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Witnessing Three Decades of Displacement: Abdel Mahdi al‑Wuheidi’s StoryAbdel Mahdi al‑Wuheidi, an 85‑year‑old resident of the Jabalia refugee camp, sits beside a small fire in his partially destroyed home, reflecting on a life marked by forced migrations, wars, and relentless loss.From 1948 Nakba to the 2023‑2025 Gaza CatastropheThe narrative spans the original 1948 Nakba, the 1956, 1967, and later conflicts, culminating in the October 2023 war and the October 2025 ceasefire that briefly allowed a return to a devastated Jabalia.Chronology of Forced Relocations and Wars1948 – Family flees Bir al‑Saba (Beersheba) for Gaza after Israeli forces capture the city.1956 – First major Arab‑Israeli war; living conditions in Jabalia worsen.1967 – Six‑day war deepens the sense of exile.2000‑2005 – Second Intifada; intermittent Israeli incursions.October 2023 – New Israeli offensive forces Abdel Mahdi and his wife to flee multiple times.October 2025 – Ceasefire announced; limited return to a rubble‑strewn Jabalia.Human Cost and the Erosion of the Right of ReturnAbdel Mahdi recalls his father’s promise of a right of return, a promise that has never materialised. Decades of blockade, repeated demolitions, and the latest war have erased “every stone, every tree,” leaving the elderly couple with nothing but memories and a broken sense of dignity.What the Future Holds for Gaza’s Elderly RefugeesDespite promises of reconstruction, Abdel Mahdi doubts any swift improvement. He warns that without genuine international pressure and a viable pathway to return, Gaza’s oldest survivors will continue to endure “an ongoing catastrophe” for the rest of their lives.

The Allure of Sonic ExtremesBowel-shuddering basslines. Drum fills that bounce off the walls like gunfire. Guitars resembling a pneumatic drill drilling into another pneumatic drill. A truly loud gig stays with you, figuratively and literally, as anyone who has spent the days after one accompanied by a troubling ringing in their ears can confirm.Last week, prompted by an old Alistair Cooke column suggesting that Janis Joplin's group Big Brother and the Holding Company was noisy enough to cause permanent hearing damage in guinea pigs, The Guide asked readers to share their own loudest gig experiences. The response was overwhelming, with countless readers sharing memories of eardrum-piercing encounters with all manner of bands and artists, across genres and decades.The Technical Frontiers of Live SoundWe should probably insert the obligatory disclaimer here: loud gigs can be genuinely bad for your ear health – just look at the brilliant early 80s post-punk band Mission of Burma, who had to disband for the best part of two decades due to guitarist Roger Clark Miller's punishing tinnitus. The environments that Burma and bands before them played in were a sonic wild west, with minimal soundproofing in venues or, in the ear canals of the people performing in those venues.Thankfully technology has moved on since then: many concertgoers now carry decent pairs of earplugs, and venues often provide free alternatives at the bar. Yet some still succumb to the cheap, inadvisable thrill of experiencing music completely unprotected.The Auditory Cost of Musical PassionThe physical consequences of extreme volume are well-documented. Mission of Burma's hiatus due to tinnitus represents just one example of how loud performances can have lasting health effects. The human ear can withstand approximately 85 decibels continuously for eight hours, but at 110 decibels – the level of many rock concerts – safe exposure time drops to less than two minutes.Despite these risks, the pursuit of sonic intensity continues. As one reader noted about seeing Swans in 1987: "You couldn't think of anything other than the noise while it was happening. People streamed out. I stayed and now wear hearing aids. But it was extraordinary." This trade-off between auditory safety and musical transcendence remains central to concert culture.Cultural Significance of VolumeVolume in live music has always been tied to cultural significance. From Deep Purple in the 1970s to modern experimental acts, extreme sound has been used to create immersive experiences that transcend mere entertainment. Guardian critic Alexis Petridis described seeing My Bloody Valentine: "Earplugs were distributed at the door. Even wearing them, the quite extraordinary volume was inescapable. It made your clothes move, independently of your body."Different genres approach loudness differently. Doom metal acts like Sunn O))) use volume as an atmospheric tool, while electronic artists such as Rosalía incorporate orchestral elements at jet-landing volume. Each approach creates a unique sensory experience that defines the relationship between performer and audience.The Future of Loud Music and Hearing ProtectionAs awareness of hearing health grows, the future of loud concerts may involve a balance between intensity and safety. Advances in hearing protection technology – from high-fidelity earplugs that preserve sound quality while reducing volume to in-ear monitors for performers – suggest that extreme sonic experiences need not come at the cost of long-term hearing damage.Yet the fundamental appeal of overwhelming sound likely remains. As Laura Snapes wrote about experiencing Angine de Poitrine: "I felt like I'd been lashed to the prow of Mad Max's rig as it screamed through the desert (this is a compliment)." The pursuit of transcendent musical experiences – even when they leave our ears ringing – appears to be an enduring aspect of human culture.

