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Newcastle’s Knats Turn Regional Grit into International Jazz BuzzThe duo of King David-Ike Elechi and Stan Woodward have evolved from a rebellious school‑rock club to a BBC Proms‑featured jazz outfit, proving that northern optimism can thrive on the world stage.The Rise of Knats: From Bedroom Experiments to the BBC PromsFormed after a “Whiplash moment” in a local music club, the pair built a DIY sound on a Tesco guitar and church‑learned drums. Over a decade they added Ferg Kilsby (trumpet), George Johnson (sax), Sandro Shar (piano) and poet‑vocalist Cooper Robson, shaping a genre‑bending style that blends hip‑hop beats, drum‑and‑bass, and classic jazz influences from Charles Mingus to Miles Davis.Key Milestones and Numbers Driving Knats' MomentumBBC Proms appearance – first major national platform.Collaboration with former Black Midi frontman Geordie Greep (pro‑bono production).Support slot for R&B legend Eddie Chacon on his UK tour.Upcoming release of debut album A Great Day in Newcastle on 1 May via Fontana.Spring 2026 tour across the UK, preceded by a US showcase at SXSW in March.Shifting the UK Jazz Landscape Beyond LondonThe Knats’ story highlights the persistent north‑south disparity in live‑booking opportunities and arts funding. While London‑based initiatives like Tomorrow’s Warriors dominate the narrative, the band’s success underscores a growing appetite for regional jazz scenes, especially as they champion free‑for‑kids programmes reminiscent of the defunct county bands.Future Trajectory: From Regional Roots to Global StagesWith a debut album that tackles themes from toxic masculinity to local pride, the Knats aim to cement a “Geordie jazz” identity while eyeing broader exposure. Their plan includes establishing a free youth jazz hub in Newcastle by age 30, ensuring the next generation can bypass the London bottleneck and keep the northern jazz renaissance alive.

Guardian Sport Clinches Publisher of the Year at SJA AwardsThe Guardian Sport team walked away with the top honor at the Sports Journalists’ Association’s British Sports Journalism Awards on Monday, securing the coveted Sports Publisher of the Year title.Jonathan Liew Secures Fifth Columnist of the Year TrophyVeteran columnist Jonathan Liew was named Columnist of the Year for the fifth time in eight years, adding a bronze medal in the Football Journalist of the Year category to his accolades.Award Breakdown and Bronze WinnersSports Publisher of the Year: Guardian SportColumnist of the Year: Jonathan Liew (5th win in 8 years)Bronze – Football Journalist of the Year: Jonathan LiewBronze – Women’s Football Journalist of the Year: Suzanne WrackBronze – Sports Feature Writer (Long Form): Andy BullThe SJA judges praised the Guardian’s coverage as “a selection box of delights, consistently catering for many tastes.”What the Wins Signal for UK Sports JournalismThe double victory underscores the Guardian’s growing influence in sports media, reflecting a strategic emphasis on diverse, high‑quality storytelling. Head of sport Will Woodward described the moment as “an exciting time to be working at the Guardian,” while Liew noted the personal significance of the award.Future Outlook for Guardian Sport and Industry RecognitionWith the ceremony’s historic move to the London Palladium and a strong showing across categories, the Guardian is positioned to attract top talent and further cement its reputation. Analysts expect the brand’s continued investment in multimedia and long‑form features to drive additional accolades in upcoming award cycles.

