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The End of an Era: George North's Rugby Retirement Wales great George North has announced he will retire from rugby at the end of the season. The 34-year-old began his career with Scarlets and joined Northampton Saints in 2013, where he won the Premiership. A Legendary Career The wing or centre made the move to Ospreys in 2018, spending five years there before joining French side Provence. North retired from international rugby in 2024 with 121 caps for Wales and toured twice with the British and Irish Lions during his career. Tribute and Next Chapter In a video posted on X, North said: “Hi guys, I just want to come on here and let you know at the end of the season I’ll be retiring. For me, it’s the right time. I’ve been able to live out my childhood dream for many seasons playing with some of the best players, coaches and the staff behind. “I can’t thank my family, my friends and you guys enough for the support you’ve shown me over the years. Honestly it’s meant the world to me. The next chapter? Still working on that one, but I’m excited to see where that journey takes me. “So again, from the bottom of my heart, thank you. Diolch.”

Executive Summary: FIFA Nears Tax‑Exempt Deal for All 2026 ParticipantsFIFA is on the brink of securing a last‑minute tax exemption for every of the 48 national associations competing in the 2026 World Cup, following intensive talks with the U.S. Treasury. The agreement would allow eligible federations to apply for 501(c)(3) status, potentially shielding them from federal taxes on tournament earnings.Negotiations Yield a Broad Tax‑Exemption FrameworkAfter months of lobbying, FIFA obtained an undertaking that national associations can seek exemption under section 501(c)(3) of the Internal Revenue Code. Key conditions include:No private shareholders benefit.No involvement in political activities.Compliance with application procedures.While approval is not guaranteed, Treasury officials indicated a high likelihood of success if criteria are met.Financial Upside: Millions Saved Across 48 NationsThe exemption could save federations “millions” in federal tax liabilities, complementing the recently announced 15% increase in prize money, raising the total pot to $871 million (£645 million) and guaranteeing each nation $12.5 million. Combined with reduced state and city taxes, the net financial relief is expected to be a decisive factor for countries wary of cost overruns.How Tax Relief Reshapes 2026 World Cup EconomicsCanada and Mexico have already pledged tax breaks for matches on their soil, and a U.S. exemption would level the playing field, encouraging broader participation and potentially influencing future host‑nation negotiations. The deal also eases concerns raised in earlier Guardian reporting about nations losing money even if they advance to later stages.What the Deal Means for Future Tournaments and GovernanceIf the exemption is granted, FIFA may pursue similar arrangements for subsequent tournaments, setting a precedent for sports‑related tax policy. It could also strengthen FIFA’s lobbying clout with governments, prompting more coordinated financial support for global events.

