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The UK-China 'Ice Age' Thaws Eight years after a British prime minister and foreign secretary made back-to-back visits to China, the Keir Starmer government is once again trying to reset relations with Beijing after a long period of what Starmer had in January described as an “ice age” in relations. Diplomatic Reset After Years of Frozen Ties Prime Minister Starmer went to Beijing in January, and Foreign Secretary Yvette Cooper is currently visiting on a three-day trip, as the United Kingdom and China try to revive economic and diplomatic ties despite lingering differences over security, human rights and the Russian war on Ukraine. Growing Economic Ties A growing number of Western countries are seeking to reset ties with China at a time when global geopolitical tensions are causing havoc with supply chains and huge market volatility. This year, leaders and officials from the US, Ireland, Spain, Germany, Canada and Finland are just a number of those who have travelled to China in a flurry of diplomatic engagement. The Data Analysis The UK and China have signed a partnership agreement on clean energy covering academic, regulatory, industrial and commercial partnerships. British pharmaceutical company AstraZeneca has made a $15bn investment in China. The Impact Analysis The West has come to rely heavily on China, especially when it comes to the production of advanced goods – like semiconductors, medical instruments and aerospace components – as well as its stranglehold on many of the earth’s critical natural resources required to manufacture them all. The Prediction “The UK wants a stable economic relationship, but it also has to reassure Parliament, allies and the public that engagement does not mean strategic naivety,” said Jing Gu, director of the Centre for Rising Powers and Global Development at the Institute of Development Studies in the UK.

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 Struggle of Working-Class Artists The Tara Clerkin Trio, consisting of Tara Clerkin, Sunny Joe Paradisos, and Pat Benjamin, has been making waves in the underground music scene with their eclectic sound, which blends elements of minimalist jazz, avant-pop, and trip-hop. Despite their growing success, the band members, who are all working-class artists, share their struggles in the UK's music industry. The Band's Unique Sound Their music is characterized by happy accidents and incidental noises, which they incorporate into their tracks. The band's sound is shaped by their use of loop pedals, sampling, and a variety of instruments, some of which they don't play properly. This unique approach has charmed fans across the music spectrum, including jazz enthusiasts. The Challenges of Making Music The band members discuss the difficulties of making a living as working-class artists in the UK. They highlight the struggle to balance touring, working, and making music, often having to juggle multiple jobs to make ends meet. The situation is further complicated by the fact that touring three times a year doesn't pay enough to support their living expenses. The New Album: Somewhere Good Their second album, 'Somewhere Good', is their most pop-oriented record yet, featuring more structured songwriting and storytelling. The album was written and recorded in precarious circumstances, with the band members working and touring simultaneously. Despite the challenges, the album captures a sense of optimism and positivity, with songs that address themes of loss, grief, and gentrification. The Future of Independent Music The Tara Clerkin Trio's experience reflects the broader challenges faced by working-class artists in the UK. They chose to release their album on the in-house label of east London record shop World of Echo, rather than signing with a bigger label, to maintain creative control and avoid giving away their rights. As they continue to make music, they hope to inspire others to do the same, despite the difficulties.

