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The Lead The new EU border system that has triggered hours-long delays at major airports may not "stabilise" for two years, according to a senior official from the EU border agency Frontex. The Entry/Exit System (EES) requires non-EU visitors to register personal information and biometrics at borders, creating significant challenges for some member states. The Implementation Challenges Uku Särekanno, a director at Frontex, revealed that some EU member states are "struggling" to adopt the EES, which was fully rolled out on April 10. The most difficult aspect is the initial enrollment process where fingerprints and facial images must be collected. Subsequent visits to the EU would be faster as travelers wouldn't need to repeat this process. The EU has allowed checks to be suspended during peak periods to avoid excessive queues, though this temporary measure is expected to end in September. Countries like France and Greece have already temporarily suspended some biometric checks to prevent travel disruption. The Impact on Summer Travel There are growing concerns that the border checks could contribute to a "summer of travel chaos" in Europe. Consumers are becoming nervous about bookings and potential delays, with British travelers already facing significant holdups at border crossings. Mark Tanzer, chief executive of the UK travel association Abta, warned that problems with the EES system could hurt demand among British holidaymakers this year. He emphasized that some destinations are experiencing particularly severe issues and urged authorities to use the flexibility allowed under EU regulations to suspend biometric registration when queues become unacceptably long. Broader Travel Industry Concerns The EES implementation comes at a challenging time for the travel industry, with holiday bookings for early summer already affected by uncertainty surrounding the conflict in the Middle East and rising living costs. Consumers are increasingly booking their holidays later in the year due to these concerns. The Middle East conflict has triggered higher global oil prices, with jet fuel costs jumping sharply and potentially leading to increased air fares. Despite these challenges, large numbers of flights have not been cancelled during the crucial summer holiday season, contrary to earlier fears. Market Response and Future Outlook Shaun Morton, chief executive of holiday operator On the Beach, noted that while bookings continue to come in, shorter lead times "creates uncertainty and makes planning difficult." He described consumers as "price-sensitive and uncertain" who are booking later due to concerns about inflation, potential fuel shortages, and additional surcharges. Despite these challenges, Morton still expects the summer travel market to grow overall this year, predicting that the current late booking trend will eventually reverse when conditions improve. However, shares in On the Beach have already fallen 30% this year, reflecting market concerns about the current situation.

The Passing of Rugby TitansRugby union has recently lost two titans who absolutely belong in the special category of players who exemplify what unquenchable warrior spirit looks like. Fergus Slattery and Roger Spurrell have passed away at 77 and 71 respectively, leaving behind legacies that continue to inspire players and fans alike. Their deaths mark the end of an era for rugby, reminding us of the character and commitment that defined the sport during their playing days.The Legacy of Fergus SlatteryGive or take Willie John McBride, there was no more renowned Irish international forward in the 1970s than "Slattery of Ireland," to borrow from Cliff Morgan's famous commentary of the 1973 Barbarians v New Zealand game in Cardiff. On the 1974 British & Irish Lions tour he was at the peak of his powers on the hard fields of South Africa, setting new standards for fit, fast-paced and forthright wing forwards everywhere. As the suitably warm tribute issued by Blackrock College put it: "He played with ferocity and grace but without ego or theatre … Fergus never sought admiration but earned it universally."Among his many accomplishments, Slattery was a highly amusing public speaker and did a huge amount of unselfish work for charity. Tragically, he suffered from dementia in the latter years of his life, a particularly cruel condition for such a popular, articulate man. It is hard to sidestep the tragic conclusion that the game he loved ultimately failed to love him back.The Bath Rugby Icon: Roger SpurrellSpurrell, for some bizarre reason, never won an England cap but the example he set as Bath's unflinching captain during their glory years remains indelible. His former teammate Jeremy Guscott described him in the Rugby Paper as "a true Bath rugby icon" and the former paratrooper was renowned as one of the hardest players in a notable tough Bath pack who underpinned the club's consistent success. The journalist Jon Newcombe described the curly blond-haired Spurrell as "the West Country's answer to Jean-Pierre Rives" and his impact on youthful imaginations was similarly vivid.Spurrell was a Cornishman but poured his heart and soul into Bath and was universally respected as a result. In his early Bath years, he combined his rugby with working as a shepherd in the Mendip Hills. Subsequently he ran a well-known nightclub in what used to be the public conveniences near the river Avon in Bath. A ferocious opponent on the field – his training night duels with his Bath back-row rival Andy Robinson were legendary – he could be extremely obliging off it.The Character of RugbyPeople talk a lot about character in sport without always agreeing on a precise definition. Hanging in there when times get tough? Arguably that is a pre-requisite across top-level competition. The ability to keep cool, calm and collected under the most extreme pressure? Valuable, certainly, but not every cherished champion fits that unflappable mould.Perhaps a more accurate gauge is how much certain individuals are missed once they are gone. Slattery and Spurrell were men with a bit about them off the field. While other players in the amateur era beavered away at their desks on Monday mornings, Spurrell would happily take calls from your correspondent on condition the phone didn't ring too early in the morning after a busy club night.Modern Reflections of Rugby SpiritThere is another perfect contemporary example in Exeter's crucial 32-12 win over Saracens at the weekend. Not everyone perceives Henry Slade as a warrior, possibly because he has the ability to make the game look deceptively simple. They overlook his continuing defiance of Type 1 diabetes and the 74 caps he has earned in England's midfield, hardly the sign of a dilettante. And who was that, head already bandaged to protect a tender cauliflower ear, somehow scrambling back to make an almost impossible try-saving tackle on Rotimi Segun? In addition to quietly contributing 17 points? When they talk rugby in Devon decades from now, Slade will still be among the region's all-time favourite sons.The Enduring Impact of Rugby LegendsWith the final knockout stages of the Prem and the United Rugby Championship looming, it may just be that such old-fashioned commitment to a cherished cause makes the crucial difference this month. Many assumed months ago, for instance, that Bath and Northampton would contest the Prem final, but try selling that complacent theory now to the re-energised players of Exeter or Leicester.Like wartime Spitfire pilots, Slattery and Spurrell sensed opportunity where others saw only risk. Both have now gone to the great clubhouse in the sky but their inspiring example will live on. As Slattery once said: "I would much rather play with somebody who has very little talent but total commitment rather than the reverse." This philosophy continues to define the spirit of rugby long after their playing days have ended.

