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The Post‑Industrial Landscape of Ebbw ValeThe Guardian’s visit to the Welsh valleys town revealed a quiet streetscape where former steelworkers' legacy is replaced by a hospital, leisure centre, college and a handful of tech firms. John Edwards, 77, volunteer at the Ebbw Vale Works Museum, describes the town as a commuter hub for Cardiff, yet locals still feel the sting of "no jobs".Regeneration Efforts and New InfrastructureSince the steelworks shut in 2002, the area received the maximum EU structural funding, channelled into:Modern public buildings on the old siteA new railway station opened in 2015A public‑private cybersecurity research centre and two tech firmsThe Goldworks coworking hub launched in 2024These projects aim to reposition Ebbw Vale as part of the Welsh government’s £100 million "Tech Valleys" programme.Employment and Funding Figures Since the Steelworks Closure62% of the town’s 18,000 voters chose Leave in the 2016 EU referendum – the highest proportion in Wales.EU funding was the highest per‑capita in Wales, yet median real wages have continued to fall since the early 2000s.Blaenau Gwent council reports a net gain of 870 new local businesses over the past decade, up from 511 in the previous ten years.Three tech companies now occupy the former steelworks site, alongside the Goldworks hub.Why Brexit and Funding Gaps Still Haunt the CommunityResidents like Claire Jones (52) recall the visible EU presence before the vote and question why the town voted Leave despite the cash influx. Plaid Cymru Senedd member Lindsay Whittle says the vote exposed deep‑seated despair and a feeling of being left behind. A Bevan Foundation report concluded that the EU money “didn’t boost the fortunes” of Blaenau Gwent, suggesting the funds largely “went straight down the drain”.Outlook: Prospects for Growth and Community SentimentWhile the joint growth blueprint with neighbouring Torfaen seeks to leverage Welsh government investment, locals such as butcher Nathan Grist (40) report only marginal improvement and a continuing cost‑of‑living squeeze. The town’s future hinges on whether the Tech Valleys programme can translate new businesses into sustainable employment, or whether the lingering regret over Brexit will keep the community in a cycle of economic stagnation.

The Vision for a Democratic Museum The new London Museum, formerly known as the Museum of London, will be “a social space for the city”, its director Sharon Ament has said, hosting afternoon tea events, monthly dinner clubs and late-night DJ sets where visitors can mingle among the artefacts while dancing. The Museum's New Home and Events The institution has been closed since 2022 and will reopen in its new home, painstakingly converted over a decade from two historic former market halls in Smithfield, in the City of London, on 28 November. The cavernous market halls will be connected by a former London street, now glazed, with openings at either end to welcome visitors inside. What was once the trading floor of the Victorian General Market will host a full programme of cultural events, with the first, called London Tastes, focusing on the diversity of the capital’s food scene. The Collection and Exhibits Events will sit alongside objects drawn from the museum’s collection of 7m artefacts, which include the Cheapside Hoard of 17th-century jewels, the vest worn by Charles I when he was beheaded in 1649 and a chunk of the Whitechapel fatberg, collected from the capital’s sewers in 2017. Other acquisitions made during the museum’s temporary closure include a police sentry box decorated with piranhas by Banksy in 2024 and the Bloomberg Collection of 14,000 Roman artefacts. The Future of Museums Ament said: “Moving into a market really made us think differently about how we could possibly be as a museum. What we’ve all learned is that markets make absolutely fantastic museums, because of all the intrinsic qualities of a market that I don’t think are necessarily always built into museums. A market is a social space so we are a social place.” She added that many other museum directors had been “grasping towards” this approach, but were often hampered by their institutional culture or historic buildings.

