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The Allure of Sonic ExtremesBowel-shuddering basslines. Drum fills that bounce off the walls like gunfire. Guitars resembling a pneumatic drill drilling into another pneumatic drill. A truly loud gig stays with you, figuratively and literally, as anyone who has spent the days after one accompanied by a troubling ringing in their ears can confirm.Last week, prompted by an old Alistair Cooke column suggesting that Janis Joplin's group Big Brother and the Holding Company was noisy enough to cause permanent hearing damage in guinea pigs, The Guide asked readers to share their own loudest gig experiences. The response was overwhelming, with countless readers sharing memories of eardrum-piercing encounters with all manner of bands and artists, across genres and decades.The Technical Frontiers of Live SoundWe should probably insert the obligatory disclaimer here: loud gigs can be genuinely bad for your ear health – just look at the brilliant early 80s post-punk band Mission of Burma, who had to disband for the best part of two decades due to guitarist Roger Clark Miller's punishing tinnitus. The environments that Burma and bands before them played in were a sonic wild west, with minimal soundproofing in venues or, in the ear canals of the people performing in those venues.Thankfully technology has moved on since then: many concertgoers now carry decent pairs of earplugs, and venues often provide free alternatives at the bar. Yet some still succumb to the cheap, inadvisable thrill of experiencing music completely unprotected.The Auditory Cost of Musical PassionThe physical consequences of extreme volume are well-documented. Mission of Burma's hiatus due to tinnitus represents just one example of how loud performances can have lasting health effects. The human ear can withstand approximately 85 decibels continuously for eight hours, but at 110 decibels – the level of many rock concerts – safe exposure time drops to less than two minutes.Despite these risks, the pursuit of sonic intensity continues. As one reader noted about seeing Swans in 1987: "You couldn't think of anything other than the noise while it was happening. People streamed out. I stayed and now wear hearing aids. But it was extraordinary." This trade-off between auditory safety and musical transcendence remains central to concert culture.Cultural Significance of VolumeVolume in live music has always been tied to cultural significance. From Deep Purple in the 1970s to modern experimental acts, extreme sound has been used to create immersive experiences that transcend mere entertainment. Guardian critic Alexis Petridis described seeing My Bloody Valentine: "Earplugs were distributed at the door. Even wearing them, the quite extraordinary volume was inescapable. It made your clothes move, independently of your body."Different genres approach loudness differently. Doom metal acts like Sunn O))) use volume as an atmospheric tool, while electronic artists such as Rosalía incorporate orchestral elements at jet-landing volume. Each approach creates a unique sensory experience that defines the relationship between performer and audience.The Future of Loud Music and Hearing ProtectionAs awareness of hearing health grows, the future of loud concerts may involve a balance between intensity and safety. Advances in hearing protection technology – from high-fidelity earplugs that preserve sound quality while reducing volume to in-ear monitors for performers – suggest that extreme sonic experiences need not come at the cost of long-term hearing damage.Yet the fundamental appeal of overwhelming sound likely remains. As Laura Snapes wrote about experiencing Angine de Poitrine: "I felt like I'd been lashed to the prow of Mad Max's rig as it screamed through the desert (this is a compliment)." The pursuit of transcendent musical experiences – even when they leave our ears ringing – appears to be an enduring aspect of human culture.