The LeadFalling seriously ill, like falling in love, can happen all of a sudden – although this film is not exactly about either. Ryusuke Hamaguchi's new movie, co-scripted with the Franco-Japanese screenwriter Léa Le Dimna and his first not set entirely in Japan, is a bold and high-minded if rather pedagogic work that spreads itself over three hours. It's tender and sometimes beautifully made, but also contrived and occasionally features some too-good-to-be-true caring characters. Frankly, it's rather precious.The Film's International VisionHamaguchi and Le Dimna have taken as their starting point the nonfiction book "You and I: The Illness Suddenly Get Worse" by Makiko Miyano and Maho Isono, a meditative correspondence between a philosopher and medical professional on the subjects of love and mortality. Hamaguchi has opened this out to create a drama set in Paris and Kyoto, and it's incidentally hard not to suspect that Hamaguchi, like many a celebrated movie director spending so much time on the international festival circuit, has been led to create an uneasy international mixture.Care Home Dynamics and CharactersMarie-Lou (Virginie Efira) is the director of a private care home in Paris called the Garden of Freedom, where they practise a care technique called "humanitude," a time-consuming patient-centred approach that exasperates old-fashioned nurse Sophie (Marie Bunel). It needs more staffing facilities than the home is prepared to provide and, in any case, Marie-Lou has a bad habit of being patronising to those who question her. For all that, there are some lovely scenes with caregivers and patients, and these observant, unfussily compassionate moments are where the film works best.Cross-Cultural ConnectionsMarie-Lou is stressed and overworked, and her life is upended when she encounters an autistic Japanese teen called Tomoki (Kodai Kurosaki) in the street, apparently lost; he is being looked after by his grandfather, Gorô (Kyōzō Nagatsuka), an actor in town performing in an experimental piece about psychiatric care in which Tomoki is encouraged to take part if he feels like it. The show is directed by Mari (Tao Okamoto), and her stylish calm and intelligence entrances Marie-Lou; they are clearly on the verge of an intense friendship and perhaps more, although the film is reticent on this last point.Philosophical Exchanges and Narrative ConcernsMarie-Lou comes to a performance, stays for the Q&A; afterwards and reveals herself to be fluent in Japanese, asking questions of Mari in that language which touch on Mari's very serious illness. Some in the audience rather plaintively – and understandably – call for the conversation to be in French, though this film comes close to being insufferable when Gorô solemnly tells everyone that their exchange was so intimate and meaningful that the audience should be content with simply sensing that.The Film's Strengths and WeaknessesAll of a Sudden works best entirely outside the exotically overwritten, overthought bond between Mari and Marie-Lou. The realist set pieces are very moving, showing us patients with dementia surrounded by their families, and also showing us, often with photos of their younger selves in demanding jobs, how these patients have changed. The film's high concept is a little self conscious.All of a Sudden screened at the Cannes film festival.