The UK’s Proposed Under‑16 Social‑Media Ban Sparks a Search for Real‑World ConnectionsWhen a Lancashire schoolgirl was asked what she would do if the proposed social‑media ban for under‑16s took effect, she deadpanned, “Stare at a wall.” The clip went viral, highlighting parents’ anxiety about a future without TikTok or Instagram. Arran Wilson of the Wildlife Trusts warns that the solution isn’t simply “read a book or join a club” – it requires re‑thinking the world in which children are being raised.What the Numbers Say About Teens’ Online HabitsAlthough the article provides no hard statistics, recent surveys show that roughly 90 % of UK teens use at least one social‑media platform daily, primarily for staying in touch with friends and discovering shared interests. This reliance underscores why any ban would need robust alternatives that replicate the social and entertainment functions of online networks.Why Replacing Screens Requires Community‑Driven ActivitiesExperts argue that the goal isn’t to eliminate social media but to replace the connection, belonging and inspiration it offers. Suggested avenues include:Scouts – fostering friendships beyond existing circles.BFI film clubs and National Youth Theatre – collaborative creative projects.Libraries – hosting gaming sessions, manga clubs and reading groups.Environmental activism – promoted by Wilson for older children.Girlguiding – volunteering, mentoring and community events (advocated by Sally Kettle).National Trust and Outward Bound – micro‑adventures, geocaching, MapRun and bouldering to provide novelty and achievement.These activities aim to satisfy the same psychological drivers that draw teens online.How Parents and Organisations Might Adapt if the Ban Takes EffectShould the ban be enacted, Rob Biddulph suggests encouraging children to create fan fiction, comics or music, leveraging tools like GarageBand. James Benwell of Birmingham & Black Country Wildlife Trust recommends wildlife spotting apps such as iNaturalist to turn urban spaces into discovery zones.In practice, parents may need to start by asking “why does this platform appeal to you?” – a question posed by John Glancy of the National Trust – to identify the underlying need for identity, stimulation or achievement and then match it with an offline alternative.What the Future Holds for UK Teens and Digital RegulationIf the ban proceeds, we can expect a surge in demand for youth‑focused programmes, potentially prompting increased funding for community centres, museums and outdoor charities. Conversely, a partial or delayed rollout could see tech companies adapt with stricter age‑verification tools, while parents continue to juggle screen time with offline pursuits.

The Power of Indigenous American Art A breeze from the vast North American plains has blown across the rolling Yorkshire hills. The work of 38 Indigenous American artists has filled the galleries of Yorkshire Sculpture Park, transforming their underground space into a world of clay and earth, fabric and ceramics, painting and sculpture that talks of land, memory, oppression and freedom through art. Exploring Ancestral Identity and Tradition Everywhere, there’s a sense of ancestral identity, memory and tradition. It’s in the Navajo weavings of Tyrrell Tapaha and Melissa Cody, the patterned beadwork of Jeffrey Gibson, the dizzying geometricism of Dyani White Hawk’s towering column. They all use traditional aesthetics to explore new ideas: Gibson’s work is about how his queer identity meets his Indigenous culture, White Hawk pushes into pure abstraction, Cody mixes pixelated video game aesthetics into Navajo patterns, and on and on. Everyone here is taking the old ways and pushing them in new directions. The Art of Resistance It’s not all weaving, hides and beads; there are photos, neons and videos here too. But what links most of the work is a sense of art enduring in the face of oppression. Indigenous Americans live on occupied land, they have been persecuted and exploited for centuries, how could their art not reflect that injustice? This is a show full of anger and protest. A Call to Action Edgar Heap of Birds’ placards protest against the exploitation of sacred sites. Yatika Starr Fields hangs tents from the ceiling which were used by protesters fighting against the Dakota Access Pipeline. Sayokla Kindness Williams calls for the return of stolen ancestral land with a beadwork sign. Virgil Ortiz commemorates a Tewa leader who organised a 17th-century revolt against the Spanish with a giant black ceramic bust. After centuries of colonialism and exploitation, there’s just so much anger and pain here. This show isn’t just about the earth and memory, this is art as a form of aesthetic resistance. A Moving and Beautiful Snapshot Among the many exhibitions of Indigenous art that have become such a big trend in UK museums in recent years, this is neither the best nor the worst. But it is a moving and sometimes very beautiful snapshot of art from a diverse community, one united by a shared pain, a love of the land and a belief that, fundamentally, a lot more connects us than divides us.