The Transformative Night in Blackpool Bronzed, with winged tips and doused in Le Male, I clamped the baby pink GHDs to my hair until they sizzled and singed it. Emerging from a cloud of cheap hairspray, I was ready for the dancefloor. I was 18 and had grown up in Blackpool, a place synonymous with hedonism and fun. I came out in high school at the age of 14 and from 16 I studied performing arts at a local college. Underage, I was smuggled into clubs and in my spare time I watched shows in our many beautiful theatres. The bright lights of the illuminations, the showgirls, the feathers, sequins and rhinestones were intoxicating. Blackpool really was – and still is – extraordinary. When the bar closed, a new adventure would begin. One night, as the sun was coming up (and as was I), a drag queen took me back to her place. I didn't know the significance of what I was about to experience, but I was to receive an education no university course could ever match. The drag queen was a Liza Minnelli tribute act. She knew every beat of every Liza film, every concert, every move of choreography. She performed as Liza in all the bars around town. Now I was ordained by being welcomed into her home. This moment could be the plot of a movie with Blackpool as a beautiful backdrop to my coming out/coming-of-age fantasy The Muppet Show That Changed Everything Was I ready to be indoctrinated? Very. She led me to the living room for a VHS screening of what I was told was one of Liza's finest performances. I was expecting Cabaret, the winner of eight Academy Awards, but not on this occasion. She sat me on the sofa and played Episode 414 of The Muppet Show from 1979, with special guest the one and only Liza Minnelli. The premise works so beautifully for exactly the same reason that The Muppet Christmas Carol is so beloved. In that film, Michael Caine gives the performance of his life in a movie almost entirely populated by felt characters, and in her guest episode Liza matches him in commitment. Take the musical number Copacabana she performs: the curtain goes up and Liza is smoking. She is the narrator, the storyteller, in a Funny Face-esque black polo neck that gives a real sense of gravitas to those Barry Manilow lyrics. Moments later, she is Lola, dancing with human-sized muppets. Or in another scene Liza holds Kermit while they sing A Quiet Thing together. Their connection is pure and tender, a thing of simplicity and gentleness. A Career Born from Inspiration As I reflect on this story nearly 20 years later, I am now 10 years sober and while life might well be a cabaret, the decadence of my early youth is firmly in the past. But I think back to this moment, which could be the plot of a movie with Blackpool as a beautiful cinematic backdrop to my coming out/coming-of-age Technicolor fantasy. I didn't know at the time, but this incident set me on the path to my current profession. Four years later, in 2011, I started making cabaret performances in south London at the famed Royal Vauxhall Tavern at nights such as Duckie, where my turns were packed full of wigs and jockstraps, fake blood and mascot costumes. In 2015, I joined the international circuit when I became part of big touring pieces of variety and circus spectacle, showing off in the US, Australia, New Zealand and London's glittering West End. I once performed a 107-hour durational piece in drag at Glastonbury and at the Adelaide fringe, as a teenage girl who wouldn't leave her bedroom. A Lifelong Dedication to Liza's Legacy Ever since that fateful night back in Blackpool in the 2000s, Liza has been a hero of mine. I saw her live in concert at the Royal Festival Hall in London in 2013. I have a Liza tattoo on my right thigh. Back in 2019, I did an eight-hour performance in an old deconsecrated church in Brighton, dressed as Liza Minnelli, performing her album Results in full, emulating through endurance art Liza's beautiful commitment to performance. Pet Shop Boys, who produced Liza's Results album, even heard about what I was up to and said my performance sounded great. The Enduring Impact of a Single Performance And if you ever see one of my shows, please understand that the technical foundation of my performances isn't drama school training or Stanislavski; it's Liza on The Muppets. Truth be told, I don't know where the drag queen in the story is now. I hope she's OK, but if I did see her I'd say: "Thank you for changing my life." Harry Clayton-Wright's show Mr Blackpool is at the Grand theatre, Blackpool, 20 May.