Mexico Hosts World Cup 2026 Opening Ceremony Mexico kicked off the World Cup 2026 with a spectacular opening ceremony, marking the beginning of the highly anticipated tournament. El Tri's Winning Start Mexico's national team, El Tri, made a strong start to the tournament with a win in their opening match. The Road to World Cup 2026 The World Cup 2026 is set to be a thrilling tournament, with top teams from around the world competing for the coveted title.

The Tracey Emin Competition Details This summer, as part of our partnership with Tate for their Tracey Emin: A Second Life exhibition, we have an amazing prize up for grabs. A Second Life is the largest ever exhibition of Emin's work, and features career-defining sensations alongside works never before exhibited. Answer the question below before 11.59pm on Sunday 5 July to be in with a chance of winning: Prize Package Breakdown A special-edition one-year Tate Membership for you and a friend Lunch for two at Tate Modern A Tracey Emin Teacup and Pancake blanket (worth £200) An exhibition catalogue for A Second Life A Tracey Emin tote bag A Tracey Emin cap Competition Terms and Conditions The promotion starts on Tuesday 9 June 2026 and closes at 11:59pm on Sunday 5 July 2026. Open to residents of the United Kingdom aged 18 and over. By entering this competition, you consent to the use of your personal data by the Guardian and Tate as set out in these terms and conditions and the Guardian's privacy policy. Your information will be used to administer the promotion only in accordance with our privacy policy and Tate's privacy policy. Important Prize Information There will be one winner. The winner is responsible for paying all associated costs that are not specifically stated to be included in any promotional materials or these Terms and Conditions, including (without limitation): travel to or from Tate Modern, food and drink, spending money, personal expenditure or any incidental expenses. The prize is non-transferable, non-refundable and there is no cash alternative.