The Human Toll: Murad Haji’s Dental DilemmaMurad Haji, a fifty‑year‑old father in Nuseirat, sits in a dentist’s chair amid rubble, enduring a throbbing jaw ache that has persisted for months. A quoted price of 400 shekels ($142) for treatment could otherwise feed his children for four to five days, forcing him to weigh pain relief against basic nutrition.Soaring Dental Prices in Nuseirat Refugee CampLocal dentist Liza Hassouna explains that the Israeli siege has crippled the supply chain for dental materials, inflating costs and turning simple procedures into complex, expensive operations. Patients often delay care until infections worsen, at which point treatment becomes far more painful and costly.Cost Inflation: From Anaesthetic to ImpressionsBox of anaesthetic: 150 shekels ($53) → 500 shekels ($178)"Zeta Plus" dental impression material: 150 shekels ($53) → 5,000‑6,000 shekels ($1,778‑$2,133)Simple tooth extraction: 30‑150 shekels ($11‑$53) (pre‑war) → significantly higher nowSurgical extraction: 100‑300 shekels ($36‑$107) (pre‑war) → significantly higher nowThese price spikes reflect a low‑supply, high‑demand market where local suppliers set prices amid severe shortages.Health System Strain and Patient ChoicesAccording to the World Health Organization, 84 percent of Gaza’s healthcare facilities have been damaged or destroyed since the war began in October 2023, with 1,800 facilities affected. Dental clinics operate with limited staff, scarce sterilisation equipment, and reliance on single‑use instruments, further driving up overhead.Patients like Haji often resort to painkillers or endure chronic pain, while some opt for extraction as a cheaper alternative—though even that has become unaffordable for most families.Future Outlook: Dental Care Under SiegeIf import restrictions on “non‑essential” medical supplies persist, dental treatment costs will continue to outpace household incomes, leading to higher rates of untreated infections and long‑term health complications. International humanitarian aid targeting medical supply corridors could mitigate price inflation, but without a durable cease‑fire, the dental sector—and broader health system—remain vulnerable.

The Rise of AI Financial MarketsThe most important market of the future could be in LLM tokens — and financial groups are rushing to build new infrastructure for them. China's Shanghai Futures Exchange is currently designing a derivatives market for AI tokens, while major derivatives exchanges CME Group and the Intercontinental Exchange (the owner of the NYSE) have separately announced they're working on launching futures contracts for renting GPUs.Building the AI Derivatives InfrastructureGPU markets are still maturing, but given the wide range of companies using, selling, and renting GPUs, there's already a robust market for spot prices on GPU rental, typically charged by the hour. This has prompted major financial players to develop futures contracts that would allow businesses to hedge against fluctuating compute costs.Enterprise plans for major AI companies are commonly denominated in tokens: OpenAI, for example, charges $5 per million input tokens, and $30 per million output tokens if you want to use the API for its latest GPT-5.5 model. Even cloud providers are increasingly offering the opportunity to charge per token, as in Amazon's Bedrock system.The Economics of GPU and Token PricingAccording to data from AI Mining Co., which tracks daily GPU rental pricing across 28 marketplaces and cloud providers, median prices for Nvidia H100 GPUs ranged from $1.40 to $4.27 per hour across 13 marketplaces, while the average price for H200 GPUs were between $2.34 and $5 per hour across 10 marketplaces.Just over the past seven days, average H100 prices ranged from $2.79 to $3.33, showing the volatility that makes futures contracts attractive for risk management.Transforming the AI Investment LandscapeThe effort comes amid an unprecedented buildout of AI infrastructure. Cloud service providers, private equity firms, and infrastructure players alike have poured hundreds of billions into building data centers, anticipating that demand for GPUs and compute will continue to rise.An emerging crop of global neocloud companies is also vying for a piece of this demand. Some of these new entrants are specializing, focusing on inference, while others are competing with cloud giants like Oracle, AWS, and Google Cloud to offer their services to AI companies.The Future of AI Financial InstrumentsBy targeting AI tokens, the Shanghai exchange's derivative product would be tied to how AI companies price their services, giving businesses, investors, and data center operators a way to hedge against the cost of compute. As AI becomes increasingly central to business operations, these financial instruments will likely become essential components of the technology investment ecosystem.

