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The quest to find Australia's oldest playable musical instrument has led to the discovery of several remarkable pieces. A 16th-century double bass crafted by Gasparo da Salò, a renowned luthier, has been found to be one of the oldest playable instruments in the country. Currently on loan to Max Bibeau, principal double bass for the Australian Chamber Orchestra (ACO), this instrument was made around 1580 in Brescia, Italy. Only a handful of such instruments exist globally, and Bibeau's relationship with the double bass was not immediate. He notes that it took considerable time and effort to 'wake it up' and make it playable again. The instrument had been stored in an abbey in northern Italy for centuries before being discovered by German bass player Prof Günter Klaus in the late 1960s. Culturally, the yidaki (didgeridoo), a sacred instrument to the Yolŋgu people, is likely Australia's oldest instrument, with a history spanning thousands of years. For an exhibition in 2017, curators at the South Australian Museum worked with Yolŋgu community members to restore a selection of the oldest and most unique yidaki to playing condition. The oldest restored yidaki was made around 1890. Another contender for the oldest instrument is a piano from the First Fleet, a 'square' piano made by Frederick Beck in 1780. This instrument, now housed at the Western Australian Academy of Performing Arts, has a softer and smaller sound compared to modern pianos. The oldest instrument found in Australia is an ocarina from Colombia, estimated to have been made around AD 1200. This ancient vessel flute is part of a collection of 830 musical instruments donated to the Queensland Museum. While it can produce a sound, its original sound and playability are uncertain due to its fragility and age. The wood used for the front of Bibeau's da Salò bass has been dated to a tree growing as early as 1266. According to Bibeau, age can enhance an instrument's sound, but it requires careful preservation and play to maintain its quality. He notes that 'instruments need to be played' and that 'the more it vibrates, the better it vibrates.'

Deep in the Democratic Republic of Congo (DRC), a tireless conservationist is working to safeguard the future of the critically endangered Grauer's gorilla. Dominique Bikaba, founder and executive director of Strong Roots Congo, has dedicated his life to protecting these majestic creatures and their habitats.Bikaba's journey into conservation began in 1992, driven by a desire to mediate tensions between park authorities and displaced communities. His work is deeply personal, rooted in his own experiences growing up near Kahuzi-Biega national park, where his family was displaced in the 1970s. The park, a sanctuary for Grauer's gorillas, elephants, and a rich array of wildlife, is a landscape of immense biological wealth and political fragility.The Grauer's gorilla, the largest subspecies of primates, can weigh up to 250kg (39st). However, their numbers have drastically declined due to conflict, slash-and-burn agriculture, and hunting for bush meat. Before the conflicts, there were approximately 17,000 Grauer's gorillas; by 2016, that number had dwindled to around 3,800.Bikaba's organization, Strong Roots Congo, aims to create a biodiversity corridor linking Kahuzi-Biega national park with Itombwe nature reserve. This ambitious project seeks to secure 1m hectares of land for wildlife and Indigenous communities, formalizing customary land rights and promoting coexistence. So far, Strong Roots has helped establish 23 community forests, covering about 600,000 hectares.Bikaba emphasizes the importance of community-led conservation. "What we are doing is putting communities back together, so they can thrive together as they have done for centuries," he says. His approach contrasts with traditional conservation models that often cast local people as threats. Bikaba believes that humans are part of nature and that there is much wisdom to be learned from communities living in forests.Despite the challenges posed by ongoing conflict in eastern DRC, Bikaba remains committed to his work. "If there is one thing we should avoid in life, it's war," he says. "If there is a way we can stop war in this region, we should do it. No matter the cost."

Nicola Jennings, a renowned cartoonist for The Guardian, has created a thought-provoking cartoon illustrating the Artemis II mission's achievement of reaching the far side of the moon.The cartoon, published on April 6, 2026, showcases Jennings' unique perspective on space exploration and the advancements made by NASA through the Artemis program.The Artemis II mission marks a significant milestone in space travel, as it ventures further into the lunar environment, paving the way for future manned missions to the moon and beyond.