The Danish String Quartet's Captivating Performance A hushed chord sustained by the second violin, viola and cello. Fragments of a melody played as a distant memory by the first violin, which reached slowly upwards to a final crystalline harmonic. Pizzicato, diminuendo, silence. In this captivating performance by the Danish String Quartet, stillness settled over the closing portion of Shostakovich’s String Quartet No 3 in F Op 73 like heavy snow. Bow changes became impossibly seamless. The quartet’s silken tone appeared to exude eerily, disconnected from the basic friction of hair on string. Dynamic Shifts in Tone and Style Such quiet control was all the more striking in the wake of jagged, impassioned solo interjections, deeply incised octave unisons and phrases pursued as if the musicians’ survival depended on it. There was articulation so spiky it was percussive – all contact, no resonance – and passages that sounded symphonic in their velveteen richness. Yet there were also moments of polite levity and luminous classicism. The atmospheric gearshifts were sometimes imperceptibly gradual, sometimes violent, but rarely visible: beyond describing itself as “relatively bearded”, the Danish String Quartet is not an ensemble given to choreographed spectacle. A Showcase of World-Class Musicianship They were, announced violist Asbjørn Nørgaard, thrilled to be back at Wigmore Hall, “this church of chamber music with the best sound in the world”. And you could tell. They played Stravinsky’s Suite italienne (arranged themselves) as a showcase of what a truly world-class quartet can do with the Hall’s acoustic. The work’s rococo twiddles were neat and outrageously classy. Tremolo was served on ice, its melancholic impact immediate. Descant lines were picked out sweet and bright. The quartet relished the squelchiest moments of Stravinsky’s neoclassical harmonic palette, the spare duet that opened the last movement and the sun-saturated warmth into which it blossomed. A Smooth Transition to Ravel's String Quartet After the interval, Ravel’s String Quartet in F saw another switch of palette. There was spacious, unforced nattiness, diaphanous shimmers and scrubbing with the harsh intensity of swarming insects. A handful of instants when ensemble or intonation briefly wavered stood out, inevitably, in such exquisitely polished surroundings. But elsewhere the four musicians seemed to communicate so intimately – so naturally – that their playing sounded like a single, 16-string instrument.

The Formation of Soundgarden and the Grunge Movement Kim Thayil, guitarist of Soundgarden, has always felt like an outsider. Born to Indian parents, Thayil grew up in a suburb of Chicago and later moved to Seattle, where he co-founded Soundgarden in 1984 with bassist Hiro Yamamoto. The band's early sound was influenced by heavy rock and post-punk, and they quickly gained a following in Seattle's music scene. The Evolution of Soundgarden's Sound Thayil's gateway to heavy rock was Kiss, but he was turned off by the hair metal that dominated the 80s. Instead, Soundgarden embraced the might of heavy rock while rejecting the genre's retrograde sexism, defining the grunge movement. The band's breakthrough hit, 'Black Hole Sun,' transcended their gnarly milieu to become an enduring anthem. The Impact of Chris Cornell's Vocal Power Thayil and Yamamoto hailed from Park Forest, a suburb of Chicago, and grew up as immigrants and outsiders. This distance wasn't entirely a bad thing, especially when he got into weird, heavy music. Chris Cornell, the band's vocalist, was initially deemed 'competent and workmanlike' by Thayil, but he quickly developed a fearsome range that would make him a legend. The Loss of Chris Cornell and Kurt Cobain Soundgarden had been the first grungers to sign to a major label, but their greatest commercial achievement came with the release of 'Badmotorfinger,' which went double platinum. However, the mainstream acceptance their peers enjoyed seemed likely to elude Soundgarden without a big crossover song. When 'Black Hole Sun' arrived, Thayil was initially hesitant, but it won Soundgarden their first Grammy and helped their 1994 masterpiece 'Superunknown' sell over 7m copies worldwide. Just as Soundgarden were breaking through, the vibe turned dark with the loss of Chris Cornell and Kurt Cobain. The Legacy of Soundgarden Thayil remembers when the group played festivals such as Lollapalooza: 'We'd play our songs, with their tricky time signatures, and the kids would start jumping up and down, but by the first verse they'd all be out of sync.' Despite the challenges, Soundgarden's music continues to endure, and their legacy as pioneers of grunge remains unchallenged.

The ChairMadonna's new video is called Confessions II, a follow-up to her album Confessions on a Dance Floor, released in 2005. The video features Madonna sitting on a chair, wearing a satin corset and pointy stilettos, with an inviting yet invulnerable pose.The LasersThe video is also referred to as 'the vagina laser video' due to green lights shooting out of people's vulvas and butts, signifying life force and unstoppable orgone energy.The AirbagOne scene features Madonna in a car that crashes, and someone snogs the airbag, reminiscent of Daniel Bergner's book about the omnivorous female libido, What Do Women Want?Sabrina CarpenterSabrina Carpenter appears in the video, giving off her own vibe, with strategic ambiguity in choreography and camera angles, making it unclear which one you're looking at.Kate MossKate Moss appears doing her lipstick, looking like herself, with the line 'Hide the cocaine' playing in the background.Odessa A'ZionOdessa A'Zion appears with her hair falling over her face, wearing a back top.

