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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 Final Artistic Statement Georg Baselitz's final exhibition presents a powerful, emotional reckoning with death by the influential German artist who died in April at age 88. The works, created while Baselitz was frail and facing mortality, showcase his signature inverted figures and chaotic style as he confronts his own mortality. A Visual Journey Through Mortality On one wall, a body falls calmly through a serene blue sky. On the opposite, splat, it's landed with a thud on the blood-spattered mud. You don't need to be an expert in image analysis to figure out what Georg Baselitz's final paintings are about: death was coming for him, and he knew it. Baselitz painted these final works from a wheeled office chair with a paintbrush on a stick, the canvas splayed out on the floor in front of him, his body not strong enough to stand like it used to. But they are still immediately recognisable as Baselitz works, filled with scrawled nude bodies, hung upside down to disorientate the viewer and subvert your gaze. The Physical Manifestation of Aging It's just that now the chair has left mucky tracks across the paintings, evidence of the slow creep of decrepitude. The figures in these works, as usual, are mainly him and Elke, his wife and great muse. It's their sagging skin and brittle limbs scrawled on every work. As soon as you walk in and see that body falling through the sky you know exactly what Baselitz was dealing with: life is a trip, a rush, and then bang, you hit the dirt and you're dead. Desperate Struggles Against the Inevitable Instead of still and calm, the figures are flailing and thrashing, they've grown extra limbs, they are fighting against what's coming, they are panicked, manic. They look like spiders trying to climb out of a bathtub, and he repeats them over and over. The final gallery is filled with these enormous golden insectile forms wriggling on black canvases, falling into the abyss, trying desperately to escape. They're pretty horrifying things, bleak, angry, filled with fear. Canonization Through Art Things are calmer in the room of golden canvases. Here, his and Elke's bodies are papery thin, fragile things. You can barely distinguish one from the other, they've almost become one figure now. For years, we've been watching Baselitz's figures become frailer and weaker – he wasn't a prolific painter, and he had his fair share of exhibitions, so we got to see him age over time, his lines become shakier, his figures become saggier and more gaunt. But this is another level, a sense of finality, of impending morbidity, of bodies broken beyond repair. With the gold canvases, it's like he's canonising himself and his wife, turning the figures into Byzantine religious icons. The Artist's Legacy Baselitz said, "Now that I'm more or less at the end of my painting activity, I thought I should draw some kind of conclusion." The eagles, the bodies, the references to art history: this is him reaching for all of the touchstones of his life in art. He knew, I guess, that artists outlive themselves through their work, and these are objects to be worshipped long after he's gone. How could you not be moved by a painter this important, trying to say goodbye and doing it so beautifully? He wanted a conclusion, well here it is, a full stop on a career. Or an exclamation point. What a painfully sad goodbye. Exhibition Details Georg Baselitz: Back Again is at White Cube Bermondsey, London from 10 June to 30 August 2026.

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.

The Film's Unique Blend of Humor and Seriousness Spielberg's 'Disclosure Day' is a very enjoyable and entirely ridiculous space-alien conspiracy adventure. The film is cheerfully mischievous and deadly serious in equal measure, drawing inspiration from Hitchcock's 'North By Northwest' and Christopher Nolan's 'Inception', as well as Spielberg's own body of work. The Plot and Main Characters The film follows Emily Blunt as Margaret Fairchild, a local TV weather presenter who develops strange mental powers after encountering a mysterious red bird. Josh O'Connor plays Dr. Daniel Kellner, a cybersecurity analyst who becomes a whistleblower at a secretive corporation called Wardex. Colin Firth stars as the sinister Wardex supremo Noah Scanlon. The Film's Themes and Messages 'Disclosure Day' explores themes of government secrecy, alien encounters, and the power of empathy. The film asks us to believe that if the truth about alien life were to come out, people everywhere would be upset at the way captured aliens have been treated. The Performance and Direction Emily Blunt gives a standout performance as Margaret Fairchild, bringing humor and hyperactivity to the role. Spielberg's direction is, as always, masterful, balancing action, suspense, and humor. The film features barnstorming set-pieces, exhilarating chases, and funny lines. The Film's Impact and Legacy 'Disclosure Day' is a fun and entertaining film that is sure to delight audiences. While it may have some minor flaws, the film is a great addition to Spielberg's oeuvre and a testament to his enduring talent as a filmmaker.