Online betting platform Polymarket has come under fire for allowing users to wager on the fate of US pilots shot down in Iran. The platform has since halted the bets and promised to investigate how they were allowed to happen. The controversy began when US Representative Seth Moulton publicly denounced the practice, calling it 'DISGUSTING' that people were betting on the pilots' rescue while search efforts were still underway. Moulton, a veteran of the US Marine Corps, expressed his outrage on social media platform X. The incident involved an F-15E Strike Eagle jet shot down by Iranian military forces, with one pilot rescued within seven hours and the other rescued on Sunday, as announced by Donald Trump on his Truth Social platform. Polymarket initially allowed users to bet on the timing of the rescues, with most wagers predicting they would occur by Saturday. However, after Moulton's criticism, the platform quickly removed the market, stating it did not meet their integrity standards and vowed to investigate. Moulton did not stop there, calling on Polymarket to deactivate hundreds of other war-related wagers, accusing the company of having 'severely lacking' integrity standards. He also mentioned that Donald Trump Jr, the president's oldest son, is an investor in Polymarket, which Moulton referred to as a 'dystopian death market'. This incident is not the first time Polymarket has faced scrutiny. In March, some users generated international headlines by sending threatening messages to an Israeli journalist after betting on a missile strike near Jerusalem. The controversy surrounding prediction markets like Polymarket has drawn congressional attention, with lawmakers introducing proposals to ban betting on certain topics, including sports, government actions, and events 'ripe for rigging'. US Senator Chris Murphy stated that such markets risk 'corrupting the soul of America' by turning life-and-death events into financial products.

Billy Livsey, an American musician who arrived in England in the 1970s, transitioned from touring with Slim Chance and Gallagher & Lyle to writing hits for Shakin’ Stevens, Elkie Brooks and Paul Young before being tapped to write for the teen pop group Five Star. In the mid‑80s Livsey co‑wrote the chart‑topping single “System Addict” with Gary Bell, and a few months later his publisher suggested a partnership with lyricist Peter Sinfield. After a brief exchange of a rough melody, Sinfield asked Livsey to pen the words over the phone, resulting in the lyric sheet for what would become “Rain Or Shine.” The demo featured the renowned session vocalist Tessa Niles, whose résumé includes touring with The Police and singing on Eric Clapton’s “Layla” on his Unplugged album. Livsey recalls that her effortless delivery set the tone for the final recording. Recording took place at London’s iconic Mayfair Studios, a venue that had hosted legends such as George Michael and Tina Turner. Livsey admits he “stole” a sequencer fragment from Donald Fagen’s “New Frontier” to give the track a subtle, progressive‑pop edge. Five Star’s lead vocalist Deniece Pearson remembers the demo’s female vocal as a revelation compared to an earlier male‑sung version of “All Fall Down.” Her father and manager, Buster Pearson, urged her to “listen to the lady on the demo and articulate your words.” Because she was wearing braces, Deniece deliberately over‑enunciated to keep the metal from sticking to her lips – a quirky detail she still laughs about. Studio sessions were far from smooth. Frequent electrical glitches prompted Livsey to joke, “Gremlin. Gremlin.” Yet he remained confident, insisting that such hiccups often precede a hit record – a prediction that proved accurate. Upon release, “Rain Or Shine” became a staple of Five Star’s live repertoire, earning spots on Top of the Pops, the Royal Variety Performance and the Miss World stage. During a tour, a fan pulled Deniece into the audience pit, only to be rescued by her “hunky Italian” security guard, a moment she now recounts with affection. Today the song closes the group’s concerts as an encore, with audiences singing along and often moving Deniece to tears. She credits Livsey’s melodic craftsmanship, noting that the 80s songwriting formula – a strong melody followed by soaring vocals – remains the song’s enduring charm.

Raiders of the Lost Ark (1981) continues to serve as a cinematic comfort food, delivering a relentless parade of perils—jungle treks, venomous creatures, double‑crossing allies, and larger‑than‑life set‑pieces—while never losing its playful spirit.The film’s charm lies not only in its nonstop thrills but also in a deep‑seated nostalgic longing for an imagined era when “the good guys always won.” Its creators—George Lucas, co‑writer Philip Kaufman, and director Steven Spielberg—crafted an homage to the 1930‑ and 1940‑year‑old serial B‑movies they grew up watching, such as Buck Rogers and Zorro’s Fighting Legion. Those serials, broken into bite‑size chapters before the main feature, taught a formula of relentless action that Raiders replicates with modern polish.Beyond childhood reminiscence, the film offered early‑1980s America a respite from the lingering shadows of the Vietnam War and Watergate. By resurrecting the mythic Greatest Generation—who triumphed over the Great Depression and World War II—the movie positioned its hero, Harrison Ford’s Indiana Jones, as a symbol of moral clarity in a time of “great moral obscurity,” marked by political turmoil, economic recessions, and the so‑called “war on terror.”For many viewers, the experience of watching Raiders on weekend television added another layer of comfort. The film’s frequent rotation on cable and syndication turned it into a ritual: a lazy Sunday, a remote‑controlled channel‑surf, and the inevitable arrival of Indy battling Nazis or escaping deadly traps. That sense of surrendering control to the “all‑knowing cable programming gods” amplified the film’s soothing effect.Ultimately, the story’s resolution—where a divine‑like intervention saves Indy and Marion—mirrors the audience’s desire for reassurance that, no matter how chaotic the world, a protective force is watching over us.Available for streaming on Paramount+ (US), Now TV (UK), and Disney+ (Australia).

