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On Halloween night in 2022, the 33‑year‑old Los Angeles‑based musician Angelo De Augustine collapsed at home, experiencing a cascade of sensory failures that left him unable to see, hear or move properly. Family members rushed him to the hospital, where doctors ran extensive tests but could not pinpoint a diagnosis, ultimately sending him home with a warning to return only if he became completely deaf or blind. Faced with a semi‑incapacitated body, De Augustine’s sole focus became completing the album he had been crafting for the previous year, Toil and Trouble. He admits he believed he might not survive the illness, yet he pushed through the pain, hoping to finish the record before his presumed death. De Augustine’s career had been gaining momentum. After his 2014 debut Spirals of Silence, he joined Sufjan Stevens’ label Asthmatic Kitty for 2017’s Swim Inside the Moon and later co‑produced the acclaimed 2021 collaboration A Beginner’s Mind. A 2019 track, “Time,” from the album Tomb, amassed over 31 million streams after featuring in Zach Braff’s film A Good Person, but the artist was too ill to capitalize on its success. Recovery was gradual and arduous. Over three years De Augustine relearned basic functions—walking, speaking, hearing, and playing instruments. Those challenges informed his newest work, Angel in Plainclothes, an album that contemplates mortality and the fleeting nature of life through ethereal soundscapes. Musically, the record draws on influences ranging from Nick Drake’s wistfulness to early Paul Simon’s lyricism. Tracks such as “Spirit of the Unknown” celebrate simple joys, while the lead single “Mirror Mirror” uses a reflective metaphor to describe his feeling of being a ghost watching life from the sidelines. He records from a studio he calls “A Secret Place,” emphasizing the intimate, introspective tone of the project. Recent research, De Augustine notes, suggests that chronic stress can overload the central nervous system, causing the body to shut down—a possible explanation for his 2022 episode. He points to the relentless pressures of the music industry as a likely source of that prolonged anxiety. Born to musical parents—his mother Wendy Fraser sang on the Dirty Dancing soundtrack—De Augustine originally pursued soccer before injuries redirected him toward music. Largely self‑taught, he began writing original material without formal lessons, a factor he believes gives his songs a distinctive edge. During his convalescence he moved back in with his mother, unable even to prepare meals. A breakthrough came when he discovered that immersion in water alleviated his symptoms, prompting a deeper awareness of his stress levels. A disciplined regimen of physical and mental exercises helped rewire his nervous system, gradually restoring his ability to play guitar and sing. When his health permitted, De Augustine returned to the studio, this time enlisting collaborators such as string arranger Oliver Hill, harpist Leng Bian, producer Thomas Bartlett (aka Doveman), and his mother on percussion. Drummer Jonathan Wilson contributed drums and offered his Topanga Canyon studio for the track “The Cure,” a song that likens illness to addiction. The album’s sonic palette is enriched by antique instruments—a bowed psaltery, aquarion, Marxophone, bass recorder, train whistle, 1960s German guitaret, miniature accordion, and a 1990s synthesiser version of a Japanese koto harp—underscoring De Augustine’s penchant for unconventional textures. After a five‑year hiatus from live performance, he returned to the stage last year, describing the experience as “amazing” despite its challenges. Though he acknowledges he is not yet fully healed, he feels he is emerging as a blend of his former self and a newly humbled individual who no longer takes life for granted. Reflecting on his journey, De Augustine says, “For so long my only focus was to be a great songwriter, and perhaps I paid the price for that. Now I’m trying to live a good life rather than chase outcomes.” Angel in Plainclothes was released via Asthmatic Kitty on 24 April, offering listeners a glimpse into his renewed perspective and artistic resilience.

The conventional view of procrastination is that it's a negative habit, linked to anxiety, diminished self-esteem, and depression. However, what if we could harness it to our advantage? By exploring medieval philosophy, particularly the concept of acedia, or sloth, we can uncover a more positive approach to procrastination. Medieval theologians didn't view sloth as laziness, but rather as a complex mix of boredom, depression, anxiety, and despair. This state can leave us feeling rudderless, unable to make progress towards our goals. However, by accepting and engaging with our procrastination, we can transform it into a catalyst for growth. Dante Alighieri and Bernard of Clairvaux offered valuable insights into navigating procrastination. Dante described the 'wrong' approach as sleepwalking towards disaster, where boredom anaesthetizes our minds, making us vulnerable to manipulation. In contrast, the 'right' approach involves embracing procrastination as a chance for self-discovery. Bernard of Clairvaux likened living a good life to running a marathon over rough terrain. We can't expect to maintain a constant pace; there will be days of apathy and boredom. On such days, we should stay awake and alert, engaging our brains to find value in even the most trivial distractions. By adopting this mindset, we can turn procrastination into a portal to self-discovery. As medieval poems like Parzival and The Pearl demonstrate, heroes often stumble upon profound revelations through distraction and wandering. Similarly, we can find unexpected gold in the midst of procrastination, leading to a deeper understanding of ourselves. So, the next time you find yourself procrastinating, consider embracing it as a chapter break, a chance to recharge and refocus. Remember that accepting procrastination can be essential to emotional growth, allowing us to return to our tasks with renewed energy and perspective.

