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The Uncharted Territory of Women's Pornography Just as there is a lack of pornography made by women, there is a lack of books about making pornography written by women. Recent nonfiction titles such as Polly Barton’s Porn: An Oral History and Fiona Vera-Gray’s Women on Porn have sought to address the silence and moral confusion, while Rufi Thorpe’s novel Margo’s Got Money Troubles imagined a student mum paying her way with OnlyFans. Into the Neon-Lit Underworld of 80s LA Allie Rowbottom, author of a memoir, Jell-O Girls, and a novel, Aesthetica, braves the dicey terrain in her sleazy, cinematic second novel. Published into a contemporary landscape where algorithms promote increasingly extreme content, Lovers XXX takes us to the so-called golden age of the Los Angeles porn industry, through the eyes of two teenage runaways who trade troubled homes for big-city dreams. The Dark Side of Desire and Power The obvious preoccupations of any porn industry narrative are: how do you get into it? What is it like? And how do you get out? Rowbottom answers these questions and more in a hurtling trip through LA’s early 1980s underworld. It’s a neon-lit, tobacco-stained scene as dusted with cocaine and packed with toupeed men touting “modelling” work as your wildest Boogie Nights fantasies might conjure; a place where desire is shaped by men, for men, yet which runs on an endless supply of disposable women. A Mirrored Structure and Divergent Journeys The novel uses a mirroring structure, the first half opening with Jude searching for Winnie and the second with Winnie, 30 years later, on a mission to discover what happened to Jude, who vanishes in 1984. As Winnie retraces Jude’s steps, she must confront the industry she has struggled to outrun. A Reckless Joyride into Youthful Longing and Hedonism Lovers XXX is a reckless joyride into youthful longing and hedonism, and their bruising flipside. In its humane, heady portrayal of lives on the margins, and its evocative sense of place, it recalls the films of Sean Baker and the novels of Emma Cline – and is presided over by the ghost of Eve Babitz.

The Monaco Grand Prix: A Historic Race BeginsThe 2026 Monaco Grand Prix is underway with Kimi Antonelli securing pole position ahead of Max Verstappen and Lewis Hamilton. Mercedes leads the constructors' championship as the race begins in the iconic principality circuit, testing drivers' precision and nerve on the challenging streets of Monte Carlo.The Principality's Unique ChallengeMonaco, the creme de la creme of F1 events, presents a test different to the rest, and the one every driver wants on their palmares. The principality stages the most scenic event in the sport, where precision and bravery are paramount. With narrow streets, tight corners, and the unforgiving barriers mere inches away, Monaco demands absolute concentration from competitors.Starting Grid AnalysisThe grid is loaded with talent, featuring Kimi Antonelli on pole position, Max Verstappen alongside him, and Lewis Hamilton, a three-time winner in Monaco, in third. Charles Leclerc, the local boy, makes for a Ferrari second row, adding extra excitement for the home crowd. However, Liam Lawson has encountered problems with his Racing Bulls car, with what appears to be a power issue potentially forcing him to start from the pit lane.Team Dynamics and Championship ImplicationsThe Mercedes team finds themselves in the box seat, leading the constructors' championship, with it likely to be a battle between their drivers for the title. Meanwhile, McLaren celebrates a gala weekend, reflecting on their rich history in the sport. From Bruce McLaren's first win at Spa in 1968 to their seven constructors' titles between 1984 and 1998 under Ron Dennis's leadership, the team has a storied legacy at Monaco.Championship Battle IntensifiesGeorge Russell, after taking time to reset and regroup since Montreal, maintains he is unaffected by the setback in Canada. "In the past I've never really sort of believed in: 'This is going to determine my destiny.' I'm pleased that I did the job that I knew I was capable of and delivered in every moment when it was required," he stated. With Antonelli holding a significant buffer in the championship, Russell acknowledges it's "his to lose" as the season progresses.Race Predictions and Key FactorsAs the lights go out at 2pm UK time, all eyes will be on whether Antonelli can convert his pole position into his first career victory. Monaco's unique characteristics often favor experienced drivers who know how to manage tire degradation and fuel strategy. The tight circuit makes overtaking extremely challenging, meaning pit strategy and qualifying position play an even more crucial role than at other Grand Prix events.