Executive Summary: Farhadi Condemns Civilian Deaths in IranAt a press conference on the Cannes Croisette, Oscar‑winning Iranian filmmaker Asghar Farhadi described the recent loss of civilian lives in Iran as “extremely cruel and tragic”. He stressed that condemning state violence and war‑related bombings are not mutually exclusive positions.Farhadi’s Cannes Press Conference Highlights Dual TragediesSpeaking after the premiere of his new Paris‑set drama Parallel Tales, Farhadi was asked about artistic freedom in France, the ongoing Iran‑US‑Israel conflict, and the repression of protesters at home. He recounted two recent events that have haunted him:The killing of innocent civilians, including children, in the war.The death of demonstrators shot during protests in Tehran.“Both events are extremely painful and will never be forgotten,” he said.Quantitative Context: Lack of Reported Casualty FiguresThe Guardian article provides no specific casualty numbers, making it impossible to quantify the scale of the tragedies. Farhadi’s remarks therefore rely on moral weight rather than statistical evidence.Implications for Iranian Cultural Dissent and International PerceptionFarhadi’s statements reinforce a growing chorus of Iranian artists speaking out against state repression and the humanitarian toll of the war. By linking artistic expression with political condemnation, he:Highlights the moral responsibility of filmmakers in exile.Adds pressure on the Iranian regime, which has already forced several directors, including Jafar Panahi and Mohammad Rasoulof, into exile.Signals to the international community that cultural platforms like Cannes can serve as stages for human‑rights advocacy.Future Outlook: Potential Escalation of Artistic ProtestFarhadi has vowed not to work in Iran while censorship persists and has urged fellow filmmakers to denounce the war as a “war crime”. If his stance resonates, we may see:Increased participation of exiled Iranian artists in high‑profile festivals.Greater scrutiny of Iran’s human‑rights record by global media and policy makers.Potential backlash from Iranian authorities aimed at silencing dissenting voices abroad.

The Transformative Night in Blackpool Bronzed, with winged tips and doused in Le Male, I clamped the baby pink GHDs to my hair until they sizzled and singed it. Emerging from a cloud of cheap hairspray, I was ready for the dancefloor. I was 18 and had grown up in Blackpool, a place synonymous with hedonism and fun. I came out in high school at the age of 14 and from 16 I studied performing arts at a local college. Underage, I was smuggled into clubs and in my spare time I watched shows in our many beautiful theatres. The bright lights of the illuminations, the showgirls, the feathers, sequins and rhinestones were intoxicating. Blackpool really was – and still is – extraordinary. When the bar closed, a new adventure would begin. One night, as the sun was coming up (and as was I), a drag queen took me back to her place. I didn't know the significance of what I was about to experience, but I was to receive an education no university course could ever match. The drag queen was a Liza Minnelli tribute act. She knew every beat of every Liza film, every concert, every move of choreography. She performed as Liza in all the bars around town. Now I was ordained by being welcomed into her home. This moment could be the plot of a movie with Blackpool as a beautiful backdrop to my coming out/coming-of-age fantasy The Muppet Show That Changed Everything Was I ready to be indoctrinated? Very. She led me to the living room for a VHS screening of what I was told was one of Liza's finest performances. I was expecting Cabaret, the winner of eight Academy Awards, but not on this occasion. She sat me on the sofa and played Episode 414 of The Muppet Show from 1979, with special guest the one and only Liza Minnelli. The premise works so beautifully for exactly the same reason that The Muppet Christmas Carol is so beloved. In that film, Michael Caine gives the performance of his life in a movie almost entirely populated by felt characters, and in her guest episode Liza matches him in commitment. Take the musical number Copacabana she performs: the curtain goes up and Liza is smoking. She is the narrator, the storyteller, in a Funny Face-esque black polo neck that gives a real sense of gravitas to those Barry Manilow lyrics. Moments later, she is Lola, dancing with human-sized muppets. Or in another scene Liza holds Kermit while they sing A Quiet Thing together. Their connection is pure and tender, a thing of simplicity and gentleness. A Career Born from Inspiration As I reflect on this story nearly 20 years later, I am now 10 years sober and while life might well be a cabaret, the decadence of my early youth is firmly in the past. But I think back to this moment, which could be the plot of a movie with Blackpool as a beautiful cinematic backdrop to my coming out/coming-of-age Technicolor fantasy. I didn't know at the time, but this incident set me on the path to my current profession. Four years later, in 2011, I started making cabaret performances in south London at the famed Royal Vauxhall Tavern at nights such as Duckie, where my turns were packed full of wigs and jockstraps, fake blood and mascot costumes. In 2015, I joined the international circuit when I became part of big touring pieces of variety and circus spectacle, showing off in