The National Cyber Security Centre (NCSC) has officially stopped recommending passwords where passkeys are available, urging consumers to adopt the newer, phishing‑resistant technology for all digital services. NCSC Declares Passwords Obsolete in Favor of Passkeys In a statement released this week, the NCSC said passwords can no longer withstand today’s cyber‑threat landscape. Passkeys, described as a “digital stamp” stored on a user’s device, provide a password‑free login that leverages biometrics such as facial recognition or a device PIN. Adoption Rates and Breach Statistics Google reports that just over 50% of its UK users have a passkey registered. Research by Cybernews highlighted the exposure of billions of login credentials in recent data‑leaks, underscoring the fragility of password‑based systems. Common passwords like “123456”, “admin”, and “password” remain among the most used globally, according to Nordpass. Why Passkeys Could Redefine UK Digital Security Passkeys cannot be harvested through phishing attacks because the private component never leaves the user’s device. Even if a service is breached, the stolen data is useless without the corresponding device‑held private key. Experts such as Dave Chismon, senior tech expert at the NCSC, note that passkeys are faster and simpler for users than remembering complex passwords or navigating two‑factor authentication. Future Outlook: Widespread Passkey Adoption and Remaining Challenges Analysts expect rapid growth in passkey usage as more platforms integrate the standard and as public awareness rises. However, challenges remain, including the need for robust biometric safeguards and user education on protecting device PINs. Alan Woodward, professor of cybersecurity at Surrey University, points out that facial‑recognition technology now incorporates “proof of liveness” to thwart spoofing attempts, but the security ecosystem will continue to evolve in a cat‑and‑mouse dynamic. Key recommendations for users: Enable passkeys wherever offered; fall back to strong, unique passwords only when necessary. Activate two‑factor authentication on accounts that still rely on passwords. Keep device software and apps up to date to benefit from the latest security patches. Maintain strict control over device PINs and biometric data.

Equity’s Choreographers and Movement Directors Network (CMDN) says that theatre’s physical storytellers are still marginalised by awards bodies and should receive dedicated recognition.At the recent Olivier Awards, Fabian Aloise secured the best theatre choreographer prize for "Evita" at the London Palladium. While the network welcomed the visibility, it pointed out that the movement directors behind the nominated productions were omitted from any specific category, sparking a broader debate about the language used to credit theatrical creation.CMDN highlighted several movement directors whose work shaped this season’s most impactful shows, naming Leanne Pinder ("Punch"), Sarah Golding ("Kenrex"), Imogen Knight ("Dead Man Walking"), Jenny Ogilvie ("Into the Woods"), Sung Im Her ("The Glass Menagerie"), Lucy Hind ("Inter Alia") and Kloé Dean ("The Boy at the Back of the Class").Movement direction, the network explains, is not always dance but is essential to a production’s physical language, characterisation and dramatic flow. "If we celebrate the impact of physical storytelling, we must also evolve how we acknowledge the artists behind it," CMDN said.The network praised the Black British Theatre Awards for expanding their choreography category in 2022 to include movement direction, but noted that the UK Theatre Awards and Critics’ Circle Awards still lack dedicated categories for either choreography or movement direction.Founded in 2023 by movement director and choreographer Polly Bennett, CMDN now counts over 200 members. In a 2025 interview, steering‑group member Ellen Kane asked, "Why aren’t there Oscars or BAFTAs for choreography? Why aren’t we being credited?"Last month, more than a hundred theatre professionals signed a petition urging the Olivier Awards to create a separate video‑design category, arguing that the current system lumps video designers with other disciplines. This year’s Olivier winners illustrate the overlap: Tom Pye (set) and Ash J Woodward (video) shared the best set‑design award for "Paddington: The Musical", while Aideen Malone (lighting) and Roland Horvath (video) shared best lighting‑design for "Into the Woods".

Regents Opera's production of Strauss's Salome has been billed as 'Strauss's most dangerous opera', and it's clear that the company has risen to the challenge. The production, directed by Mark Ravenhill, features a modern-ish take on the classic tale, with a cast that brings righteous fury and dynamic clarity to the performance.The orchestra, led by conductor Ben Woodward, provides a 24-piece ensemble that, despite its relatively small size, delivers a surprisingly clear and balanced sound. The use of a custom arrangement by Nigel Shore and a runway-style stage that protrudes into the audience adds to the overall sense of intimacy and immediacy.The cast is led by Kirsty Taylor-Stokes in the title role, who brings a lush soprano and thrilling low notes to the performance. Her portrayal of Salome is both persuasive and compelling, and her Dance of the Seven Veils is a highlight of the production.The supporting cast is equally impressive, with Freddie Tong bringing a Wagnerian-scale voice to the role of Jochanaan and James Schouten delivering a rich and warm tone as Narraboth. The production's use of space and staging is also noteworthy, with the cast making dynamic use of the entire space in the opening scenes.Overall, Regents Opera's production of Salome is a must-see for opera fans, with its dynamic clarity and righteous fury making for a compelling and disturbing performance.

