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The Discovery of a Lost Musical MasterpieceThe discovery of a new work by Ralph Vaughan Williams has set the world alight this week. In a box in the archives of London's Morley College, Elaine Andrews came across a previously unknown Vaughan Williams song titled "Before the Mirror," which sets a Swinburne poem inspired by a Whistler painting. The manuscript's workings, its crossings-out and corrections, offer a fascinating insight into Vaughan Williams's creative process, revealing music of surprising tonal adventure and expressive ambiguity written shortly after his marriage in 1897.The Vast Landscape of Lost Musical WorksBut a single song pales into comparison compared to the musical riches that may be lying dormant in libraries, archives and lofts all over the world. One of the most significant musical finds of all time was the treasure-trove of manuscripts by Florence Price found in a derelict house in Illinois in 2009, which included her two violin concertos, Fourth Symphony and dozens of other pieces. This discovery revealed not only wonderful music, but also pointed to the priorities – and prejudices – of music historians.The Systematic Erasure of Female ComposersThat discovery revealed not only wonderful music, but also pointed to the priorities – and prejudices – of music historians. The discovery of previous unknown manuscripts by the most familiar composers – a single page of Mozart, an exercise by Beethoven, a sketch by Haydn – often happen because historians know where to look for ephemera of lives whose every artefact has been combed over for centuries. But that had not been the case for Price, or for other composers who have been musicologically marginalised. Their work is supposed to be "lost" simply because no one had been looking for it.Rediscovering Forgotten Female VoicesThat's why some of the deepest holes in musical history – works that we know composers wrote and that were performed in their lifetimes, but which their biographies say are now "lost" – are by female composers. Francesca Caccini wrote more than 13 stage works in her lifetime in 17th-century Italy, but only one survives today. Caccini's dozen other operas may currently be "lost," but have researchers been looking for them as assiduously as they search for a page by Bruckner or a letter by Mahler?The Case of Joseph BologneThe same goes for at least three complete operas by Joseph Bologne, who lived an extraordinary life in 18th-century France, as composer, violinist, orchestral leader, fencer and soldier, becoming a colonel in the revolution's only all-black regiment. But Bologne's legacy suffered the prejudices of a culture that reinstated slavery and which erased his contribution to the revolution and to musical society after his death in 1799. Now that Bologne's work is at last finding its place there must be renewed focus on recovering these vital "lost" operas from the oblivion that they never deserved.Legendary Lost Works We Can Only Dream OfMind you, there is also lost music whose absence has been known of for centuries – we can only dream of what could be. Bach's St Mark Passion and scores of his cantatas, Monteverdi's Arianna and other stage works, the dozens of quartets and sonatas that Brahms threw out as unworthy, or Sibelius's Eighth Symphony, likely consigned to the flames by Sibelius himself.New Leadership in Classical MusicIn other classical music news, the Royal Scottish National Orchestra has announced that Lithuanian conductor Giedrė Šlekytė is to be their next music director, succeeding Thomas Søndergård from the 2027 season. The appointment comes after just two projects: a well-received week of Mahler's First Symphony, and a subsequent recording session. As the RSNO's chief executive Alistair Mackie said: "When she joined us last year, her musical ideas and the way she works with players spoke for themselves. Giedrė gives the orchestra room to breathe and to play."