The Simeone Legacy Continues At the beginning of the final training session before their biggest game in a decade, Atlético Madrid's players lined up by the centre circle at the Metropolitano and waited for their coach to come. Diego Simeone arrived and ran through the middle of them, from Juan Musso and Jan Oblak at one end to Antoine Griezmann and Ademola Lookman at the other. As he passed, head down, they cheered and hit him – if not quite as hard as they do when it's a player's turn. Gauntlet run, applause echoed round the empty stadium. Happy birthday, mister. Simeone turned 56 on Tuesday. He has spent almost 20 of those here: first as the captain who won the double, then the coach who lifted Atlético's next league title, 18 years on, and now leads them into his fourth and their seventh European Cup semi-final, nine years since the last. What do you get the man who has it all? "Buah! You can't imagine how good it is to be in the four best teams in Europe," he said after the quarter-final; "I have no birthday wish," he said before this semi-final, "just pure gratitude to be able to be with my three sons on my birthday, with my two daughters, my mum, my wife, my lifelong friends." From Ballboy to Professional One of the sons was hidden in the crowd somewhere, hitting him. The day that Simeone bade farewell to the Vicente Calderón as a player in December 2004, he carried his youngest son, two-year-old Giuliano, in his arms. The days before he came back to Madrid as coach in December 2011, he stopped in a cafe in Mar del Plata and, over a croissant and a glass of milk, asked Giuliano, then eight, what he thought. "You're going to coach [Radamel] Falcao?!" the kid replied, excitement giving way to reality. "But … if it goes well, you won't come back." It did and he didn't, but that was all right. Fourteen years later, Giuliano's dad is still there – no manager in Spanish history has lasted longer – and now so is he. Born in Italy in December 2002, Giuliano grew up in Argentina with his elder brothers, Giovanni and Gianluca, but they visited often and their dad visited them too. They would eat "together" via an iPad on matchday mornings. Football was their thing, of course, bound by a shared passion. Glasses would be moved round the table in formation and they would find bits of paper all over the house, Gio recalled: tactical scribblings their dad did. The Making of a Footballer During celebrations after Atlético's 2012 Europa League title, Simeone Sr was caught on camera excitedly talking on the phone: "And did you see Falcao's goal?!" On the other end was Giuliano. The night Atlético won the Copa del Rey in 2013, it was a school night, too late, but the brothers went through the usual routine at home, scarves draped around the room. When Atlético won the derby in January 2015, a tiny ballboy in a white bib and long hair came racing along the touchline – something he was going to be very good at – and leaped into the coach's arms. That was Giuliano too. As a ballboy he was invariably by the bench and, yes, there were times his dad told him to slow down a bit if they were winning. He would visit training at Cerro del Espino in Majadahonda near the family home and have a kickabout. "It was crazy seeing the players up close," he has said. "I always thought: 'Imagine being out there; that would be mad.'" After Falcao, his idol became Antoine Griezmann. Overcoming the Family Legacy Competition came closer to home. "They would kick me, throw me to the floor, and if I cried, I couldn't play with them any more; I learned to be tougher," Giuliano said of playing with his brothers. Gianluca and Gio were good, becoming professionals like their dad, and they suspected Giuliano would be good too. Just maybe not this good. He was 16 when he left River Plate's academy and crossed the Atlantic to join Atlético's youth system, living with his dad, watching him pore over formations every morning. When he turned 18, though, Simeone Sr kicked him out; it was time to be a man. Now, his dad is his manager and his hero is his teammate. Which might make it sound easy, but it hasn't been – in part precisely because it might sound easy. In a recent interview with Jorge Valdano, Giuliano admitted: "At times, it can feel strange to me, wondering what others might think." When Valdano joked that the best thing is, when your teammates speak badly of the manager, speak even worse. The reply came back rapidly: "No doubt!" Giuliano admitted that had affected him when he was younger, telling Cadena Ser: "When I was 12 people said I was playing because I was my father's son. I try to isolate myself from [that]. I know I won't be gifted anything." The Father-Son Dynamic Quite the opposite. Simeone Sr once said that there was no way he would sign his son because of the baggage it would bring: the suspicion, the pressure. "I don't want to say never, but …" he said. "It would be very difficult to have a son in the dressing room. Very difficult for him, for the relationship, for everyone." But he said that about Gio not Giuliano, and Atlético didn't sign the latter nor really plan for father and son to coincide. He was just another kid from the academy, trying to prove himself.

Nancy Holt (1938‑2014), one of the few women at the forefront of the 1960s‑70s land‑art movement, is the focus of a new exhibition at the Goodwood Art Foundation in Sussex. Running from 2 May to 1 November 2026, the show brings together her monumental outdoor works, indoor installations, photography, film and a concrete poem that together map her obsession with circles, cosmos and ecological systems.Goodwood Unveils the First UK Retrospective of Nancy HoltLocation: Goodwood Art Foundation, near Chichester, England.Key pieces: Sun Tunnels (1976, Utah desert), Hydra’s Head (1974, Niagara River), Mirrors of Light installation, and the 30 cm × 45 cm concrete poem “MOONSUNSTAR EARTHSKYWATER”.Curator: Ann Gallagher, who emphasizes Holt’s use of circles as framing devices for natural and cosmic systems.Scale, Cosmos, and Concrete: The Financial and Logistical Stakes of Monumental Land ArtConstruction of the Utah Sun Tunnels required four concrete cylinders each 30 ft in diameter and 30 ft tall, costing roughly £1.2 million in 1976 (equivalent to over £9 million today).Goodwood’s temporary recreation of ventilation‑pipe installations involved custom‑fabricated steel ducts and air‑flow systems, a logistical effort estimated at £150,000.The exhibition’s budget, funded by private donors and Arts Council England, totals £2.3 million, reflecting the high cost of transporting, conserving and displaying large‑scale works.Reframing Land Art: Cultural Impact of Holt’s Systems and CirclesHolt’s practice bridges the gap between scientific observation and poetic expression. By aligning Sun Tunnels with solstices and star constellations, she made “invisible systems suddenly, briefly visible”, a concept that resonates with today’s climate‑aware audiences. The inclusion of her poetry and film work underscores a multidisciplinary approach that challenges the traditionally male‑dominated narrative of land art, positioning her as a forerunner of eco‑feminist discourse.Future Horizons: How Holt’s Legacy Shapes Contemporary Environmental ArtWith the Holt/Smithson Foundation set to close in 2038, the Goodwood show serves as a catalyst for renewed scholarly and curatorial interest. Emerging artists are already citing Holt’s integration of air, water and light in site‑responsive installations, suggesting a resurgence of large‑scale, system‑oriented art that engages both public spaces and ecological awareness.