The new Reform UK promotion, dubbed “Nigel cut my bills,” asks voters to surrender personal details – name, phone, email and voting history – for a chance that Nigel Farage will foot their energy bills for a year. The concept reads like a scripted MrBeast video: a charismatic host appears on a suburban street, hands out cash, and celebrates each winner with upbeat music and on‑screen tallies. While the party frames the scheme as a bold, voter‑engaging move, privacy advocates have already flagged potential breaches of data‑protection law. More troubling, however, is what the stunt signifies: the “MrBeastification” of British politics, where flashy giveaways replace substantive policy debate. Reform UK’s website touts a suite of promised savings if it wins the next election: scrapping VAT on energy bills (a £85 reduction), eliminating Labour’s green levy (£100), and removing the carbon tax (£15). The messaging is clear – Farage is portrayed as a man who puts money directly into voters’ pockets. Yet the underlying issue of soaring energy costs is oversimplified. Bills are high not because of the mentioned taxes, but because the UK’s electricity price is tied to volatile gas market prices. Farage’s advocacy for renewed North Sea drilling would lock the country into this volatility, offering short‑term relief at the expense of long‑term energy security. Earlier, Reform UK floated a controversial policy targeting non‑domiciled residents: a one‑off charge of £250,000 for a ten‑year renewable residence permit, with proceeds earmarked for low‑paid workers. Critics argue the fee merely shifts the burden onto wealthy foreigners while providing negligible benefit to ordinary voters. In the world of viral giveaways, the spectacle often masks deeper shortcomings. As the article notes, after MrBeast hands cash to a homeless man, he probes the man’s backstory, revealing systemic issues that a single payment cannot solve. Similarly, Reform’s grand gestures risk being tokenistic, offering temporary excitement without addressing the structural challenges of the UK’s energy market. Ultimately, the “Nigel cut my bills” competition may capture attention, but it also underscores a shift toward sensationalist political communication that prioritises instant gratification over meaningful policy solutions.

In what can only be described as a humiliating exit, Liverpool were beaten 4‑0 by Manchester City in the FA Cup quarter‑final, a result that has thrown the future of manager Arne Slot into further doubt.The Etihad crowd watched City dominate from the first whistle, with Erling Haaland completing a hat‑trick by the 57th minute. The Norwegian’s third came from open play after a series of defensive lapses, sealing a comprehensive victory that left Liverpool supporters emptying the upper tiers of the South Stand.Liverpool’s own chances were squandered. Mohamed Salah missed a late penalty, a rare misfire that underscored his waning influence. Earlier, Virgil van Dijk conceded his fourth penalty of the season – a stark contrast to the single penalty he had given up in his previous 319 Premier League appearances for the club.Mid‑fielder Dominik Szoboszlai offered a blunt self‑assessment after the match, stating, “The fighting spirit wasn’t there enough, the mentality wasn’t there enough. None of us were there to be honest as much as we could.” His words captured the collective lack of resolve that defined Liverpool’s performance.Beyond the immediate disappointment, the defeat raises the stakes for Slot’s upcoming Champions League quarter‑final first leg against Paris Saint‑Germain. With Liverpool still carrying the Premier League’s highest wage bill, the club’s hierarchy and fans will be watching closely to see whether the team can salvage the season or face a deeper crisis.The match exposed systemic issues: a static defense that allowed City’s left‑back Antoine Semenyo and striker Erling Haaland to exploit gaps, a goalkeeper positioning that appeared indecisive, and a general absence of leadership on the pitch. As the season progresses, the spotlight remains firmly on Slot, whose tenure now hinges on a single chance to revive Liverpool’s dwindling fortunes.