The Startup Market’s Most Urgent Risk: Reacting Too LateFounders and investors are now facing a bigger danger than moving slowly – they risk reacting after the market has already shifted. TechCrunch Disrupt 2026 is designed to help them act faster.Six Specialized Stages Tailored to Today’s Volatile MarketsFrom October 13–15 at Moscone West in San Francisco, Disrupt will host 10,000+ founders, investors and operators across 250+ sessions. The conference is organized into six distinct stages:Disrupt Stage – headline founders, tech leaders and top‑tier investors discuss broad market shifts.Builders Stage – fundraising, hiring, product‑market fit and go‑to‑market execution.Smart Money Stage – evolution of financial infrastructure and durable fintech models.Smart Systems Stage – physical‑world constraints such as data‑center capacity, energy and climate tech.AI in the Real World Stage – reliability of AI systems beyond demos.AI Stage (presented by Google Cloud) – impact of generative AI on SaaS and software businesses.Numbers That Show Disrupt’s Scale and SavingsEvent dates: October 13–15, 2026Attendees: 10,000+ founders, investors, operatorsSessions: 250+ across six stages, plus 200+ sessions highlighted in promotionSpeakers include Nina Achadjian (Index Ventures), Rajeev Dham (Sapphire Ventures), Josh Reeves (Gusto), Grant Lee (Gamma), Robby Stein (Google), Mo Jomaa (CapitalG), Jack Zhang (Airwallex), Lotti Siniscalco (Emergence Capital), Jeff Lawson (Inertia), David Kirtley (Helion).Early‑bird discount: save up to $410 on a pass and get 50% off a second ticket.Group discount: up to 30% off tickets for community registrations.Startup Battlefield 200 nominations close May 29.How the New Stages May Shift Founder‑Investor Decision‑MakingThe focused content aims to surface “signals shaping opportunity” – where attention is concentrating, which categories are accelerating, and how successful companies are positioning themselves. By separating AI‑native competition, fintech infrastructure, and physical‑world constraints, participants can prioritize capital allocation and product strategy with fewer guess‑work cycles.What’s Next for Disrupt and the Broader Startup EcosystemWith the six‑stage format, Disrupt positions itself as a real‑time market intelligence hub. If founders leverage the early‑bird pricing and apply for Battlefield 200, the conference could become a primary pipeline for capital in 2026‑27, especially as AI and infrastructure pressures intensify. Observers should watch post‑event reports for emerging investment trends and the adoption rate of “real‑world AI” solutions.

The Revolutionary Spirit of Zineb Sedira's Exhibition Zineb Sedira's exhibition at Tate Britain's Duveen Galleries is a vibrant ode to revolutionary cinema, intellectualism, and the power of art to inspire change. The installation, titled 'When Words Fall Silent, Cinema Speaks,' transports visitors to the iconic La Cinémathèque Algérienne in Algiers, a mecca for leftist filmmakers and intellectuals in the 1960s and 1970s. Recreating a Revolutionary Hub Sedira's meticulous recreation of the Cinémathèque Algérienne includes a model movie theater, vintage jukebox, and a cafe serving wine and couscous. The space is filled with books about leftist cinema, and clips from films like Agnès Varda's 'Salut les Cubains' play in the background. This immersive environment embodies the spirit of radical chic, where intellectual pursuits and pleasure are intertwined. A Tribute to Boudjemaâ Karèche and La Cinémathèque Algérienne The exhibition centers around Boudjemaâ Karèche, the director of La Cinémathèque Algérienne. Through a short documentary film, Sedira shares Karèche's stories of the cinema's heyday, when it was a gathering place for young idealists who debated revolutionary art and social change. The beret-wearing Karèche is portrayed as a charismatic figure who embodied the fusion of politics and creativity. The Challenge of Preserving Revolutionary Energy The exhibition's final film poses a poignant question: can revolutionary moments be preserved and rekindled in a museum setting? Sedira's installation suggests that by celebrating the past, we can inspire new generations to engage with art and politics. As Sedira shows, truly revolutionary art empowers people to express themselves and challenges the status quo. A Lasting Impact Sedira's exhibition is a testament to the enduring power of art to inspire and educate. By recreating a pivotal moment in cinematic history, Sedira invites visitors to reflect on the intersections of art, politics, and identity. The exhibition runs at Tate Britain's Duveen Galleries until January 17.

The Lead Lauren Elkin's book 'Vocal Break' is a celebration of the female voice in all its forms and imperfections. Elkin, a London-dwelling French-American translator and author, examines the female voice through the lens of her own musical passions and explores the rules and expectations foisted on female vocalists. The Event Details Elkin's book is not strictly a memoir, but she mines her past as she examines singers and singing. She digs into notions of self-image, coolness, integrity, and authenticity, and ponders the history of the vocoder and the current vogue for Auto-Tune. The Data Analysis No specific data is provided in the article, but Elkin's research takes in Roland Barthes's 'The Grain of the Voice,' Greil Marcus's 'Lipstick Traces,' and Homer's 'Odyssey.' She also shares surprising facts, such as the French phrase for singing along to a song in a language you don't know: 'chanter en yaourt,' or 'to sing in yoghurt.' The Impact Analysis Elkin asserts that women using their voices is 'not a neutral proposition but a hard-won right' and that judgments on their singing are wrapped up in power and identity. She highlights the physical violence women have endured for daring to sing and be themselves on stage, citing examples such as Ari Up and Tori Amos. The Prediction Elkin notes that 'singing is about wanting that thing that is just beyond reach, and that is why we love it, and need it.' She encourages more people to sing, emphasizing that through music, we can get things that are just beyond our reach, or feel like we have, for the time the music lasts.