The Revival of a Maligned Masterpiece When Steve Hanley joined Manchester post-punk group the Fall, he expected to be playing bass guitar, not the pope on the London stage. But as a cast member of Mark E Smith's 1986 play 'Hey! Luciani: The Life and Codex of John Paul I', Hanley donned a full pope suit with seven layers of cassocks and took center stage. The Turbulent History of 'Hey! Luciani' In December 1986, 'Hey! Luciani' ran for two weeks at Hammersmith's Riverside Studios. Smith, the Fall's iconoclastic vocalist and lyricist who died in 2018, described it as 'a cross between Shakespeare and The Prisoner'. However, critics were less than impressed, with the Guardian deriding it as a 'thoroughness of Smith's failure'. The Data Behind the Reboot The original play was written on beer mats and delivered to Riverside in a shoe box. The play's thesis was allegedly based on David Yallop's 1984 bestseller 'In God's Name', which alleged Pope John Paul I's assassination. The 1986 production featured non-professional actors, including performance artist Leigh Bowery. The Impact of 'Hey! Luciani' on the Art World 'Hey! Luciani' is a classic example of postmodern storytelling, with convoluted narratives and the erasure of differences between high and low art. Graham Duff, the director of the reboot, believes that the play's cryptic nature is intentional, highlighting the Vatican's bureaucracy and the power struggles within. The Future of 'Hey! Luciani' If the June performance is successful, Duff hopes that his version might get picked up by one of Manchester's bigger arts institutions. For Hanley, the bassist who played the pope in the original production, the evening's success will be measured by his ability to avoid getting arrested.

The Historic 150th Test at Lord'sLord's Cricket Ground in London is making history this week by hosting its 150th Test match, becoming the first ground in the world to reach this significant milestone. While other venues like Melbourne's MCG follow with 118 Tests, Lord's has maintained its privileged position through hosting two games annually this century. Despite being a late starter to Test cricket (its first match was in July 1884), long after venues like Melbourne, Sydney, The Oval, and Old Trafford, Lord's has cemented its status as cricket's most iconic venue.The Three Lord's of LondonInterestingly, there are actually three Lord's in London. The original ground is now buried under Dorset Square near Marylebone station, while another lies beneath the Lisson Grove moorings on the Regents canal. The current world-famous ground on Wellington Road was rented in the 19th century from the Eyre family, who made their fortune in wine and slavery. This historic patch of land has remained cricket's spiritual home for nearly two centuries.The Cultural Significance of Lord'sDespite its stuffy atmosphere, expensive tickets, and sometimes stifling rules, Lord's holds a special place in cricket lovers' hearts. The venue offers a unique thrill that connects spectators with centuries of cricket history. At Lord's, fans don't just share the game with fellow spectators but with the hundreds of thousands who watched great players before them. Honours boards display heroes' names, museum exhibits showcase their bats, library shelves hold their books, and plaques commemorate their feats.The Evolution of Lord's Cricket GroundLord's wasn't always the established institution it is today. In its early years, the ground held as many pony races and stone-picking contests as cricket matches. The MCC (Marylebone Cricket Club) has faced financial challenges throughout its history, requiring bailouts from wealthier members and even considering building houses on the outfield. The venue has also had to defend against urban encroachment, with red brick walls constructed to guard against the surrounding city and developers attempting to claim the tunnels beneath the ground.Lord's: More Than Just CricketWhile known as the 'Home of Cricket,' Lord's is actually the home of the MCC, a private club that has historically governed the sport. Like Augusta National in golf, it represents a private club running a publicly beloved event. After losing its governing role in 1993, the MCC has been searching for a new identity. Today, it runs charitable programs, hosts special matches, offers tours, and even fields its own professional team in the London Spirit.Five of the Most Memorable Tests at Lord'sEngland v Australia, 1896: England won by six wickets in WG Grace's last Test at Lord's. The crowd was so packed they spilled onto the field, and Australia was skittled for 53 in just 75 minutes on the first morning.England v Australia, 1930: Australia won by seven wickets in Don Bradman's first Test at Lord's. He scored 254, which he later described as 'the best innings of my life'.England v Australia, 1981: Ian Botham's iconic performance with both bat and ball helped England win after following on, one of cricket's greatest comebacks.England v West Indies, 1984: Michael Holding's devastating spell of 6-57 destroyed England, widely regarded as one of the greatest fast bowling performances.England v Australia, 2005: The first Test of the famous Ashes series that ended Australia's reign as world champions, with England's dramatic two-run victory.

