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In the heart of Buxton lies a remarkable wood, a self-willed and entangled haven of willows and birch, teeming with life. This site, boasting a species list of 870, primarily composed of insects, has become a beacon of biodiversity. The wood's diversity is largely attributed to the presence of willows and birch, two pioneer trees known for their invertebrate-friendly nature.The connection between insect abundance and birdsong is well-established, as the music of birds is fueled largely by invertebrate protein. A recent dawn-chorus walk in the area revealed 20 early spring vocalists, including song and mistle thrushes, dunnocks, wrens, bullfinches, and greenfinches, many of which are red- or amber-listed by the British Trust for Ornithology.However, the term 'dawn chorus' can be misleading, as the songs begin as early as 3:40 am and reach their peak around 4:30 am, long before the first light of dawn. The birds sing to proclaim territories and entice partners, leading to a complex harmony of competing voices. This phenomenon is beautifully described by Bernie Krause in his book The Great Animal Orchestra, which explores how the soundscape of any place reflects a kind of collective harmonizing among its inhabitants.It is disheartening, therefore, that High Peak borough council's plans threaten to disrupt this harmony. Despite declaring a nature emergency, the council appears unwilling to protect Hogshaw wood, instead considering it for a 'land bank' for development. This decision is particularly concerning given that the site is largely owned by the council and is one of the richest in nature in the area. The question remains: what is the meaning of declaring a nature emergency if it is not backed by concrete actions to protect and preserve our natural treasures?

Judith Rapoport, a leading child psychiatrist, passed away at 92, leaving a legacy defined by her groundbreaking work on obsessive‑compulsive disorder (OCD). Her 1989 book, The Boy Who Couldn’t Stop Washing, translated into more than twenty languages, presented complex research in a clear, jargon‑free style that resonated with a broad audience. OCD is characterized by compulsive rituals—re‑tying shoelaces, repeatedly checking switches, or incessant hand‑washing—that can dominate a person’s daily life. Before Rapoport’s book, many sufferers concealed their symptoms out of shame, unaware that they were not alone. Rapoport’s research demonstrated that OCD has a neurological foundation and may affect up to 2% of the population, challenging prevailing beliefs that it stemmed from overly strict parenting. She proved that the disorder can be hereditary and responsive to medication. In a pivotal 1989 double‑blind trial, she showed that the antidepressant clomipramine significantly reduced OCD symptoms, prompting the U.S. Food and Drug Administration to approve its use for the condition—a landmark moment in psychiatric treatment. Patients and colleagues credit her work with reducing stigma. "Reading Rapoport’s book washed away my shame," recalled Charles Gentz, who lives with OCD, while Professor Gabrielle Shapiro of the Icahn School of Medicine noted that the book “reduced the stigma for these people.” Rapoport herself reflected, “If my work alleviated just part of their pain, then it was not wasted time.” Born in New York City to a schoolteacher mother and a businessman father, she grew up with a literary lineage—her grandfather translated Ibsen into Yiddish. She excelled academically, graduating magna cum laude from Swarthmore College in 1955** and earning her medical degree from Harvard Medical School in 1959, where she met her husband, Stanley Rapoport. After early positions at Mount Sinai and the Massachusetts Mental Health Center, she and her husband secured fellowships in Sweden, conducting research at Uppsala University and the Karolinska Institute on women seeking abortions abroad. Returning to the United States, Rapoport joined the National Institute of Mental Health (NIMH) in 1976. There she led the institute’s child psychiatry branch from 1984, steering American psychiatry away from Freudian models toward a **biology‑focused** approach. Beyond OCD, she made significant contributions to the understanding of attention‑deficit hyperactivity disorder (ADHD) and childhood schizophrenia. Her 1978 study revealed that amphetamine improved concentration in both hyperactive and control children, contradicting the notion that stimulants only calm hyperactivity. Using MRI, she showed that childhood schizophrenia is progressive, involving loss of brain matter—a finding that shifted the focus from parenting to neurobiology. Rapoport’s expertise reached mainstream audiences through appearances on shows hosted by Oprah Winfrey and Larry King, further amplifying her message. By the time she retired in 2017, she had authored over 300 scientific papers, several books, and earned prestigious honors, including fellowship in the Institute of Medicine (1991) and the American Academy of Arts and Sciences (2000). Colleague Gabrielle Shapiro described her as “a pioneer who turned child psychiatry into a modern, evidence‑based discipline.” Outside the laboratory, she enjoyed music, theatre, hiking, and gardening. She is survived by her husband, two sons, and four grandsons.