UK Education Secretary Bridget Phillipson has publicly denounced Kanye West's antisemitic remarks, emphasizing that there is 'no place for that kind of hatred, bigotry or antisemitism' in the UK. Her comments come after West was announced as the headline act for all three nights of the Wireless festival in London's Finsbury Park.West has faced intense criticism for his antisemitic remarks, including voicing admiration for Adolf Hitler and releasing a song titled 'Heil Hitler.' These actions have led to calls from various UK ministers, organizations, and Jewish groups to ban him from performing at the festival and even from entering the country.Keir Starmer, the leader of the Labour Party, has expressed deep concern over West's booking at the festival, citing his previous antisemitic remarks and celebration of Nazism. The Campaign Against Antisemitism has also urged the government to take action, highlighting West's track titled 'Heil Hitler' and his history of antisemitic behavior.In response to the backlash, several sponsors, including Pepsi and Diageo, have withdrawn their sponsorship from the festival. Additionally, PayPal will not appear in any future promotional materials for the event.The controversy surrounding West's performance has sparked a broader conversation about antisemitism in the UK. Recent incidents, such as the firebombing of Jewish community-run ambulances in Golders Green and an attack on a synagogue in Manchester, have raised concerns about growing antisemitism in the country.

Renowned artist and stage designer Es Devlin is pioneering a unique approach to addressing AI ethics through her latest project, which combines ceramics and collaboration. At the AI and Earth conference organized by Devlin, a diverse group of artists, AI researchers, spiritual leaders, academics, and tech experts gathered at Oxford Kilns to discuss AI and create pottery.The conference, held in preparation for the opening ceremony of the Schwarzman Centre for the Humanities at Oxford University, aimed to foster dialogue and understanding among individuals with varying perspectives on AI. Devlin's approach emphasizes the importance of human connection and hands-on engagement in the digital age.Participants, including Alan Turing and Isaac Asimov, discussed the implications of AI on society, while Ethan Mollick introduced his concept of centaurs or cyborgs, describing how humans use AI for specific tasks or close collaboration. The event also featured a performance by the University Chamber Choir and a choral piece by Nico Muhly, inspired by the works of 17th-century theologian and poet Thomas Traherne.Devlin's installation, 360 Vessels, will be showcased at the Schwarzman Centre's opening festival, featuring 360 pots created by participants and the public. The project serves as a platform for exploring the intersection of technology, art, and human values.As Devlin noted, 'I am aware that my art and my words and my every choice, my presence, is being used to train the algorithms that concentrate wealth among a small number of individuals, and, in spite of this – however confusing, however painful – I would like to try to stitch my digital shadow back on to my feet and dance with it myself, and invite others to dance with it too.'

Mayor Claudia Kalisch, vice‑president of the German Federation of Cities and leader of the Green‑party city of Lüneburg, announced a push for a nationwide ban on night‑time use of robotic lawnmowers. The proposal aims to curb injuries and deaths among hedgehogs and other small nocturnal animals that frequent residential gardens after dark.Recent research has highlighted that the fast‑moving blades of autonomous mowers pose a hidden danger to wildlife active between dusk and dawn. Hedgehogs, which often curl into a ball when threatened, are especially difficult for mower sensors to detect.Kalisch told the Funke newspaper group that urban green spaces have become critical refuges as development and intensive agriculture shrink natural habitats. She noted that petitions urging the ban have amassed tens of thousands of signatures earlier this year, reflecting broad public concern.In addition to legislative pressure, the mayor called on manufacturers to develop hedgehog‑friendly technology. She emphasized that industry responsibility is essential for protecting biodiversity and improving city life quality.The European red‑list classifies hedgehogs as "near threatened" since 2024, after a documented 30% population decline over the past decade. Beyond mower hazards, motorised leaf blowers, vacuums, and vehicle collisions—responsible for up to one in three fatalities—exacerbate the species’ decline across Europe.Scientists at the University of Oxford, in collaboration with Danish colleagues, recently demonstrated that hedgehogs can hear high‑frequency ultrasound, opening the possibility of sonic road repellers to deter them from dangerous areas. The same team has produced 3D‑printed, crash‑test dummy hedgehogs to work with manufacturers on a future certification scheme for "hedgehog‑safe" mowers.Study co‑author Anne Berger of Germany’s Leibniz Institute for Zoo and Wildlife Research warned that injuries from robotic mowers place an "enormous burden" on animal‑care centres, with many victims discovered days or weeks after the incident, enduring prolonged suffering.German law already protects hedgehogs, imposing fines of up to €65,000 for illegal trapping, injury, or killing. Several cities—including Cologne, Leipzig and Munich—have already outlawed night‑time mower operation. However, a recent attempt by the Greens to enact a statewide ban in Bavaria was rejected.