A Critical Portrait of George MichaelIn 1998, George Michael was arrested for public lewdness in an LA lavatory, an incident that finally led the singer to publicly come out. The following day, Sathnam Sanghera found himself unable to leave his room at university: the doorway had been mockingly plastered with tabloid newspaper headlines – "ZIP ME UP BEFORE YOU GO-GO!" – by fellow students aware of his longstanding fandom. As a writer, Sanghera is best known for a series of award-winning books on the British empire, which he calls his "specialist subject". Judging by Tonight the Music Seems So Loud – not a biography so much as a miscellany, a set of themed essays that tend to digress in all kinds of intriguing directions – the life and work of one Georgios Panayiotou runs imperialism and its legacy a very close second.The Complex Legacy of a Pop IconIt is an unashamedly partisan book, although not an uncritical one. Sanghera is as alive to Michael's personal and professional failings (whether the naffness of some of his early work as one half of Wham! or his high-handed treatment of the duo's other half, Andrew Ridgeley) as he is in love with his artistic triumphs. These, of course, range from Careless Whisper and Wham!'s annually inescapable Last Christmas to the 1996 solo masterpiece Older, a peculiar and peculiarly effective cocktail of raw grief at the Aids-related death of his lover Anselmo Feleppa and unrepentant horniness.The Evolution of Critical ReceptionSanghera's love for his subject is evidently sharpened by the opprobrium of others. Indeed if the book has a flaw, it's that the author is old enough to remember an era when George Michael was deemed insufferably uncool by some arbiters of taste (incredibly, when Wham! performed at a 1984 benefit show for striking miners, the only mainstream pop act to show support for the cause, they were received stone-faced by the audience and savaged by the music press for their trouble), and thus has a tendency to underestimate how much both he and his music have been critically re-evaluated in the 21st century.The Artistic Journey of George MichaelHe says one of the spurs to write the book was his belief that "most truly popular music is not generally deemed worthy of serious analysis and George Michael's music most certainly is not". That might have been true once, but certainly not of late: when he died, this newspaper alone ran six features by critics analysing different aspects of his music. "He sang so exquisitely about the marrow of life, about the vital, corporeal things", wrote one, which definitely doesn't amount to taking George Michael insufficiently seriously.double quotation markEven as he skinned up in front of journalists and discussed his drug use and sex life, he was concealing the extent of the addictions that eventually killed himFamily Background and Cultural IdentitySanghera is very good on the climate of homophobia in the 80s, which might have given any gay public figure serious qualms about coming out, and fascinating on Michael's family background: how growing up embedded in north London's Greek Cypriot community impacted on everything from Wham!'s image – not camp, Sanghera suggests, but "the vision of two children of immigrants imagining a kind of glamour they had not actually experienced before" – to his work ethic and control freakery. His dad made good in England by working exceptionally hard, running such a tight ship at his restaurant that he summarily fired his only son for messing up the drinks orders. The fact that the same son went on to hire 12 different saxophonists before finding one that could play the solo on Careless Whisper to his satisfaction doesn't come as a huge surprise.The Perfectionist and Contradictory ArtistThis my-way-or-the-highway perfectionism could yield hugely impressive results – Careless Whisper's sax hook may well be the most famous in pop history – but it could equally lead to intransigence and self-sabotage. Michael worked incredibly hard to transform himself from a member of a teen pop band into a more adult-facing solo artist, but having sold a staggering 25m copies of his 1987 solo debut Faith, he refused to promote its follow-up Listen Without Prejudice Vol. 1, or even make videos for its singles: a better album than its predecessor, it achieved only a fraction of its sales as a result. It was evidence of a deeply contradictory nature that occasionally has Sanghera throwing up his hands in bewilderment.The Public and Private Faces of George MichaelMichael was a polymath, keen to be duly credited as the sole singer, writer, producer and musician on a succession of tracks, but also had a weird habit of talking down his abilities, claiming he couldn't play instruments he was perfectly capable of playing. He was a Stakhanovite who increasingly worked at an agonisingly glacial pace, endlessly fussing over details, a state of affairs not much helped by his gargantuan appetite for marijuana: coupled with bouts of writers' block, it meant he released only six albums of original material in a career that lasted 34 years. He was a Labour voter, booster of the NHS and famously generous