The Cultural Phenomenon of Northern SoulAlan Byron's film is an absorbing docu-celebration of the northern soul scene that flourished from the late 1960s to the end of the 1970s. It was a fascinating, vernacular youth movement and a kind of regional open secret: a club culture, a zine culture, a music-and-fashion culture which uncynically invented and sustained itself without the need for any svengali figure from London to keep the show on the road. Northern soul fans were passionate about thumpingly sensual mid-60s American soul, a musical style which they kept alive on the all-night dancefloor by doing spectacular spins and drops, while the official voice of the music business decreed that disco or MOR rock or glam or heavy metal was where it was at.The Wigan Casino LegacyDJs would travel to the US to sort through the boxes and mounds of 7-inch vinyl which had been discarded by Motown and the radio stations – basically prospecting for gold – and bring it back to northern English clubs. The principal clearing house was the mighty Wigan Casino which mounted legendary all-nighters from 2am to 8am, attracting soul fans from miles around who knew that this was the only place where certain tracks could be heard. (No Spotify or Apple Music in those days.)Cultural Resistance and RecognitionLicensing laws meant that only Coca-Cola could be served, but dancers took amphetamine, a part of the northern soul scene that has perhaps only recently been acknowledged fully, and is in fact not looked into all that closely here. It carried on through the 1970s, all but ignored by the cultural gatekeepers of the south; that is, until documentarist Tony Palmer brought his cameras and lights into the club to make The Wigan Casino as part of Granada TV's This England strand, an outsider incursion grumblingly resented at the time but now treasured as a unique archive record.Understanding the Movement's IdentityWhat is fascinating about northern soul is the way it survived under the media-cultural radar and appears to resist larger interpretive analysis. It was not overtly political, unlike punk or reggae, and there is no consensus here about the status of the northern soul consumers. Were they unemployed, poor, alienated and angry? Not necessarily. Many here recall having good jobs and apprenticeships of the sort they wouldn't have now.Enduring Influence and MysteriesAs for whether it was revolutionary in any sexual sense, commentator Paul Mason suggests that there was something homoerotic in the male atmosphere. Maybe, yes: but no one here has any first-hand experience to share about that. As for the Wigan Casino itself, the building's lease was terminated by the council at the end of the 70s prior to planned demolition; just when the tenants might have disputed this, the building mysteriously burned to the ground. (Maybe we need David Peace to write a novel about that.) Northern soul was clearly the godfather of the club and rave scenes of the 90s and beyond, but for me, a question remains: what did the American acts themselves think of it? Were they ever tempted (or invited) to play live at the Wigan Casino?