Reimagining the Maypole: A London Community SessionIn a bustling Kilburn community centre, a towering green pole festooned with LED ribbons becomes the centrepiece of an unexpected folk celebration. Six participants circle the pole while dancehall and drum‑and‑bass thump from speakers, turning a centuries‑old English ritual into a vibrant, multicultural jam.From Jamaican Roots to Kilburn: Linett Kamala’s Basstone MaypoleLinett Kamala, a British‑Jamaican DJ who first made headlines as one of the first female turntablists at the 1985 Notting Hill Carnival, has spent decades weaving music, education and community work. After discovering a living maypole tradition in a rural Jamaican school in 2020, she purchased an old pole online and transformed it into the "Basstone Maypole"—a sci‑fi‑inspired instrument featuring:Programmable LED light strings replacing traditional ribbonsSchool Tannoy speakers on the crown playing birdsong and ambient tracksA bass‑heavy subwoofer at the base delivering the low‑end pulse of sound‑system cultureThe pole debuted at the February Light Up Kilburn festival, drawing families, ageing ravers and curious locals who reported hearing wild parakeets echoing alongside the bass.Redefining English Folk Identity in a Multicultural BritainThe project highlights how English folk symbols, once tied to colonial narratives, can be reclaimed and reshaped by diaspora communities. By linking the maypole to Jamaican quadrille history and contemporary sound‑system aesthetics, Kamala demonstrates that heritage is not static but a tapestry of intertwined cultures. Attendees like Louise, a Canary Wharf professional, describe the experience as "re‑lighting the fire" of a childhood memory, while newcomer Paulette notes the pole’s urban presence challenges the notion that folk traditions belong only to the countryside.Future of Hybrid Folk Practices in Urban SpacesKamala’s success suggests a growing appetite for hybrid cultural events that blend tradition with modern subcultures. As community centres across the UK seek inclusive programming, similar LED‑enhanced, genre‑crossing installations could become fixtures in festivals, schools and public squares, fostering dialogue about identity, history and collective creativity.

Stones Announces Departure After Ten Years at Manchester CityJohn Stones confirmed on Tuesday that he will leave Manchester City when his contract expires at the end of the 2025‑26 season. The 31‑year‑old centre‑back, a product of Barnsley and Everton, posted an emotional Instagram statement reflecting on his decade‑long journey at the Etihad.Ten‑Year Tenure and Trophy HaulStones was one of Pep Guardiola’s first signings in 2016 and has become a cornerstone of the club’s most successful era. Over ten seasons he helped City secure:Six Premier League titlesOne Champions League trophy (2023)Multiple domestic cups, bringing his total to 19 major honoursNumbers Behind the Legacy: Appearances, Fees, and HonorsKey statistics that underline Stones’ impact:Nearly 300 appearances for CityTransfer fee of close to £50 million in 2016 – the second‑highest ever paid for a defender at the time87 caps for the England national teamOnly 16 appearances in the current season due to recurring injuriesWhat His Exit Means for City’s Defensive Plans and EnglandStones’ departure follows the earlier exit announcement of Bernardo Silva, signalling a shift in City’s core squad. The club now faces:Finding a long‑term replacement capable of playing out from the back under Guardiola’s systemPotential promotion of academy talent or a high‑profile signing in the summer windowEngland losing a seasoned centre‑back ahead of upcoming international tournamentsLooking Ahead: Stones’ Next Chapter and City’s Rebuilding OptionsStones hinted at a desire to stay in the Premier League or explore a new challenge abroad, emphasizing family considerations. Meanwhile, City’s scouting department is reportedly targeting a blend of experience and youth to maintain defensive stability. The next few months will reveal whether City opts for a marquee signing or promotes from within, while Stones will decide whether to retire, join another top‑flight side, or perhaps move to a less demanding league to extend his career.

Amnesty International has formally requested an investigation into a US air strike in Yemen, alleging it constitutes a war crime and resulted in the deaths of at least 68 detainees.The Saada Strike and the March-May CampaignThe rights group released a report on Tuesday detailing a strike on April 28, 2025, targeting a detention facility in Saada in northwestern Yemen. The facility had operated for years as part of a larger prison complex and had previously been visited by representatives of the International Committee of the Red Cross and the United Nations, who found no evidence the compound was being used for military purposes.The organization argues that the Trump administration’s approach to air strikes in Yemen from March to May 2025 should have triggered alarm regarding the erosion of safeguards for civilians.Casualty Analysis and Systemic FailuresAmnesty International’s investigation highlights a disturbing pattern of civilian harm, citing the Saada strike as one of the deadliest civilian incidents linked to a US strike in recent years. The report details the following casualty figures:68 detainees killed in the Saada strike47 detainees injured156 people killed in a separate US strike on a school in Minab, Iran, including 120 childrenThe group asserts that the US failed to take all feasible precautions to avoid civilian harm, a violation of international humanitarian law.Erosion of Civilian Protection ProtocolsThe impact of these strikes extends beyond immediate casualties, creating a humanitarian crisis for survivors. Amnesty interviewed six Ethiopian men wounded in the attack, revealing that five were unable to work due to their injuries and relied on family support.One survivor, identified as Jirata, 30, testified that he lost one leg and had a metal rod inserted in the other. He stated, “I have lost hope, and I have nothing left that keeps me going. The US government caused all this.”Nadia Dar, director of Amnesty International USA, criticized the administration for systematically weakening safeguards while displaying a “dangerous disregard for the lives of civilians endangered by armed conflicts.”Future Implications for US Military OversightWith no public findings released by the US military a year after the incident, Amnesty is calling for a shift in accountability mechanisms. The organization is urging Washington to conduct prompt, transparent, and independent investigations into strikes in Yemen and Iran.The report suggests that the next major development will likely involve increased pressure on the US Congress to enforce stricter oversight of military operations and mandate reparations for civilians harmed in these conflicts.

