using the partnership to improve the company's image without making meaningful changes to its business practices. Some critics argue that Anthropic's actions are at odds with the pope's words, as the company continues to develop AI systems that may exacerbate the problems the pope highlighted. The Prediction As Anthropic continues to invest in AI infrastructure, including datacenters, the company's commitment to AI safety and sustainability will be closely watched. The partnership with the Vatican may be seen as a positive step towards promoting AI regulation and safety, but it remains to be seen whether Anthropic's actions will align with its rhetoric.

The Overwhelming Problem with Art Galleries Visiting an art gallery always goes the same way for Isabel Brooks. She looks at one artwork, then the next, and the next, but soon forgets what she's seen due to the sheer volume of art on display. The Scale of the Problem The National Gallery displays over 2,400 artworks, the Louvre has up to 4,500 paintings, and the New York Met boasts tens of thousands. This excessive number of artworks leads to 'museum fatigue,' a phenomenon that has been studied since the 1920s. The Impact on the Experience The experience is further marred by the lack of comfortable seating, leading to lower back pain from standing and peering at artworks. Visitors often take bad photos and try to make the experience more entertaining by joking about the art. The Atmosphere of Expectation The atmosphere in galleries suggests that visitors must pay close attention to each piece, under the pretence of being culturally enriched. This expectation can be overwhelming, making visitors feel like they need to behave in a certain way. A Better Approach Brooks suggests that a better approach would be to display fewer artworks, allowing visitors to appreciate each piece more fully. She would prefer to visit a gallery to see one painting rather than thousands.