philanthropist who also engaged in tax avoidance. After being publicly outed, he became a notoriously frank interviewee ("as if nothing can embarrass him anymore" the Guardian's Simon Hattenstone suggested when he met him in 2009). But even as he skinned up in front of journalists and freely discussed his drug use and sex life, he was concealing the extent of the addictions that eventually killed him.The Decline and Final YearsMichael emerges as a messy, unpredictable but ultimately hugely likable figure, which makes the essay about his demise particularly tough reading. Listed starkly on the page, the facts of his final 10 years make it obvious that he was a deeply unwell man whose life had spun wildly out of control: drug busts, medical emergencies, visits to rehab, rumours of breakdowns and suicide bids and seven incidents in which he either crashed his car or was found comatose at the wheel.The Professional Mask of Personal StruggleThat it somehow didn't appear obvious at the time – that his death at 53 felt like a shock rather than a grim inevitability – seems remarkable, but as Sanghera points out, Michael's professionalism did a lot to paper over the cracks. He was always available to the media and always smart, funny and self-effacing: to use a modern turn of phrase, he controlled the narrative. He was punctilious about his appearance – the star certainly never looked like an ailing drug addict – and unfailingly superb onstage.The Hidden Realities Behind the FameBehind the scenes, it was a different story. He struggled to make new music: at one juncture he booked six months of recording sessions but never turned up to the studio once. His once-acute commercial instincts seemed to desert him: even Sanghera can't muster much enthusiasm for the handful of still-unreleased songs he completed in his final years. He cut off close friends and family who tried to intervene. No one who knew him seems to have been particularly surprised by his death: the list of adjectives used to describe him on his official website now includes not just "icon" "legend" "soul singer" and "philanthropist" but "addict" "repeat offender" and "depressive".An Imagined Alternative LegacyAs the book draws to a close, Sanghera offers a heartbreaking alternative history. He imagines Michael conquering his addictions, coming to a complete accommodation with his musical past (to the end of his life, he was dismissive of Wham!, describing their oeuvre as an exercise in "ignoring my own intelligence" and declining to play most of their hits live) and headlining Glastonbury, "getting pleasure from the audience reaction to Club Tropicana".The Enduring Power of George Michael's MusicIt's affecting because you can imagine it so vividly: the endless succession of hits that anyone with even a passing interest in pop music knows, the pandemonium in the crowd when he breaks out Careless Whisper, the encore of Freedom '90. You don't have to be a fan on Sanghera's level to understand what a triumph it would have been. Tonight the Music Seems So Loud: The Meaning of George Michael by Sathnam Sanghera is published by Picador (£22). To support the Guardian, buy a copy at guardianbookshop.com. Delivery charges may apply.

The Philosophy of ConfrontationFor the author, feeling good is not about escapism, but about confrontation: staring at what one truly cares about and embracing it. This perspective defines the enduring appeal of Billy Elliot, a film that resonates deeply as a coming-of-age story about striving to become the person you want to be, regardless of circumstances.The 1984 Miners' Strike and Billy's JourneySet in County Durham during the 1984 miners' strike, the film follows Billy Elliot, an 11-year-old boy who discovers a passion for ballet while his community is torn apart by political and social upheaval. Initially a reluctant boxer, Billy is drawn to dance classes held in the boxing gym. With the support of his dance teacher, Sandra (played by Julie Walters), and his brother Tony, Billy auditions for the prestigious Royal Ballet School in London, defying the expectations of his working-class environment.Breaking Class and Gender NormsThe film serves as a powerful commentary on the courage required to break free from societal convention. The author highlights that the story is not merely about queerness, but about the broader struggle of expressing one's true self against class expectations. Drawing from their own background in South Wales, the author reflects on how artistic inclinations were often viewed as a form of non-conformity or 'queerness' in their community. The narrative validates the experience of those who have faced ridicule for their choices, emphasizing that support from family, even when hesitant, ultimately outweighs criticism.A Lasting Legacy of ValidationUltimately, *Billy Elliot* offers a profound sense of optimism and belonging. The author describes the film as a source of comfort during times of life change, providing a 'hug' from the world. It serves as a reminder that one is loved and allowed to live life on their own terms, ensuring the film remains a vital source of inspiration for future generations.