The Final Showdown It all comes down to this, again. France have been runners-up to England in the Women's Six Nations for the past six years, edging ever closer: last year's decider was settled by a single point. But can François Ratier's team not only end England's dominance in this competition but also halt their 37-game winning run on Sunday? If they show up from minute one to 80, France can do it. England's Challenge with a Depleted Squad England will be favourites to lift their eighth straight Six Nations trophy but have been contending with a lot this tournament. Retirements, pregnancy and injury mean the team are without a wealth of talent including Zoe Stratford – the usual captain – Abbie Ward and Alex Matthews. They have continued to win with a depleted squad but their depth will be given its biggest test yet against an in-form France team. Statistical Analysis: France's Dominant Form The statistics never lie and France's so far this competition, particularly in defence, have been commanding. The side are topping the charts for most carries, offloads and defenders beaten. They also have the fewest missed tackles, the most dominant contacts and an 88.4% tackle success rate, the best in the competition. England's Offensive Strengths England lead in fewer areas but have scored the most points this tournament and have the top try scorer in Marlie Packer, who will start on the bench with Sadia Kabeya back from injury. The fly-half Zoe Harrison's supreme kicking has also been a huge asset to the team, with 23 of 24 kicks successful. They know their attack is the highlight of their game at the moment and, when asked if working on defence will be critical against France, the England head coach, John Mitchell, said: "It will be, but we'll just score more." Defensive Concerns for England Against Italy, England conceded the most points they ever have in the Six Nations against a team that was not France. The former England captain Packer believes the side need to be more reactionary: "I think we need to be a bit better at see, do. We are thinking. As soon as you think, the other team has a foot on top of you. France's Key Players England will need to plug their defensive holes because France have stars who will snipe at any opportunity given to them. Anaïs Grando has scored four tries in four games and has proved to be a great resource in defence too, a particular highlight coming against Ireland where her covering tackle held up Fiona Tuite over the line. The scrum-half Pauline Bourdon Sansus has also been an integral cog in the French setup for years and her form has not let up this year either. Strategic Battle: France's Game Plan France have been chasing England's tails since they last beat them in 2018 and the Red Roses know they have a target on their backs. While their captain, Meg Jones, said the dominant winning run isn't something that is discussed between the squad, Mitchell has urged teams to "come and get us". The Road Ahead "We love being the standard bearers of consistency," Mitchell said. "Somebody is going to get us, we understand that reality and we shouldn't be disgraced if somebody does get us. We don't want to give that up easily, anyone can pick on our weaknesses but we will look to fix them. That doesn't mean we are in decline, we are actually developing and evolving. Maybe we are evolving a lot quicker than a lot of people realise. We get another chance to test that on the weekend, that is what we embrace and thrive in."

The Lead A recent report by the Muslim Council of Britain has found that Muslims make up 6.5 percent of the population of England and Wales, with a median age of just 27 – 13 years younger than the national average. Nearly half are under 25, meaning British Muslims are one of the youngest and fastest-growing groups in the country. Demographic Shift Researchers say that shift could become politically significant if the voting age is lowered to 16, potentially adding about 150,000 more Muslim voters to the electorate. “This is a young, British-born, highly educated generation, and politicians who still think of Muslims as outsiders are reading from a script that is 20 years out of date,” said Miqdad Asaria, associate professor in health policy at the London School of Economics and Political Science. Education and Inequality The report, British Muslims in Numbers, analyses census data across 2001, 2011 and 2021 and argues that much of Britain’s understanding of Muslim life is now outdated. British Muslims remain one of the youngest populations in England and Wales, with a median age of 27. However, the report also paints a stark picture of inequality and struggle, with about 110,000 Muslim households – 10.3 percent – being lone-parent households with dependent children, higher than the national average of 6.9 percent. Signs of Social Mobility Despite these challenges, the report documents signs of social mobility. Muslim women’s economic activity has risen by 37 percent over the past two decades. Nearly a third of Muslims now hold degrees, close to the national average, while among 16–24-year-olds, Muslims now exceed the national average for degree-level attainment. The Future Outlook For researchers behind the report, the central question is no longer whether Muslims belong, but whether Britain’s institutions are prepared for the scale of the demographic and social change already under way. “Muslims are increasingly well-educated, entrepreneurial, economically active and engaged citizens,” said Abdul-Azim Ahmed, deputy director of the Centre for the Study of Islam in the UK.