The United Kingdom’s cyber‑defence agency has issued a stark warning: Russian‑affiliated hackers are targeting everyday internet routers to conduct espionage operations. By compromising these edge devices, attackers can steal user credentials, redirect traffic to fraudulent sites, and potentially infiltrate other connected gadgets such as smartphones and computers. According to the National Cyber Security Centre (NCSC), the campaign appears opportunistic, casting a wide net before filtering for high‑value intelligence targets. This mirrors a broader trend where threat actors focus on hardware that bridges users to the cloud, often overlooking the security of routers and network cameras. Professor Alan Woodward of the University of Surrey emphasized that routers are frequently forgotten, becoming weak points in home and small‑business networks. "If a router is compromised, attackers can reroute users to fake banking sites, establish persistence on the network, and probe connected devices for further vulnerabilities," he explained. The NCSC attributes the activity to the notorious group APT28, also known as Fancy Bear, which is almost certainly linked to Russian intelligence services. APT28 previously orchestrated high‑profile attacks, including the 2015 breach of the German parliament that exposed confidential emails and legislators' schedules. In a parallel move, the U.S. Federal Communications Commission has prohibited the sale of all consumer‑grade routers manufactured outside the United States, citing "unacceptable risks to national security." The FCC warned that foreign‑made routers have been exploited to facilitate espionage, disrupt networks, and steal intellectual property. While most routers are produced in China or Taiwan, exceptions like Elon Musk’s Texas‑made Starlink devices are unaffected. Privacy specialists caution that a blanket ban will not resolve existing vulnerabilities, especially for legacy routers that no longer receive security patches. Woodward urged small businesses and individuals to keep firmware up to date and monitor network activity for anomalies. The article also revisits the 2016 Bangladesh central bank heist, where hackers siphoned $80 million by exploiting cheap, second‑hand routers that were exposed to the internet. Investigators believe a North Korean state‑linked group was behind that attack, illustrating how compromised routers can serve as gateways to critical financial systems. Overall, the NCSC’s alert underscores a growing geopolitical cyber‑threat landscape, where state‑sponsored actors leverage everyday hardware to gather intelligence and disrupt adversaries.

The film 'All the President's Men', directed by Alan Pakula and starring Robert Redford and Dustin Hoffman, premiered 50 years ago on Saturday at the John F Kennedy Center for the Performing Arts. The movie is based on the 1974 book of the same name by Washington Post reporters Bob Woodward and Carl Bernstein, which chronicled their investigation into the Watergate imbroglio that led to the downfall of President Richard Nixon. The film was a critical and commercial success, earning eight Oscar nominations and winning four, including best adapted screenplay for William Goldman and best supporting actor for Jason Robards as Ben Bradlee, the Post editor. The movie is widely regarded as a classic of American cinema and a landmark in the genre of journalism films. Jane Alexander, who played the role of Judy Hoback, the 'Bookkeeper' of the Committee to Re-elect the President, recalls her experience filming the iconic scene with Hoffman and Redford. She praises Pakula's direction and the attention to detail that went into recreating the Post's newsroom. The film's accuracy and attention to detail were indeed a hallmark of its production. Woodward and Bernstein worked closely with the filmmakers to ensure that the story was told accurately, and the production team went to great lengths to recreate the Post's office and the Washington D.C. of the 1970s. The article also touches on the impact of the film on the careers of its stars and the journalists it portrayed. Redford and Hoffman spent months researching and rehearsing their roles, and their performances are widely praised. Woodward reflects on the film's portrayal of him and its impact on his personal life. The anniversary of the film comes at a time when the media is under attack and the Washington Post, now owned by tech billionaire Jeff Bezos, has recently undergone significant changes. The film's themes of investigative journalism and the importance of a free press remain as relevant today as they were 50 years ago.