The World's Longest Football DerbyCarlisle and Barrow will play each other next season in the Cumbrian derby in the National League. The clubs are located at opposite ends of Cumbria and the distance between the two grounds is some 78 miles by car. But this is not the greatest distance between two teams involved in a 'derby'.When considering derbies, we are looking for matches between teams that are linked based upon their proximity or geography, rather than simply historical rivalries like the 'clásico' between Real Madrid and Barcelona.UK Derbies: The Cumbrian ContenderWithin the UK, the Cumbrian derby certainly looks the furthest derby by distance. If we are staying in England, the closest we can get to 78 miles is the A49 derby between Shrewsbury Town and Hereford United, separated by 51 miles, although it should be said that the two teams have not met since the latter was dissolved in 2014.In England, thoughts immediately go to Crystal Palace and Brighton, dubbed the M23 derby, but a quick search reveals that Selhurst Park is a mere 46 miles from the Amex Stadium. It is also 46 miles that separate the stadiums of Plymouth Argyle and Exeter City, the Devon derby. Just behind are Ipswich and Norwich – the East Anglian derby (AKA El Tractico or the Old Farm) – with Portman Road and Carrow Road 45 miles apart.International Long-Distance DerbiesFarther afield, we must mention the derby between Persib Bandung and Persija Jakarta, who take part in the Indonesia derby, or Laga Klasikal as it is locally known, with Persib's Gelora Bandung Lautan Api Stadium lying 108 miles away from Persija's Jakarta International Stadium in Indonesia's capital.Italy is fertile ground for a host of famous derbies, and it is here that we find some of the longest-distance derbies. Of course there is the Derby d'Italia between Milan and Juventus, with 85 miles separating San Siro and Juve's Allianz Arena in Italy's north-west. The Derby di Sicilia between Palermo and Catania spans a whopping 134 miles across the breadth of Sicily, while the Derby delle Isole (Derby of the Islands) between Palermo and Sardinian club Cagliari goes even further – a full 250 miles across the Tyrrhenian Sea.The Champion: New Zealand's 386-Mile DerbyOur winner, though, comes from New Zealand's North Island. With Auckland FC only entering the A-League Men in 2024-25, the New Zealand derby between themselves and Wellington Phoenix is still very much in its infancy but has already blossomed into something substantial. In February, just the sixth edition of the derby, a comical own goal from Wellington goalkeeper Josh Oluwayemi sparked a 5-0 thrashing by Auckland, prompting Phoenix coach Giancarlo Italiano to resign immediately after the defeat. With 386 miles between the two grounds, the NZD is our clear winner.The Evolution of Geographic DerbiesThe existence of such long-distance derbies challenges our traditional understanding of what constitutes a local rivalry. In an era where football has become increasingly globalized, these geographic matchups represent unique connections between communities separated by vast distances. The New Zealand derby, in particular, showcases how even in a country with a relatively small population, football can create intense rivalries across significant geographical divides.The Future of Long-Distance DerbiesAs football continues to evolve, we may see more long-distance derbies emerge, particularly in regions with expanding leagues or where new clubs are formed to serve underserved areas. The New Zealand derby between Auckland and Wellington Phoenix is a prime example of how modern football infrastructure and scheduling can create meaningful rivalries regardless of distance. With the increasing popularity of travel and fan engagement, these long-distance derbies may become even more significant in the future of football culture.Double Winners in FootballDeji Elerewe has won the title with both Bromley (League Two) and Lincoln (League One) this season. Has any other player managed the same feat?We covered this answer 10 years ago in a previous Knowledge, but regular contributor Dirk Maas has come in clutch with some additions, although he does clarify that he has limited his search to the top five leagues in Europe in this century.There are several examples of players winning titles with different teams in the same season, including:Jonas Urbig with Köln (2. Bundesliga) and Bayern Munich (Bundesliga) in 2024-25Leigh Griffiths with Celtic (Scottish Premiership) and Wolverhampton (League One) in 2013-14Urby Emanuelson with Ajax and Milan in 2010-11Daniel Amartey with Leicester City and FC Copenhagen in 2015-16Timothy Weah with Paris Saint-Germain and Celtic in 2018-19Khvicha Kvaratskhelia with Napoli and PSG in 2024-25There are also alternative cases where seasons happen at different times of year, such as David Beckham achieving this by picking up an MLS winner's medal with LA Galaxy and a Ligue 1 winner's medal with Paris Saint-Germain in 2012-13.