The Artist's Background and Achievements At 29, Rene Matić is the youngest ever person to win the £30,000 Deutsche Börse Photography Foundation prize. They were nominated for their solo exhibition As Opposed to the Truth at CCA Berlin – there is currently a much smaller reconfiguration representing part of the show at the Photographers' Gallery in London. Matić was also the youngest artist ever to be nominated for the Turner prize last year. Notable Works and Artistic Approach There are things I like about Matić. I like the way they challenge what counts in life and art, and what counts as British. Their 2022 work, Upon This Rock – a photographic installation and a film exploring the artist's father, Paul, and his involvement with the skinhead movement – felt like it was breaking new ground, conceptually and materially. Matić's yearning to understand masculinity and fatherhood as forces shaping national identity, and the way they incorporate new stories into the folds of Britain's historical fabric, felt original and exciting. Prize Recognition and Its Significance The Deutsche Börse Photography Foundation prize is one of the most prestigious awards in contemporary photography, carrying a £30,000 prize. Matić's win at such a young age marks a significant moment in the art world, particularly as they identify as a queer, working-class person of colour. The fact someone from this background won this award is good as a statement for what the Deutsche Börse prize can stand for in terms of diversity and representation. Critical Assessment of Current Exhibition Yet a lot of Matić's other work doesn't feel mature enough for the photographer to have taken the prize so early in their career. The installation Feelings Wheel, a series of diaristic snapshots which is shown at the Photographers' Gallery, feels like something you'd paste on your wall or Tumblr at university. They are pretty mediocre pictures, safe from Instagram censorship, and arranging them in Perspex doesn't make them more interesting. I find there is an annoying insularity, a sense of preaching to the converted, whereas the most effective art builds bridges between artist and viewer, allowing people who aren't part of the gang to understand it and be moved by it, too. Comparisons to Influential Photographers Too often, Matić's images are only made interesting by the different ways they display them in assemblages, spatial and sculptural configurations. Their work draws comparisons with Wolfgang Tillmans or Nan Goldin, who both photographed their own subcultures and communities, but with more edge and verve. With slideshows to music (in the case of Goldin's The Ballad of Sexual Dependency) and multi-format installations responding to the space (Tillmans), both photographers cast aside the traditional focus on a single image, creating new ways of looking at multiple photographs that Matić adapts but doesn't quite move forward. Broader Implications for Contemporary Photography There's nothing wrong with art that focuses on identity – especially identities that have been consistently erased and ignored in this country. But based on what Matić has done for photography, I don't think they should have won. Autobiography can't be the only thing a work has to offer. I am not sure what's really radical or nuanced about Matić's photographs of flags and tattoos, or people kissing at Glastonbury. At times, the vulnerability and compassion seems performative rather than sincere, and there's not enough tension – questions in the work for the viewer to resolve. The Future of Matić's Artistic Development Leaving the exhibition, I felt flat – though there are ideas, they need more time to percolate. What this win seems to tell us about photography now is that how you market yourself is possibly more important than the work you make. Matić clearly has potential, as evidenced by their more conceptual works like Upon This Rock, but the current exhibition suggests they may have been recognized before their artistic voice has fully developed. The challenge for Matić will be to build on the conceptual foundations of their strongest work while developing a more distinctive photographic language that doesn't rely solely on presentation techniques to generate interest.

Tech companies are rapidly cutting middle‑manager layers as AI promises to do more with fewer people, with firms such as Coinbase, Block, Meta and Amazon announcing sweeping restructurings that shift managers into hybrid supervisor‑producer roles.AI‑Powered Management Flattening Across Major Tech FirmsCEOs have framed AI as a catalyst for flattening hierarchies, pledging to eliminate “unnecessary management layers.” Recent moves include:Coinbase laid off 14% of its workforce while eliminating “pure managers.”Block cut 40% of staff and assigned some engineering managers up to 175 direct reports.Meta increased managers’ span of control and required them to contribute code, as described by former manager Prateek Singh.Amazon raised the employee‑to‑manager ratio by at least 15% to boost ownership.Numbers Illustrating the Scale of the Managerial CutbacksOpenings for middle‑manager jobs in the US fell 42% at the end of 2025 compared with the 2022 peak (Revelio Labs).Middle managers made up 13% of the US workforce in 2022 (Harvard Business School).Block’s internal charts show some managers handling up to 175 reports, far above the traditional 6‑12 range.How the New Structure Reshapes Work and Risks EmergingAnalysts warn that the shift places extra pressure on remaining managers, who must now act as both supervisors and producers.Managers may rely on AI agents for asynchronous updates, reducing face‑to‑face mentorship.Potential for flawed AI‑generated decisions to cascade into security or operational failures.Reduced human interaction could hurt employee motivation, especially for less‑experienced or marginalized teams.What the Future Holds for Middle Management in an AI EraExperts predict a continued decline in traditional middle‑manager roles, with companies investing in upskilling and AI‑augmented decision‑making.Companies will need to redesign coordination processes and provide training for broader decision authority.Fewer promotion pathways may increase talent attrition, prompting firms to rethink career ladders.Hybrid “player‑coach” models could become the norm, blending technical contribution with limited people‑management duties.