Interviewing Mouse on Mars: A Conversation Like No Other Interviewing Mouse on Mars is no easy feat. Not because the duo are hard to find, even though their current studio is hidden in a courtyard deep in Berlin’s Kreuzberg district. Nor because they continue to be notoriously busy, particularly since one half of the band, Jan St Werner (born Jan Stephan Werner), is now a professor in pop music, at the Folkwang University of the Arts in the western German city of Essen. The Collaboration with Lee 'Scratch' Perry After a five-year silence, they are about to release Spatial, No Problem, a collaboration with Lee “Scratch” Perry recorded during the late dub and reggae legend’s whirlwind visit to their former Berlin studio in 2019, two years before his death aged 85. The meeting had been set up by mutual friends, though it was not clear whether it would really happen until Perry arrived at Berlin’s airport – the former Bob Marley producer had a reputation for unpredictability, and dates kept shifting. The Making of Spatial, No Problem The result is a collage-esque fever dream of a record, marrying Perry’s signature free-flowing vocals with a strange, yet warm mix of countless instruments played by friends, all held together by glitchy electronics. They had the idea to record the session as spatial audio, a technology used to mimic a more “natural” hearing experience in 3D. Asking about his familiarity with the technique, Perry answered with a wide grin, and the sentence “Spatial? No problem”. The title to the album was born, which includes recordings that are said to be some of Perry’s last. The Impact of the Collaboration Their reverence for Perry is obvious, every attempt to steer the conversation towards other topics brings the trio back to their time with him. They paint a picture of a creative frenzy: technicians installing microphones whichever corner Perry ended up standing and performing in, friends popping in and out of the sessions, NKishi being proclaimed “God” by Perry in a graffito on the studio’s walls, a general sense of a meeting of minds between artists with a similarly anarchic approach to life and craft. The Future of Mouse on Mars At a moment when the music industry is becoming ever more algorithmic, more optimised, more relentlessly targeting fickle attention-spans on social media, Mouse on Mars remain a genuinely anomalous proposition: a band whose greatest asset is their refusal to be legible. And they have been doing this for 30 years, ending up somewhere entirely different than originally planned – and making it sound, against all odds, exactly where they meant to be.

The Lead The European Union's deregulation agenda has sparked controversy, with critics arguing that it may undermine the EU's regulatory power and ability to shape global markets. The agenda, championed by Ursula von der Leyen, aims to simplify laws and reduce regulatory burdens on businesses. The Event Details In July 2024, a European Union law came into force requiring plastic bottle caps to remain attached to their bottles. The regulation was widely mocked by social-media jokesters and Silicon Valley billionaires alike. However, the evidence behind it shows that plastic bottle caps have been identified as among the top items found littering European beaches. The Data Analysis The OECD's latest data shows that the regulatory burden on European business has arguably risen only modestly over the past 15 years. The European Commission's own estimate of the annual savings from its entire simplification programme is €12bn, or roughly 0.07% of EU GDP. The Impact Analysis The deregulation agenda playing out in Brussels is precisely what Washington has been demanding through every available lever: weaker European rule-making, greater access for American firms and a continent less able to offer an economic or even ideological alternative to the US model. Europe's rules are not necessarily constraints, but at their best, they are instruments of power. The Prediction The timing of this push for deregulation is not a coincidence. The Trump administration formally designated Europe's digital rules as trade barriers, threatened punitive tariffs if Brussels refused to weaken them and demanded their rollback as a condition for any deal on steel and aluminium. The question is whether Europe retains the will to be itself – a political project that uses rules to protect its people and shape global markets – or whether, in the name of competitiveness, it surrenders that power to exactly the interests that want that power gone.

The Unlikely Union of Mabe Fratti and Bill Orcutt This dreamlike, intimate album unites one of experimental music's current stars with one of its most prolific veterans. During an interview promoting 2024's acclaimed Sentir Que No Sabes, 34-year-old Guatemalan cellist Mabe Fratti praised Bill Orcutt, the 64-year-old US guitarist whose disjointed, aggressive four-string playing – honed in 90s noise-rock band Harry Pussy – graces more than 100 records. Orcutt reached out, and they started sharing files. While their friendship is new, Almost Waking reveals a deep kinship between these true originals. The Album's Conversational Duets The album centres on conversational duets between Fratti's cello and Orcutt's guitar. On the overdriven Forced & Forced & Forced, Orcutt's trademark string-snapping plucking is matched by Fratti's fragmented, agitated bow-scraping. Just as both players can wrestle with their instruments, they know how to make them feel like voices. On Steps of the Sun, the cello and guitar harmonise tenderly and take turns as lead, performed with the complex phrasing and dynamism of a sung duet. Vocal Appearances and Musical Chemistry Fratti's soaring vocals appear on two tracks. El Inicio Es Cuestión De Suerte is a stately ballad set to a looping guitar melody, while Todo Puede Ser Error has more showmanship, featuring a jangling Orcutt solo. If the instrumentals reveal how naturally Fratti fits in Orcutt's spidery world – her lusher, warped art-pop shaped by the same fragmentation – these tracks prove his adversarial style can work in more melodic settings. While Almost Waking feels like an aside for Fratti and Orcutt, both are reframed in this wonderfully alive-sounding album.