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 Wireless music festival, scheduled to take place in July, has been cancelled after Kanye West, now known as Ye, was banned from entering the UK. The decision to ban Ye was made by the Home Office, citing that his presence in the UK would not be conducive to the public good.Ye had made an application to travel to the UK via an Electronic Travel Authorisation, which was initially granted online but later rescinded by Home Office ministers. The rapper has been criticized for making antisemitic remarks, including voicing admiration for Adolf Hitler and releasing a song called Heil Hitler.The festival's organizers had booked Ye to perform, but with only three months' notice, finding a replacement proved to be complex. Many artists would have had their summer schedule sorted months ago, making it difficult to fill the slot. The organizers stated that they were not giving Ye a platform to extol his opinions, but rather to perform songs that are currently popular.The decision to ban Ye has been welcomed by some, including Phil Rosenberg, the president of the Board of Deputies of British Jews, who said that music festivals should be places where all communities feel welcome, not venues that platform individuals with records of profiteering from antisemitism and other repulsive views.Ye joins a list of American cultural figures who have been banned from entering the UK, including Snoop Dogg, who was denied entry in 2007, and Tyler, the Creator, who was banned for four years in 2015.

Opening night of the Pet Shop Boys’ Obscure tour turned the Electric Ballroom in Camden into a shrine for deep‑cut enthusiasts. Frontman Neil Tennant opened with a cheeky promise – “no hits tonight” – and the crowd responded with delighted roars, eager for the rare material the duo had promised.The Obscure moniker is no accident. Tennant and synth‑master Chris Lowe rehearsed 35 songs from their 42‑year catalogue, deliberately sidestepping the familiar chart‑toppers in favour of B‑sides, album tracks and fan‑favourite deep cuts. A fan‑compiled Spotify playlist of 226 non‑single tracks illustrates just how vast the selection pool is, yet even that list fell short of the band’s final set.Two songs made their live debut: a never‑performed track from the unreleased stage show Naked titled “I Dream of a Better Tomorrow,” and the 1986 B‑side “Jack the Lad” from the Suburbia era, which had never before been heard on stage. Phones rose in the audience as Tennant sang the cheeky tale of a ne’er‑do‑well, capturing a moment that will likely become a new fan legend.Highlights included a soulful rendition of the 1990 ballad “To Face the Truth,” where Tennant’s hand‑over‑stomach gesture added a rare glimpse of vulnerability, and the 1987 piano‑driven “Do I Have To?” showcasing Lowe’s most tender synth‑piano work. The set also featured “King of Rome” (2009), its horn‑laden refrain enveloping the room in a warm, nostalgic glow.Interspersed with the music, Tennant acted as an urbane quizmaster, prompting the audience to shout B‑side titles and rewarding them with trivia – for example, a medley that combined 1993’s “One in a Million” with Culture Beat’s “Mr Vain,” performed for the first time since its original 1994 Latin America appearance.Closing the main set, the 2005 anthem “The Performance of My Life” evoked the duo’s early club‑scene roots, while the encore opened with the poignant B‑side “Your Funny Uncle” (1989), a lament that still resonates with listeners who first found solace in its lyrics during the AIDS crisis.In a final, forward‑looking moment, Tennant introduced “I Dream of a Better Tomorrow,” a brand‑new song taken from the unreleased stage production based on *The Emperor’s New Clothes*. He declared, “change is coming… the start of something new,” hinting at fresh creative directions beyond the archival focus of the tour.The Obscure run, part of the broader Dreamworld tour that began in 2022, demonstrates the Pet Shop Boys’ mastery of both pop craftsmanship and archival curation, offering fans a rare chance to hear the hidden gems that have long lived in the shadows of their massive catalogue.

James Gunn's early feature film Slither, initially released in 2006, is being re-released in cinemas ahead of its 20th anniversary. The film, a comedy horror with a heavy focus on body horror, was Gunn's first feature-length project. At the time, it was met with commercial disappointment but has since garnered attention due to Gunn's subsequent success with major franchises such as Guardians of the Galaxy and Superman.The film's plot revolves around an alien lifeform that crash-lands on Earth and takes over a small town in South Carolina. The alien larvae, resembling flaccid phallic worms, infect the townspeople through various orifices, turning them into evil minions or hideously swollen incubators. The movie features Michael Rooker, Elizabeth Banks, and Nathan Fillion in key roles.Despite its thinly conceived science fiction elements and reliance on rubbery practical effects and lame jokes, which align more closely with the style of Troma, a production company where Gunn got his start, the film does showcase Gunn's early experimentation with comic timing and musical cues. A notable scene features a killing spree set to Air Supply's 'Every Woman in the World', a technique Gunn would later refine in his Guardians of the Galaxy films.The cast, including Michael Rooker and Elizabeth Banks, appears to be enjoying the film's humor, bringing some bright spots of wit and amusement to the movie. Slither is set to re-release in UK cinemas on April 10 and will be available on digital platforms from May 1.