The LeadFrench football has cultivated a talent reservoir so extensive that former defender Thomas Meunier suggested the nation could field three World Cup‑winning teams simultaneously. This depth stems from a systematic academy network launched in the 1970s, a multicultural player base, and a culture that treats football as a national pastime from infancy.The Academy Revolution Behind France’s Talent DepthFrustrated by decades of under‑achievement, the French Football Federation (FFF) partnered with the government in the early 1970s to create the Centres de Formation, most famously INF Clairefontaine. Sixteen regional centres opened, the first in 1974 at Vichy, recruiting talent from across metropolitan France and overseas departments. The programme emphasized free access to facilities, education, and staying rooted in family environments, fostering both technical skill and personal development.Hidden Value: The Worth of Uncapped French PlayersTransfermarkt data shows that players omitted from the 26‑man squad would collectively rank among the world’s top five national teams in market value, surpassing Portugal, Brazil, the Netherlands and Argentina. Key figures include:Lucas Chevalier – €30 millionPierre Kalulu – €32 millionJeremy Jacquet – €55 millionLeny Yoro – €50 millionAdrien Truffert – €25 millionBoubacar Kamara – €40 millionEduardo Camavinga – €50 millionDilani Bakwa – €28 millionSenny Mayulu – €40 millionKhephren Thuram – €40 millionMousa Diaby – €28 millionJunior Kroupi – €40 millionTotal estimated value: €418 million (average €38 million per player).Historical Turning Points That Shaped Les BleusEarly 1970s – Georges Boulogne advocates national academies; government backs the initiative.1984 – France wins the European Championship and Olympic gold, signaling the first payoff.1990 & 1994 – Failure to qualify for two World Cups highlights growing pains.1998 – “Black‑Blanc‑Beur” squad wins the World Cup on home soil, validating the development model.2006 – Runner‑up finish, confirming sustained competitiveness.2018 – Second World Cup triumph, powered by academy graduates.2022 – Another final appearance, underscoring depth.Why This Depth Matters for the 2026 World CupWith a pool that could theoretically field three elite line‑ups, France enjoys strategic flexibility: rotating squads to manage fatigue, tailoring tactics to opponents, and mitigating injury risks. As Bernard Lama notes, the blend of home‑grown talent and players of overseas heritage provides “music and sports” that enrich the national team’s character and resilience.Looking Ahead: The Next Generation and Global InfluenceClairefontaine now focuses on younger age groups while clubs assume responsibility for older prospects. Scouts like Stéphane Nado emphasize hard work, structure, and player‑centred education as the formula for continued success. If France maintains this pipeline, its model may become the benchmark for other nations seeking to replicate a deep, export‑ready talent pool.