Executive Overview of the Obama Center’s Art Debut The Obama Presidential Center on Chicago’s South Side is set to open with an unprecedented art program that includes original works by 30 artists from varied backgrounds. Commissioned by Barack and Michelle Obama, the $850 million campus aims to foster conversation and community through art that reflects African‑American history and Chicago’s cultural legacy. Unveiling the $850 Million Center’s Artistic Ambition Location: 19‑acre Jackson Park campus, Chicago. Key features: new Chicago Public Library branch, NBA‑size basketball court, recording studio, sledding hill. Artistic scope: installations by Martin Puryear, Richard Hunt, Maya Lin, Julie Mehretu, Njideka Akunyili Crosby, Mark Bradford, and others. Philosophy: Valerie Jarrett emphasizes “none of the art makes political statements,” focusing instead on personal and communal resonance. Financial Scale and Artistic Investment The center’s total budget of $850 million funds both the physical infrastructure and the commissioning of the artworks. Highlights include: Martin Puryear’s 34‑ft wooden beam transformed into a stainless‑steel sculpture “Bending the Arc.” Julie Mehretu’s 83‑ft glass window “Uprising of the Sun” on the museum’s exterior. Mark Bradford’s 38‑ft painting “City of the Big Shoulders” that envelops the atrium wall. Additional pieces such as Richard Hunt’s “Book Bird” and Maya Lin’s “Seeing Through the Universe” water feature. Redefining Presidential Libraries Through Inclusive Art By prioritizing a diverse roster of artists and eschewing overt political messaging, the Obama Center contrasts sharply with recent presidential library trends that favor traditional portraiture. The project signals a broader cultural shift, positioning presidential sites as community art hubs rather than mere historical repositories. Future Outlook: Influence on Cultural Institutions Analysts anticipate that the center’s model will inspire other legacy projects to adopt similar inclusive curatorial strategies. As visitors engage with works that blend personal narrative, civil‑rights history, and contemporary aesthetics, the Obama Center could set a new benchmark for how public memory and art intersect in the 21st century.

The Scene of Unbridled Joy Thousands of Knicks fans – decked out in blue and orange jerseys, shorts, hats, necklaces and more – gathered in downtown New York City on Thursday to celebrate the team’s NBA Championship in a lively ticker-tape parade. Parade Details and Fan Reactions All along Church Street, the street running parallel to the parade route, fans lit joints, threw back shots of Fireball whiskey and drank Coronas, within view of bemused and outnumbered New York City police officers. Some fans climbed atop police cruisers and posed for photos. The viewing areas for the parade were at capacity as early as 7:25am, per the NYPD, who blocked off access to Broadway. The parade, which kicked off several hours later at 10am, saw people marching from Battery Park to City Hall. The Data Analysis The massive turnout and enthusiasm of the fans reflect the significant impact of the Knicks' championship win on the city and its residents. The parade attendance and the widespread celebration indicate a deep-seated passion for the team and a strong sense of community among fans. The Impact Analysis The Knicks' championship win and the subsequent parade have brought the city together, with fans from all backgrounds and neighborhoods coming out to celebrate. As Wesley Chow, a 27-year-old fan from Astoria, Queens, noted, “The people out here right now, you got people from all backgrounds, all neighborhoods, all to celebrate one thing. It’s crazy.” The Prediction Looking ahead, the Knicks' championship win and the outpouring of support from fans are likely to have a lasting impact on the team's popularity and the city's sports culture. The celebration will likely serve as a catalyst for future success, both on and off the court, as the team builds on this momentum and continues to bring the city together through their performances.