Harry Styles has announced the full programme for this year’s Meltdown Festival at the Southbank Centre, positioning the pop star as curator of a multi‑genre celebration that runs from 11 June to 21 June. In addition to headlining a solo show on 16 June at the Royal Festival Hall, Styles will perform amid his ongoing Wembley Stadium tour, while the festival showcases a broad spectrum of talent ranging from jazz to electronic dance music. The jazz segment features two sets by acclaimed US saxophonist Kamasi Washington: one dedicated to his album Fearless Movement and another titled “Jazz Legends Reimagined,” where he will reinterpret classic jazz compositions. Ethiopian‑born pioneer Mulatu Astatke returns after a farewell‑tour appearance, and the UK scene is represented by drummer Yussef Dayes and reed virtuoso Shabaka, who will join a collective of collaborators. Indie and rock offerings include LA band Warpaint (performing their sole gig of the year), British singer‑songwriter Nilüfer Yanya, and a mix of emerging and veteran acts such as Bar Italia, Stephen Fretwell and Getdown Services. Former Maccabees frontman Orlando Weeks will deliver a hybrid set of music and storytelling, while Devonté Hynes (known as Blood Orange) will present a classical‑inspired performance with musicians Adam Tendler, Cæcilie Trier and Tariq Al‑Sabir. On the pop front, rising stars Erika de Casier and Fousheé will provide some of the season’s most forward‑thinking tracks. The electronic roster spans ambient pioneer Beverly Glenn‑Copeland, an improvised collaboration featuring Jon Hopkins, Maddie Ashman and Leo Abrahams, high‑tempo EDM from Australia’s Ninajirachi, and a DJ set by James Murphy of LCD Soundsystem. A parallel programme of free, family‑friendly events will showcase “a mix of appearances from Styles’ favourite artists beyond music,” according to the Southbank Centre. Speaking about the festival, Styles said: “Music is my life; every artist involved in this year’s Meltdown festival means so much to me, both as a fan, and a musician. It’s a true honour to host legends who have paved the way for the generations that follow them, as well as new acts that have inspired me to push my creative boundaries.” Tickets become available on 9 April for Southbank members and 10 April for the general public, with the event promising a unique blend of established icons and cutting‑edge talent.

UK manufacturers are facing a significant increase in business rates, with a projected annual hike of £940m due to changes introduced by Chancellor Rachel Reeves. These changes, effective this month, have sparked concerns among industry leaders.The increase is attributed to the government's decision to raise business rates at the budget in November, which included an additional surcharge on buildings with a rateable value of more than £500,000. This move has been criticized by MakeUK, an industry lobby group, as it disproportionately affects manufacturers with large factory floors.According to MakeUK, factories account for a fifth of England and Wales's property by rateable value, despite manufacturers only contributing a 10th of economic output. The lobby group argues that the current system of business rates is outdated and unfair, leaving manufacturers paying disproportionately more than other sectors relative to their size.Verity Davidge, policy director at MakeUK, stated: "The current system of business rates is outdated and is a blunt instrument that leaves manufacturers paying disproportionately more than other sectors relative to their size. This increase couldn’t come at a worse possible time and is set to hammer one of the government’s key strategic sectors which is already facing existential threats from increased energy and employment costs which are completely out of their control."The government has faced backlash from various sectors, including pubs and live music venues, and has made some concessions, such as announcing £80m in discounts in January. However, MakeUK is calling for further support, including a year's notice before raising rates and a more nuanced system that takes into account business turnover, size, and type.A government spokesperson responded to MakeUK's analysis, stating: "We have the right economic plan - we’re reforming business rates to back manufacturing, with a £4.3bn support package to limit bills rises, alongside capping Corporation Tax at 25%, cutting red tape and taking action on energy by reducing electricity bills by up to 25% for over 7,000 businesses."

Universal Music Group (UMG), the world's largest music company, has received a takeover offer from billionaire Bill Ackman's hedge fund, Pershing Square. The deal values UMG at over €50bn (£44bn). Pershing Square, based in New York, has offered a cash and stock deal to acquire the business, which is home to renowned artists such as Taylor Swift and Elton John.Ackman stated that while UMG, led by British-born Sir Lucian Grainge, has done an excellent job in nurturing its artist roster and generating strong business performance, its share price has lagged due to issues unrelated to the performance of its music business. He specifically mentioned the delay in UMG's US listing, underutilization of its balance sheet, and uncertainty around the French conglomerate Bolloré Group's 18% stake in the company.Shares in UMG, listed in Amsterdam since 2021, have lost more than a quarter of their value in the past year. The company is one of the 'big three' record labels, alongside Sony Music Entertainment and Warner Music Group, with a diverse roster ranging from classical music to stars like Adele, Drake, and Ariana Grande.Ackman also cited a 'lack of investor credit' in the company's valuation of its €2.7bn stake in the music streaming service, Spotify. Pershing Square, which Ackman established in 2004, controls over $26bn in assets and bought a 10% stake in UMG in 2021.As part of the proposed deal, Pershing Square would add Michael Ovitz, a veteran talent agent, as chair, along with two representatives from Pershing Square to UMG's board. The deal would also involve a new employment contract and compensation arrangement for Sir Lucian Grainge. Under the terms, UMG would merge with a blank-cheque company set up by Pershing Square and then list on the New York Stock Exchange. Shareholders would receive a total of €9.4bn in cash and 0.77 shares in the new company for every Universal share they own, representing a 78% premium compared to the company's closing share price on Thursday.