the US, Australia, New Zealand and London's glittering West End. I once performed a 107-hour durational piece in drag at Glastonbury and at the Adelaide fringe, as a teenage girl who wouldn't leave her bedroom. A Lifelong Dedication to Liza's Legacy Ever since that fateful night back in Blackpool in the 2000s, Liza has been a hero of mine. I saw her live in concert at the Royal Festival Hall in London in 2013. I have a Liza tattoo on my right thigh. Back in 2019, I did an eight-hour performance in an old deconsecrated church in Brighton, dressed as Liza Minnelli, performing her album Results in full, emulating through endurance art Liza's beautiful commitment to performance. Pet Shop Boys, who produced Liza's Results album, even heard about what I was up to and said my performance sounded great. The Enduring Impact of a Single Performance And if you ever see one of my shows, please understand that the technical foundation of my performances isn't drama school training or Stanislavski; it's Liza on The Muppets. Truth be told, I don't know where the drag queen in the story is now. I hope she's OK, but if I did see her I'd say: "Thank you for changing my life." Harry Clayton-Wright's show Mr Blackpool is at the Grand theatre, Blackpool, 20 May.

The Airstrike on a Gaza City Apartment Building Israel conducted a precision air strike on a residential apartment block in Gaza City on 16 May 2026. Local authorities reported that the building was hit by multiple missiles, leading to a fire that engulfed several floors. Location: Central Gaza City residential district Target: Apartment building (civilian structure) Time: Early morning hours, local time Casualty Figures and Immediate Aftermath Initial reports from Gaza health officials indicated a high number of civilian casualties, though exact figures were still being verified. Emergency services struggled to reach the site due to ongoing security concerns. Confirmed deaths: dozens (exact number pending) Injured: hundreds requiring medical attention Displacement: Residents of the building and neighboring units forced to evacuate Implications for the Israel‑Gaza Conflict Dynamics The strike marks a significant escalation in the pattern of urban targeting within the conflict. International observers have expressed alarm over the potential breach of humanitarian law, emphasizing the need for proportionality and distinction in densely populated areas. Potential rise in retaliatory actions from armed groups in Gaza Increased diplomatic pressure on Israel from UN bodies and human‑rights organizations Heightened risk of civilian displacement and humanitarian crises in Gaza Potential Trajectory of Military Operations Analysts suggest that the air strike could lead to a short‑term surge in hostilities, with both sides preparing for intensified engagements. However, the extent of any further escalation will likely depend on diplomatic interventions and the ability of humanitarian agencies to access affected areas. Monitoring of cease‑fire negotiations in the coming weeks Possible expansion of air operations targeting additional urban sites International calls for an immediate humanitarian pause to allow aid delivery

The Canceled ExhibitionA UK artist has come to the defense of their artwork titled "Drawings Against Genocide" following the unexpected cancellation of their exhibition. The artist, whose identity has not been fully disclosed, has expressed frustration and confusion over the decision to pull the show, which was scheduled to display powerful visual commentary on genocide and human rights violations.Artistic Intent and ControversyThe "Drawings Against Genocide" series reportedly features graphic illustrations depicting historical and contemporary genocides, aiming to raise awareness and provoke dialogue about these atrocities. The artist has emphasized that the work is intended as a form of remembrance and education rather than sensationalism. Despite these intentions, the exhibition's cancellation suggests that the content may have been deemed too controversial or sensitive by the hosting venue.Freedom of Expression DebateThe incident has sparked a broader conversation about artistic freedom and the boundaries of acceptable content in public exhibitions. Supporters of the artist argue that art should challenge societal norms and address difficult subjects without fear of censorship. Critics, however, may contend that certain imagery could be distressing or inappropriate for public display, particularly in spaces accessible to diverse audiences.Institutional ResponseThe venue responsible for canceling the exhibition has not provided detailed public comments regarding their decision. This lack of transparency has further fueled speculation about the motivations behind the cancellation. Art institutions often face difficult decisions when balancing artistic expression with community standards, public sensitivities, and potential backlash from various stakeholders.Future of the ArtworkDespite the cancellation, the artist has indicated that they are seeking alternative platforms to display the "Drawings Against Genocide" series. This includes exploring digital exhibitions, independent art spaces, or international venues with different content policies. The artist has also expressed openness to dialogue with the original venue to understand their concerns and potentially address them in future presentations of the work.