A Celebration of Britten's American ChapterIn a season marking the 50th anniversary of Benjamin Britten's death, the Britten Sinfonia has undertaken the ambitious task of celebrating the composer's time in America (1939-1942), a period often overlooked in his celebrated career. This "vacation from the general European atmosphere" proved to be remarkably fruitful, yielding significant works that the ensemble has brought to vibrant life in recent performances.The American Sojourn: Musical CrossroadsThe program, thoughtfully curated by Britten Sinfonia, explores the intersection of British and American musical traditions during this pivotal period. Benjamin Britten, already an internationally acclaimed composer from "the land without music," and his partner Peter Pears traveled to North America in spring 1939, not returning until mid-1942. During this time, Britten formed a significant friendship with American composer Aaron Copland, with whom he spent the summer of 1939 in Woodstock, engaging in creative pursuits alongside recreational activities like tennis and swimming.Britten's American Compositions RevealedThe performance showcased Britten's productivity during his American sojourn. Under the direction of Zoë Beyers from the violin, the ensemble delivered a taut, witty performance of "Young Apollo," a fanfare commissioned by the Canadian Broadcasting Corporation. Pianist Huw Watkins' mercurial scales and delicate glissandi techniques drew audible delight from audience members, highlighting the technical brilliance and playful character of the piece.Brittten's "Les Illuminations," a song cycle for soprano and strings, demonstrated a subtler encounter between musical languages. Soprano Elizabeth Watts delivered a relentlessly communicative performance, exhibiting total expressive control from her harshest lower register to the creamiest top notes. The Britten Sinfonia excelled in navigating the score's rotation of solo lines, impish pizzicato, and fierce, characterful details, revealing the work's sophisticated interplay between voice and instruments.American Counterpoints and CollaborationsSeparating Britten's works, Paul Bowles' "Six Piano Preludes" provided a fascinating glimpse into the period when Bowles and Britten shared a Brooklyn Heights apartment and even "fought over rights to the piano." Watkins relished the woozy poetry of these miniatures, which evoked the atmosphere of a jazz bar and reflected the cross-cultural musical exchanges of the time.The second half featured Ukrainian clarinettist Oleg Shebeta-Dragan in a blistering performance of Copland's "Clarinet Concerto." Despite its breathtaking virtuosity, the performance remained a thoroughly collective, collaborative affair, showcasing the ensemble's ability to support and enhance the soloist's dramatic narrative.Appalachian Spring: A Transatlantic Musical DialogueTo conclude the program, Britten Sinfonia performed Copland's "Appalachian Spring" in its original chamber scoring. The work traveled the gamut from crystalline vulnerability to weighted, rustic bowing and quasi-machinic precision. In this performance, the work's contrasting elements felt utterly inevitable, emerging organically from the ongoing musical conversation between the ensemble members and between the American and British musical traditions represented in the program.A Living Legacy of Transatlantic Musical ExchangeBritten Sinfonia's exploration of this significant period in Britten's career not only illuminates the composer's development during his American years but also highlights the rich cross-cultural musical exchanges that characterized this era. The performances at The Apex in Bury St Edmunds and The Halls in Norwich served as a reminder of the enduring power of classical music to transcend national boundaries and historical contexts.