A Novel of Female Defiance"Yes, you will leave this place," the chorus of child protagonists in a community of sex workers say at the start of Tahmima Anam's incantatory and fiery new novel of female defiance, Uprising. "This story will save your life," we were told three times in Deepa Anappara's 2020 debut, also featuring precarious children dwelling in the margins. What is the distance between imagination and action, lived realities and dreams? How can solidarities be forged in such circumstances? Uprising holds within its pages some answers and a deep conviction – for a better life, a more just world – and then reaches out and fights for it.The Island Community and Its OppressionAs a journalist, Anam visited the infamous "floating brothel" Banishanta in Bangladesh; her new novel, set on an isolated island "at the end of the country, in the middle of a river that emptied into the sea", fictionalises the island's community and ecological precarity. Here, a generation of daughters grow up watching their mothers trapped in sex work – "we knew that the work was something that was paid for in money, and also in bodies" – and wish a different life for themselves. The women are controlled by the cruel Amma, who was once herself sold into sex trafficking. The victim becomes the perpetrator – and the children are discerning enough to know that their mothers are "not here because they had done something bad, but because something bad had been done to them". The first lesson of the island? No one is coming to save you – and living here changes you, as inexorably as the rising tides.The island is a prison. The mothers are ghosts of their former selves. The children, witnessing the "sexing", are all too grown up, stripped of their innocence. By the time they are born, their mothers' memories have faded "like paint in the sun"; they live on the island "tied to" their daughters. What, or who, will it take to break free from these chains?Feminism and Climate Crisis in LiteratureWhen the waters rise, customers stay away. The mothers speculate: "the swirling river was keeping the smaller boats from making the journey"; "the land was cursed". In a last-ditch attempt to lure men back for business, Amma sends for a new girl. Little does she know that Kusum Khan's arrival will signal the beginning of the end. A girl from the city with a history of participating in protests against the Dictator, she doesn't acquiesce to the island's rules, as the others have been conditioned to; instead, she sows the seeds for what will grow into a life-altering act of resistance. The children start to believe that she is their saviour – maybe even Bon Bibi, a legendary guardian of the forest. A different life seems graspable, just beyond the island's shore. When the titular uprising at last arrives, it summons an all-consuming storm, washing over the island. And the reader, too, is ready to join the revolution – their fist in the open air.Uprising is a feminist novel ("here they were: a wall of women") and a protest novel ("The moment Kusum entered the protest, she felt as if she was becoming a small organ in a living, breathing thing"). It is a coming-of-age novel, and a response to the climate crisis; a story of sisterhood protecting, and failing to protect; of structural inequality and the rotten core of patriarchal corruption; of unlucky women in an unfair world. "When the men came to reclaim the island, we stood rooted in place with our eyes closed, unable to watch. We stood rooted in place with our eyes open, unable to stop watching." While the mothers and daughters in Anam's fictional world are victims of specific generational violence, this observation can be applied to humanity at large: we are all watching – frozen, complicit – as injustices rise the world over.The Power of Rage and Radical HopeThrough her unwaveringly political and unflinchingly forthright novel, Anam shows the power of rage and radical hope. A new world can burn bright from the fires of injustice – and here, it's the mothers that hold the match.

The Unparalleled Experience of CannesNothing prepares you for the shock that is the Cannes film festival: the adrenaline, the fatigue, the elation and the emotion, but also the hunger, the anger, the magic and the ridicule. For young cinephiles, and for almost everybody who works in the film industry, it is the mecca of cinema and has been so for nearly eight decades. Anyone going for the first time this week, as I did 25 years ago, should not listen to the old grognards – Cannes' battle-worn veterans – who will lament that the festival has become an abominable circus and swear this year will be their last. It is a circus, and you can bet they will be back for as long as their knees can take it. For there is nothing quite like it.From Resistance to Global Cinema HubBorn to counteract Benito Mussolini's Venice film festival, its first edition was planned for September 1939, but Adolf Hitler had other plans. The previous year, under pressure from Berlin and Rome, the Venice film festival's top prize, the Coppa Mussolini, was handed to Leni Riefenstahl's propaganda film Olympia, prompting the French, British and American delegates to walk out. Hence Cannes, conceived as the festival of the "free world". More than 80 years later, for all its sins, it has remained faithful to that founding promise.The Expansive Scale of Modern CannesOver the decades, Cannes has mutated into an ever-hungrier mammoth, needing more space, and more venues, as it attracts an increasing number of