Sonny Rollins' Enduring Legacy: 10 Essential Recordings Sonny Rollins, a jazz icon, has left an indelible mark on the music world. With a career spanning over seven decades, Rollins has consistently pushed the boundaries of jazz, showcasing his mastery and innovation. Here are 10 of his greatest recordings: Tenor Madness (released on Craft/OJC, 1956) A 30-year-old Sonny Rollins had already made his unique mark with Miles Davis and Thelonious Monk by the time this 1956 session was cut. Hooking up with his contemporary and admirer John Coltrane happened by chance on the two-tenor blues chase of this album's title. Saxophone Colossus (Prestige, 1957) This writer's first connection with Sonny Rollins' music was occasioned not by music but words: poetic New Yorker writer Whitney Balliett's evocative review of Sonny Rollins' 1957 Saxophone Colossus. Rollins was partnered on this classic set by pianist Tommy Flanagan, bassist Doug Watkins, and bebop-pioneering drummer Max Roach. Way Out West (Contemporary, 1957) When UK jazz musician Courtney Pine was blossoming as a teenage saxophonist in the early 80s, he would recall that Sonny Rollins' 1957 recording Way Out West was a key inspiration. The format was a Rollins favourite in his own early years – the demanding setup of a sax improviser with just bass and drums in support. A Night at the Village Vanguard (Blue Note, 1957) Rollins' live recordings are not as abundant as his genius in open situations deserves, but this music from New York's Village Vanguard makes up a lot of the ground. Freed from the march of chords by the absence of a pianist, he's in storming form in the company of rock-solid bassist Wilbur Ware and soon to be legendary Coltrane drummer Elvin Jones. Freedom Suite (Riverside, 1958) Rollins was never a natural composer – like Miles Davis, he preferred tunes that could be sketched on the back of envelopes. But Freedom Suite was an interesting departure for him, occasioned by the political climate of US race relations and civil rights in the late 1950s. The Bridge (RCA, 1962) Rollins took a creative break between 1959 and 1961, and his return came with The Bridge, named after the eccentric refuge he found: practising alone on New York's Williamsburg Bridge with only passing trains for company. Live at Ronnie Scott's (Gearbox Records; recorded January 1965) Rollins' visits as a solo performer to London's Ronnie Scott's club in the late 50s and early 60s introduced his mesmerising magic to UK audiences, and also helped to galvanise the local scene's confidence at a time when European jazz became increasingly emancipated from the US. Sunny Days, Starry Nights (Milestone, 1984) From the 1980s onwards, Rollins settled into a concert groove that was predictable – by his exacting improvisational standards – and frequently dazzling for audiences new to him. Sunny Days, Starry Nights showcased him with partners who would regularly join him on stage for the rest of his life. This Is What I Do (Milestone, 2000) The best and most affectionately closeup manifestation of Sonny Rollins' genius as he hit his 70s. The saxophonist's later-life partners are present, and so is one of contemporary jazz's greatest drums pioneers in Jack DeJohnette. Without a Song: The 9/11 Concert (Milestone; recorded 2001) Sonny Rollins and his wife, Lucille, lived close to the World Trade Center, witnessed the buildings' collapse on 9/11, and had to evacuate their apartment shortly afterwards. Four days later, the saxophonist performed and recorded this evocative session with his regular sidemen at the Berklee School of Music in Boston.

The Legacy of Sue Barker's French Open Win Sue Barker, one of Britain's leading TV sports presenters for nearly three decades, has always been more comfortable asking questions than answering them. However, her own achievements on the tennis court are a testament to her remarkable athleticism and skill. As the 50th anniversary of her French Open triumph approaches, we revisit her historic win and its lasting impact on British tennis. Sue Barker's Historic Win at Roland Garros In 1976, Barker won her first and only Grand Slam title at Roland Garros, defeating Renata Tomanova in three sets. This victory marked a significant milestone in her career, making her the last British player, man or woman, to triumph in Paris. Barker's win was all the more impressive given that she was the No 1 seed in the tournament, with Chris Evert, Martina Navratilova, and Billie Jean King all absent. The Impact of Barker's Win on British Tennis Barker's achievement has a claim to be one of the most underrated in British sport. Her win inspired a generation of British tennis players, including Jo Durie, who felt motivated by Barker's success. Durie, four years younger than Barker, recalls: "If she can do it then maybe I can do it." Barker's legacy extends beyond her own career, as she paved the way for future British tennis stars. A Career Cut Short by Injury Despite her impressive career, Barker's potential was ultimately curtailed by injury. Ranked No 3 at her peak in 1977, she possessed a formidable forehand that earned her victories over top players like Evert, Navratilova, and King. However, her career was cut short, and she retired in 1984. Barker reflects on her career, saying: "Winning the French Open was magical... Of course, I thought it was the first of many, so I didn't really celebrate that well. If I'd known it was my only one I really would have gone to town." A Lasting Legacy As the tennis world celebrates the 50th anniversary of Barker's French Open win, her achievement serves as a reminder of her enduring legacy. Despite some controversy surrounding her nationality on the Coupe Suzanne Lenglen trophy, Barker remains proud of her accomplishment. Her story serves as an inspiration to aspiring tennis players and a testament to the power of dedication and perseverance in sports.