A Global Celebration of Visual Storytelling For the 15th installment of the annual Photoville festival, which sees more than 90 exhibits of photographic portfolios from all around the world, festival co-founder Sam Barzilay is thinking about apples – specifically the bizarre and at times cosmic-looking ones in the exhibit Old Apples. "I was so delighted it got selected," he enthusiastically shared. "It's the most whimsical thing we have, it's about apples and how there are no two apples in nature that are the same." Diverse Exhibitions Reflect Contemporary Society With exhibitions celebrating everything from cumbia music to the many ways people play soccer globally and even a fox sanctuary, Photoville may be more whimsical than ever, but the show also delivers a satisfying range of the hard-hitting reportage and documentation that have made prior years so vital. Collections this year run the gamut from turbocharged wildfires in the western US to how racial inequalities affect water access to the ways in which ICE has brought chaos to many American communities. Amplifying Marginalized Voices Through Photography In light of efforts by the Trump administration to erase the reality of trans people, Photoville offers two exhibits that attest to the enduring nature of trans lives. Special Girls, which draws from the mammoth archive of photographer Remsen Wolff, shows off 1990s-era photos of trans women, as well as gender nonconforming individuals such as crossdressers and drag queens. "The world has changed dramatically from then to today," said Barzilay, "this is a celebration of the fact that this is not a new idea." Documenting Human Resilience in Challenging Circumstances Lexi Parra's portfolio of work The Avillas documents what happens after the titular family's matriarch self-deports amid terrifying threats directed toward immigrants in the United States by the Trump administration. The photos make for an extremely difficult reminder of what happens when a beloved member of a family is torn away from it. "It's looking at their lives today as they try to figure out what to do next," said Barzilay. The extremely moving collection Puppies Behind Bars is the fruit of the nearly two years that photographers Ashley Gilbertson and Ava Pellor spent in the men's maximum security Green Haven, documenting the titular program wherein those incarcerated raise puppies to become service dogs. "The dogs humanize an environment that's devoid of all humanity," said Gilbertson. "It gives men who have committed grave crimes against society a chance to do something, it gives men a chance to show weakness and vulnerability to be emotionally open and playful, it gives them a sense of responsibility." Cultural Preservation Through Visual Documentation The Women's Grass by Blackfeet Nation photographer Whitney Snow documents that intricate web of cultural knowledge and practice that has grown around sweetgrass. Long used by the Blackfeet in both religious ceremonies and as medicine, the plant is the province of the tribe's women, who have passed down knowledge of sweetgrass from generation to generation. "Women are held to a very high regard in our society," Snow said. "To have plant knowledge like that is considered very prestigious." The Future of Documentary Photography Festivals As Photoville continues to grow in its 15th year, it represents a vital platform for photographers addressing pressing social issues while also celebrating the beauty and diversity of human experience. The festival's ability to balance whimsical, light-hearted exhibitions with profound social commentary demonstrates the power of photography to both comfort and challenge viewers. In an increasingly polarized world, events like Photoville provide spaces where diverse perspectives can be shared and understood, suggesting that documentary photography festivals will continue to play an essential role in fostering empathy and understanding in the years to come.