The Birth of Dubstep By the turn of the millennium, British electronic music was in need of a new direction. The jungle and drum'n'bass scenes were stagnating, and garage had become overly commercialized. In response, a small group of artists from London, Croydon, and Essex came together to create a new sound that focused on bass, space, and togetherness. This marked the beginning of dubstep. The DMZ Crew DMZ, a record label and party series led by Mala, Coki, and Loefah, became one of dubstep's driving forces. With its anti-VIP ethos, DMZ created a unique environment where the focus was on the music and the community. The crew's approach to music was centered around creating an immersive experience, with Mala stating, "Playing your sound means that you enhance the experience of listening to it; to be able to control the environment in which people hear it." The First DMZ Party The first DMZ party took place in March 2005 at 3rd Base in Brixton. Coki recalls, "I was on the door for the first ever DMZ, and everyone was getting pissed off at me because I was letting people in for free." The party was a groundbreaking event, with Joe Nice, an early US champion of dubstep, describing it as, "a huge soundsystem, and the queue was around the block and down the hill." The Impact of DMZ DMZ's influence on dubstep cannot be overstated. The label and party series provided a platform for artists to experiment and push the boundaries of the genre. Loefah notes, "If it was a brand new tune, within 10 seconds of it dropping, if it was so mind-blowing you'd have to pull it up [rewind it and play it again]." The DMZ crew's emphasis on community and inclusivity helped to create a loyal following and foster a sense of belonging among fans. The Legacy of DMZ DMZ's legacy continues to be felt in the music scene today. Mala and Coki's recent performance at Fred Again's residency at London's Alexandra Palace is a testament to their enduring influence. As the dubstep scene continues to evolve, the contributions of DMZ remain a vital part of its history and identity.

The LeadDirector Romain Gavras and producer Benoit Heitz (Surkin) have launched the 'Visions of 2034' audio-visual exhibition and the 'Love & Tears' album, a decade-spanning project that serves as a prescient mirror to our current cultural anxieties. The exhibition, running from 12 June to 31 July at 180 Studios in London, features a collection of music videos and film clips that explore a future defined by conspiracy theories, off-grid living, and the absurdity of censorship.Curating a Dystopian Future: Key Works from the ExhibitionThe centerpiece of the exhibition is 'God Hates Space,' a video filmed in Ukraine years before the current conflict. It depicts young people fleeing to the woods due to fringe beliefs, such as the Earth being hollow. Surkin describes the aesthetic as a mix of 'confederate' imagery and 'Monster energy drink,' a style that has proven remarkably prescient as fringe culture moves mainstream. Another standout is 'Storm,' a video featuring Swedish rapper Yung Lean set in a 2034 boys' school, which gained significant traction for its choreography and controversial imagery.'God Hates Space': Explores hollow-earth conspiracy theories and off-grid living.'Storm': Features Yung Lean and viral choreography by Damien Jalet.'Neo Surf': Showcases young people in alien environments, emphasizing timeless youth culture.Viral Metrics and Cultural ResonanceThe 'Storm' video exemplifies the shifting landscape of music video consumption. Gavras notes that while the full video is long, the internet has taken over, recutting and resharing the most striking moments. This mirrors the reception of their earlier work, 'Born Free,' which was banned by YouTube for its graphic depiction of violence, yet was released simultaneously with the real-world execution of Saddam Hussein, which was not banned. This discrepancy highlights the ongoing debate between fictional shock value and real-world brutality.The Intersection of Art, Censorship, and PoliticsGavras and Heitz’s work consistently navigates the fine line between satire and provocation. The 'Storm' video, for instance, was embraced by both the American right (for its depiction of young men) and the French right (for a controversial map drawing), a rare feat in polarized media. The artists argue that the 'future is catching up with us' and that the 'shit kids do' remains timeless, regardless of technological advancements.The Future of Music Video CurationAs the 'future gets dumber way quicker than before,' the role of the director is evolving. Gavras suggests that creating timeless content requires focusing on the fundamental behaviors of youth rather than specific technologies that will soon become obsolete. The 'Visions of 2034' project implies a future where long-form artistic narratives are constantly dissected and repurposed by social media algorithms, requiring directors to adapt their strategies for both the gallery and the digital feed.