journalists and professionals. A purpose-built Palais des Festivals had to be erected in the 1980s. "The bunker", as we have come to call it, is not exactly beautiful but brutally efficient at managing Cannes' mind-boggling crowds. This year, about 40,000 accredited festival-goers are descending on the French Riviera from 140 different countries, with dozens of films selected across all sidebars. At the same time, the Marché du Film, running alongside the festival since the late 1960s, is gathering about 16,000 participants, with thousands of films and projects up for sale. Cannes is both a summit for the cinema elite and a giant film bazaar.Three Worlds Colliding at La CroisetteFor 11 days in May, three different worlds lead parallel lives – critics, deal-makers and red-carpet royalty – colliding almost by accident on the seafront boulevard known as La Croisette. Hundreds of critics watch multiple films a day with monastic discipline. When they give in to parties, they bitterly regret it the next morning. You can spot some of us sleeping through entire screenings; how some colleagues manage to review films is a mystery. I remember a well-known French critic who had such vivid dreams in the darkness that he became convinced they were scenes in the films. His reviews were full of brilliant analysis of moments that did not exist.We critics rush between screenings, press conferences, interviews, our desks and the bunker's free espresso machines, often forgetting to eat or even pee. Downstairs, in the bunker's basement, and in hotel suites and rented apartments, the film market runs day and night: buyers juggle numbers, producers charm, directors and screenwriters fight for their vision. Above them floats Cannes' top layer – stars and "talent" spending hours in hair and makeup before climbing the 24 steps of the red carpet in borrowed couture and jewellery. When people in the industry groan, "oh God, it's Cannes again", it is this collision of financial anxiety, choreographed glamour and sheer exhaustion they are bracing themselves for.The Magic and Meaning Behind the GlamourThese worlds sometimes collide in the most poetic or grotesque ways. One morning, rushing to my first screening at 7.30am, I was walking along the Croisette when I saw, coming towards me, slightly dishevelled in a tuxedo, Jack Nicholson on his way back to his hotel after a long night. I smiled, he smiled back. He was alone, no bodyguards, no chaperones. Those were the days. I also shared a lift with Takeshi Kitano in full samurai attire, and I will never forget turning into a hotel corridor and finding myself nose to nose with Max von Sydow – Ingmar Bergman's medieval knight from The Seventh Seal. My cinephile heart skipped a beat.One of my favourite sidebars in Cannes, alongside the competition where you watch the year's best crop of films, is Cannes Classics, showing restored world masterpieces and documentaries about cinema. I always start the festival there: it is the best way to reset and begin afresh. Then I am ready for the 10-day onslaught of motion pictures, and for the magic moment that precedes each Cannes screening – the festival's own jingle, a palm ascending the red carpet from underwater and then into the sky, lifted by the ethereal arpeggios of Camille Saint-Saëns's Carnival of the Animals.Cannes: Enduring Symbol of Cinematic ResistanceIn 1955, Cannes gave its first official Palme d'Or to Delbert Mann's Marty; half a century later I found myself befriending its wonderful star, Betsy Blair, on the Croisette. I had the joy of seeing Ken Loach twice climbing those steps to collect the Palme, escorted by police outriders from Nice airport as if he were a head of state. I watched Iranian directors Jafar Panahi and Mohammad Rasoulof showing films at peril to their lives. For all the craziness of the red carpet and the samurai outfits, Cannes never forgets that it was founded as a gesture of resistance. That, as much as the glamour and the exhaustion, is why we keep going back.

Racing to Witness the 2017 Great American EclipseOn 21 August 2017 at 1:27 pm, the author and her husband fled a parking lot in Nashville, Tennessee, to catch the fleeting moment of totality during the Great American Eclipse. After a frantic drive, they positioned themselves on a hilltop park, using a solar telescope and eclipse glasses to safely observe the moon’s silhouette covering the sun. Numbers Behind the Eclipse ExperienceDuration of totality: roughly 50 seconds before clouds obscured the view.2017 eclipse path: crossed the United States from Oregon to South Carolina.2024 eclipse in Mazatlán, Mexico: over four minutes of totality during a solar‑maximum corona.Future eclipses booked: Spain on 12 August 2026 and 2 August 2027 (the longest eclipse of the century, >6 minutes). Personal and Cultural Reverberations of TotalityThe sudden twilight, the visible corona, and the hushed silence of birds created a profound emotional response, moving the author to tears. She reflects on humanity’s long‑standing fascination with eclipses as omens and the power of predicting them. The experience reshaped her identity, prompting her to label herself an “eclipse hunter” and to seek further celestial events. Looking Forward: The Next Eclipse HuntsFollowing the 2024 Mexican eclipse, the astronomer has already booked trips to Spain for the eclipses on 12 August 2026 and 2 August 2027. The latter promises a six‑minute totality, a rare alignment that she anticipates will deepen her lifelong fascination with these cosmic spectacles.