The Lead: Summit Concludes Without Iran Breakthrough Donald Trump has claimed that the US and China "feel very similar" about ending the war in Iran but offered no details about a possible breakthrough during the final day of his summit with Xi Jinping in Beijing. The Diplomatic Stance: Shared Goals but No Clear Path "We did discuss Iran," Trump said. "We feel very similar about [how] we want it to end. We don't want them to have a nuclear weapon. We want the straits open." He added: "We want them [Iran] to get it ended because it's a crazy thing there, a little bit crazy. And it's no good, it can't happen." The Strategic Pressure: China's Role in Iran Crisis There is much speculation about how much pressure the US is putting on China, the biggest buyer of Iranian oil, to use its leverage with Iran to encourage the country to reopen the strait of Hormuz. US trade representative Jamieson Greer said in an interview with Bloomberg TV on Friday that the Chinese "don't want to be on the wrong side" on the Iran issue. "It's really important for China to have the strait of Hormuz open," Greer said. The Economic Calculus: China's Energy Security Concerns About half of China's crude oil passes through the waterway, but the bigger threat for the Chinese economy is if the conflict in the Middle East causes a global recession that dents demand for its exports. However, many in Beijing feel that the crisis in Iran is not China's responsibility. The Public Statements: Contradictory Messages US Secretary of State Marco Rubio initially said the US hoped "to convince [China] to play a more active role in getting Iran to walk away from what they're doing now and trying to do now in the Persian Gulf." But later he downplayed the idea that the US was seeking support from Beijing. "We're not asking for China's help. We don't need their help," Rubio said. The Chinese Response: Cautious Diplomacy China's foreign ministry on Friday again called for a ceasefire in Iran and said the strait of Hormuz should be opened "as soon as possible." Zhou Bo, a retired senior army colonel and a senior fellow in the Center for International Security and Strategy at Tsinghua University, said: "On Iran, China definitely wants to help but I read what Rubio said: he actually seems to shift the burden to the Chinese side. In China, we have a saying: it is like, 'Why should I clean your shit?'" The Official Readouts: Diplomatic Language The White House readout of the more than two hours of talks between Trump and Xi on Thursday said the leaders "agreed that the strait of Hormuz must remain open to support the free flow of energy" and that "President Xi also made clear China's opposition to the militarisation of the strait." The Chinese readout of the meeting just made a brief reference to the "situation in the Middle East." The Controversial Remark: Trump's PR Comment Trump raised eyebrows during a TV interview when he suggested that finding Iran's enriched uranium was primarily for show after Israel demanded it as a goal. "I just feel better if I got it, actually, but it's – I think, it's more for public relations than it is for anything else," the US president told Fox News host Sean Hannity. The Trade Deals: Symbolic Gestures Trump told Fox News that China agreed to buy US oil, soybeans and 200 Boeing planes. But on key issues including Taiwan, there seems to have been little by way of concrete agreement. Trump was heard saying on his way into the tea room at the Zhongnanhai garden that Xi was giving him roses for the Rose Garden, according to a White House pool report. The Strategic Balance: Shifting Power Dynamics Julian Gewirtz, a former director for China on the national security council during the Biden administration, said the new Chinese formulation about US-China relations was about "locking in this current phase of strategic stalemate for the remainder of Trump's term and ideally beyond." Wu Xinbo, a professor of international studies at Fudan University and a Chinese government adviser, said the balance of power between the US and China was "shifting towards greater parity." "In the past, it always seemed as though the United States held the upper hand, constantly exerting pressure on China and taking the offensive. Now, however, it's fair to say that the two countries have reached a new point of equilibrium," Wu said.

The Misconceptions of Women's Sexuality in Ancient Times A recent study on women's pleasure has revealed that people around the world are having less sex. In Britain, the US, France, and Australia, the frequency of sex has been declining. However, this trend is not universal, with Denmark appearing to buck the trend. The Ancient Perception of Women's Sexuality In ancient Greece and Rome, women were often seen as 'nymphomaniacs' with a voracious sexual appetite. This perception was not a positive thing, but rather an illness that society needed to control. The Hippocratic Corpus, a body of medical texts from ancient Greece, believed that women's wombs were not fixed and could wander freely within the body, posing health risks. The Medical Theory of the Wandering Womb According to the Hippocratic Corpus, the womb required moisture to stay in place, and women needed to have regular sex to create moisture in their genitals. This theory was taken seriously, with the case of Apuleius, a Roman who argued that his wife had married him to cure her of a wandering womb. The Shift in Understanding Women's Sexuality Over time, the understanding of women's sexuality has changed. Today, women's desire is often seen as buried deep, in need of excavation. The sex historian Kate Lister has highlighted the 'lie back and think of England' euphemism, which exemplifies the modern historical idea that sex is purely for men and women must grin and bear it. The Impact on Women's Pleasure The article suggests that the portrayal of women as the more sexual sex in antiquity was not a good thing, but rather a manifestation of societal control. Women's pleasure was not prioritized, with ancient attitudes putting a dent in female pleasure. However, women still found opportunities to explore what felt good to them, with evidence of ancient dildos and love declarations. The Future of Women's Sexuality The article concludes that history offers two opposing understandings of women's sexuality, but both attitudes manifest the same thing: an ironing out of individuality and complexity of sexuality and desire. The future of women's sexuality remains uncertain, but it is clear that a more nuanced understanding of women's pleasure is needed.