The latest humanitarian convoy, staged at a Libyan port, is poised to set sail for Gaza, aiming to alleviate the dire shortages faced by civilians in the enclave.Libyan Port Mobilizes Humanitarian Convoy for GazaDate: 2026-05-16Location: Libyan Mediterranean port (specific port not disclosed)Organisers: Coalition of UN agencies and regional NGOs, including the Red CrescentPurpose: Transport essential food, medical supplies, and shelter materials to GazaAvailable Figures on Aid Volume and ValueOfficial sources have not released precise numbers, but preliminary reports indicate the convoy comprises dozens of trucks loaded with mixed humanitarian cargo. No monetary valuation has been disclosed.Potential Ripple Effects on Regional Humanitarian LogisticsThe departure of the convoy could set a precedent for future aid routes through North Africa, potentially easing bottlenecks that have hampered previous deliveries. It also highlights the strategic importance of Libyan ports as transit points for relief supplies to the Eastern Mediterranean.Outlook for Subsequent Aid Deliveries and Diplomatic CoordinationStakeholders anticipate that successful navigation of security and customs procedures will encourage additional convoys from neighboring countries. Ongoing diplomatic talks aim to streamline clearance processes, ensuring a steadier flow of assistance to Gaza in the coming weeks.

Lead: WHO Updates Hantavirus NumbersThe World Health Organization announced on May 15, 2026 that the worldwide count of hantavirus infections stands at 10, down from the previously reported 11 after a negative test result was confirmed for one individual.Event Detail: Revised Global Case Count and Ship StatusMaria Van Kerkhove, director of WHO’s Department for Epidemic and Pandemic Preparedness and Prevention, explained that the earlier figure included an inconclusive case that the United States later verified as negative. The outbreak originated on the Dutch luxury cruise liner MV Hondius, which departed Argentina on a polar expedition.Three passengers have died, but the ship’s 26‑member crew and captain remain on board, showing no symptoms as of the latest monitoring.Data Analysis: Breakdown of Confirmed, Probable, and Fatal CasesLaboratory‑confirmed cases: 8Probable cases: 2Total deaths reported: 3The WHO Director‑General Tedros Adhanom Ghebreyesus reiterated that the overall risk to the global population is “low,” though he warned that the six‑week incubation period could lead to additional reports as passengers return home.Impact Analysis: Public‑Health Risk Assessment and Cruise‑Ship ProtocolsThe outbreak involves the Andes virus strain, notable for its ability to spread between humans through prolonged close contact, unlike most hantaviruses that are rodent‑borne. WHO is coordinating with authorities in Argentina, Chile, and Uruguay to manage body handling, quarantine, and testing procedures.Passengers will be isolated in specialized facilities or at home, and ongoing laboratory testing is intended to contain further spread.Future Outlook: Ongoing Monitoring and Potential New CasesGiven the long incubation window, WHO expects “more cases may be reported in coming days” as travelers are screened. The organization stresses that current control measures are effective, but continuous surveillance of both passengers and crew remains essential.