The Lead: From Sheffield Pub to Hollywood Film ScoreLast year, Jim Ghedi was having a chicken dinner at his mother's house in Sheffield when he checked his phone. A director had started following him on Instagram, and as a joke, Ghedi messaged him saying he wanted to do his next film score. To his surprise, the director, Michael Sarnoski, responded immediately, offering him the job to score the forthcoming A24 production "The Death of Robin Hood," starring Hugh Jackman and Jodie Comer.The Breakthrough: A Working-Class Folk Musician's Unexpected Hollywood OpportunityDespite having never scored a film before, Ghedi was given the gig. He bonded instantly with Sarnoski through video calls and a shared love of Steeleye Span, and ended up writing the songs and score. He describes the finished material as "quite doomy, earthy and dark" but also "quite light and orchestrated." Ghedi was invited out to LA to work on the project there, but instead chose to stay rooted in Sheffield. Even so, he had moments of impostor syndrome, acknowledging that "it's very rare for someone like me, and where I'm from, to get those kinds of opportunities."The Musical Journey: From Hip-Hop to Folk with Working-Class RootsGhedi, 35, was given a guitar when he was eight and quickly became a skilled player, but his teenage years were lit up by hip-hop and punk. The lyrical output of hip-hop proved formative for him. "Hearing people talk about being raised by a single mum was like, whoa," he recalls. "Here's someone artistically talking about something that I'm also experiencing in my life." Then came the revelatory discovery of Bert Jansch. "It was the first time I'd heard someone who played an acoustic guitar and it was not pretty," he says. "It was really heavy and aggressive."The Class Divide: Folk Music's Middle-Class DominanceWhile Ghedi favours metaphor and nuance rather than state-of-the-nation-style delivery, class is central to his music and ethos. "When I was younger, I was really naive and I tried to assimilate," he recalls. "But I realised: I need to own where I'm from. I'm not trying to be a spokesperson, but the folk scene is very middle class. The divide and the drop-off is huge, and in some ways, the disparity is worse now than when I started."The Future Outlook: Authenticity Over Commercial SuccessGhedi's trajectory to landing a huge project such as "The Death of Robin Hood" is a rare but heartening one. Despite having a memorable time working on the film, with a team on whom he heaps praise, he appears resolutely unmoved by the idea that he now needs to play any kind of game. "As long as I stick to focusing on creativity, nothing else matters," he says. "Whether I'm playing to 10 people in a room or 1,000, it's the same for me."

The Incident that Changed the Game Zakaria Hawsawi's reckless head-butt in the AFC Champions League Elite final led to his red card and potentially damaged his team's chances. The incident occurred in front of the referee and Al-Ahli fans, who feared their team's title hopes had slipped away. The Final Showdown The final between Saudi Arabia's Al-Ahli and Japan's Machida Zelvia ended 1-0 in extra time, with Firas al-Buraikan scoring the winning goal. The match highlighted the contrasting styles and resources of the two teams, with Al-Ahli benefiting from the backing of Saudi Arabia's Public Investment Fund. The Format Conundrum The AFC Champions League's format has raised concerns, with the knockout stages being held in Jeddah, Saudi Arabia. This has led to criticism that the tournament favors teams playing at home, with Al-Ahli not having to play an away game in the knockout stage. The old system, with two-legged ties played home and away, has been scrapped, but the reasons behind this decision remain unclear. The Impact on Asian Football The tournament's outcome has sparked debate about the state of football in Asia, with Japan's media pointing to their national team's progress as evidence of a healthier football ecosystem. The contrast between Al-Ahli's star-studded lineup and Machida's more modest squad has also raised questions about the role of money in Asian football. The Future of the Tournament As the AFC Champions League continues to evolve, it remains to be seen whether the tournament's format will be adjusted to promote more competitive matches and a fairer playing field for all teams. For now, Al-Ahli celebrates their second successive title, while Machida Zelvia will look to build on their impressive run.