Alan Cumming’s latest theatrical venture – The High Life: The Musical, Still Living It! – bursts onto the stage as a gleeful, pantomime‑style extension of the cult 1994 TV sitcom. Co‑written by series creator Johnny McKnight alongside Alan Cumming and Forbes Masson, the production is deliberately overloaded with jokes, ranging from references to Andrew Mountbatten‑Windsor to a tongue‑in‑cheek nod to Sheena Easton. The show’s panto DNA runs deep. Audiences are addressed directly, invited to sing along, and treated to an underwater neon‑tube dance. The set, a whimsical take on a Brigadoon‑style hotel, features tartan wallpaper designed by Colin Richmond, a life‑size dog, and multiple costume changes that heighten the spectacle. Returning to the stage, Cumming reprises the role of flight attendant Sebastian Flight, while Masson appears as his counterpart Steve McCracken. They are joined by a “legacy cast” that includes Siobhan Redmond as the exacting supervisor Shona Spurtle and Patrick Ryecart delivering a delightfully unhinged performance as Captain Hilary Duff. Supporting them are high‑energy performers Rachael Kendall Brown, Louise McCarthy and Kyle Gardiner, who navigate Masson’s clever, rhyming songs that swing from Broadway flair to Eurovision sparkle. Beyond the slapstick plot – a cartoonish battle over the fictional airline Air Scotia and a detour to the “Lower Largo Triangle” – the musical hints at deeper questions about ageing, national identity and the need for cultural renewal, echoing themes raised in earlier Scottish adaptations. Directed by Andrew Panton, the production is a joint effort between Dundee Rep and the National Theatre of Scotland. It runs at Dundee Rep until 4 April before embarking on a UK tour that concludes on 23 May. In the end, the show is less a philosophical treatise and more a big, joyous laugh‑fest that celebrates the spirit of pantomime.

Al Jazeera presents an in‑depth look at Mohamed Salah, exploring the intertwining of his football achievements, personal faith, and the evolving public narrative surrounding elite athletes. The piece highlights how Salah’s on‑field success—marked by record‑breaking goal tallies and pivotal titles—has become a platform for discussing broader cultural themes. His openness about his religious beliefs offers a rare glimpse into the personal convictions that shape his professionalism. By examining Salah’s influence beyond the pitch, the article underscores a changing perception of sports figures: no longer seen solely as entertainers, but as individuals capable of driving social dialogue and challenging stereotypes. Through interviews, match footage, and commentary from peers, the feature illustrates how Salah’s story resonates with fans worldwide, fostering a deeper appreciation for the role of faith and identity in modern football.

Following US and Israeli strikes that killed senior Iranian figures, concerns have emerged about the power dynamics within Iran's leadership. The country's response to these actions and the implications for the region are significant.This episode of 'The Take' examines the key players in Iran's system, how decisions are made, and the potential impact of losing top figures on Iran's response to the ongoing conflict with the US and Israel.Key topics include:The structure of Iran's leadership and decision-making processesThe role of senior figures and their influence on policyThe potential consequences of their loss for Iran's stance on the US-Israel conflictThe analysis features insights from Ali Hashem, a senior Al Jazeera correspondent, providing a deeper understanding of the complexities at play.

A magnitude 7.4 earthquake erupted in the Northern Molucca Sea off the coast of Ternate, Indonesia, resulting in at least one fatality and an initial tsunami alert that was later rescinded.The United States Geological Survey (USGS) clarified that the tremor, first reported as magnitude 7.8, actually occurred at a depth of 35 km, deeper than the early estimate of 10 km. Apart from the confirmed death, no other immediate injuries were reported.The quake’s epicentre lay roughly 120 km (75 mi) from Ternate in the North Maluku province, prompting local authorities in Ternate and nearby Tidore to ready evacuation plans. Metro TV broadcast footage of damaged structures across the area.In Manado, North Sulawesi, a building collapse buried a resident, leading to the sole confirmed death; a rescue official added that another person sustained a leg injury.The Hawaii‑based Pacific Tsunami Warning Center (PTWC) warned of potentially hazardous waves within a 1,000‑km radius, affecting coastlines of Indonesia, the Philippines and Malaysia.Within thirty minutes, Indonesia’s BMKG agency recorded wave heights of up to 75 cm in North Minahasa and 20 cm in Bitung, both on Sulawesi’s northern shore, with an additional 30 cm rise in North Maluku.Just over two hours after the event, the PTWC lifted the tsunami warning, declaring that the threat had passed.Indonesia’s position on the Pacific Ring of Fire makes it especially vulnerable to such seismic activity, underscoring the importance of rapid monitoring and public‑safety measures.

The author's poignant essay explores the intricacies of family relationships, particularly the painful silence that can accompany estrangement. Years of strained relations between two sisters ultimately led to a difficult decision: not to inform the estranged sister about their terminally ill sister's condition.The author recounts a meeting with her two sisters, V, who had been living with cancer for 15 years, to discuss her wishes for a peaceful death at home. The absent sister, who lived abroad, was not invited. The author chose not to disclose V's condition to their estranged sister, citing the potential for additional pain.As the author navigated the complex web of family dynamics, she communicated with the estranged sister about their mother's illness, but kept V's condition private. This decision, though made out of love and respect for V's wishes, left the author with a profound sense of sadness.The essay is a thought-provoking exploration of the challenges of family estrangement and the difficult choices that can arise during times of loss. The author's reflections on her own experiences serve as a backdrop for a broader discussion on the complexities of human relationships.Circle of Wonders, by Kathryn Heyman, is a novel that likely delves deeper into these themes.