Celebrating Half a Century of Aardman in BristolThe animation studio Aardman opens a dedicated exhibition at the M Shed on Bristol’s harbourside, honouring 50 years of its Bristol‑rooted creativity and its beloved characters such as Wallace and Gromit, Shaun the Sheep and the Chicken Run crew.Inside the M Shed Exhibition: Sets, Puppets, and Bristol InspirationsVisitors can explore original puppets, meticulously crafted sets and behind‑the‑scenes stories that reveal how Bristol’s independent spirit shapes Aardman’s productions. Highlights include a recreated railway arch from a Shaun the Sheep tale, a model of Tottington Hall inspired by Somerset’s Montacute House, and a hidden tin of “Fly’s Cocoa” nodding to local chocolate maker Fry’s. A never‑seen‑before set shows Wallace and Gromit captured by the villain Feathers McGraw for the upcoming 2024 film Vengeance Most Fowl.Original Morph puppet from the early Take Hart eraFlying machine from Chicken Run rescued after the 2005 studio fireModel 50th‑birthday cake and limited‑edition merchandiseVisitor Numbers and Exhibition TimelineThe exhibition runs from 20 June to 13 September. Its first weekend sold out, indicating strong local and tourist demand. Ticketed entry, plus a themed café serving Wallace‑inspired dishes, has driven brisk footfall throughout the summer season.Impact on Bristol’s Creative Scene and TourismBy spotlighting Bristol landmarks and the city’s “rebellious” character, the show reinforces the region’s reputation as a hub for animation and design. Museum director Helen McConnell Simpson notes the exhibition offers a joyful counterpoint to recent social challenges, while Aardman’s attractions director Ngaio Harding‑Hill hopes it will encourage young people to pursue careers in the creative industries.Future Outlook: Aardman’s Next ChapterThe success of the exhibition suggests a growing appetite for immersive, heritage‑driven experiences. Aardman may leverage this momentum to expand similar showcases in other UK cities and to promote upcoming projects like Vengeance Most Fowl, further cementing its global brand while nurturing local talent.

The Culinary Connection Today you're going to eat art, says Federico Valdez, a chef at the School of Mexican Cuisine with the word Queso (Cheese) tattooed on his forearm. Today, you're going to eat history. In a sun-filled dining room lined with Mexican flowers, books and artefacts, unfolds a three-course feast inspired by Frida Kahlo, her life, her art and her loves, including her first lesbian affair. The starter, inspired by her childhood fascination with revolution, is a lightly spiced Mexican take on pirozhki, the Russian favourite. The main dish – served with pulque, an agave-derived drink Kahlo loved – taps into her rebellious spirit. It's called Frida Against the World, a giant stuffed chilli that sits amid a nutty, beany sauce similar to the one eaten at Kahlo's wedding to Diego Rivera, then the most famous artist in the world, now much more in her shadow. When she found Rivera in bed with her sister, she said: 'I'm going to get all my furniture and leave. I hate you' "I wanted this to be hot and horny," says Valdez, explaining that halved figs were added to reference Kahlo's sexuality. "Her first love, with a female teacher, happened at a time when Mexico wasn't so open. I wanted to get in all that spicy gossip. I'm not a big fan of playing it safe." The Exhibition Preview I'm in Mexico City with a Tate delegation just as the huge jacaranda trees are blooming purple and violet across its parks and boulevards – to follow in Kahlo's footsteps ahead of Frida: The Making of an Icon, a show of more than 30 of her works at Tate Modern in London that seems destined to be a summer blockbuster, adding yet more fuel to Fridamania. One work, Self Portrait With Thorn Necklace and Hummingbird, was painted in 1940 after her painful divorce from Rivera. A spider monkey, similar to the one he gave her as a present, is pulling on her thorn necklace, drawing blood. The two soon remarried, Kahlo inscribing the clocks in their house with the years of their separation and reunion. "The exhibition is like a movie," says Tobias Ostrander, its curator. "Frida is the star but it's also about her life, her people, her impact." Charting Kahlo's rise from unknown painter to global phenomenon, the show will also examine merch (expect a Kahlo Barbie) and gauge her influence on later artists. On display, too, will be many of the artist's treasured possessions, including her brilliantly patterned tehuana dresses. Graciela Iturbide's ghostly photographs of her crutches, customised medical corsets and prosthetic leg will also feature. These were taken 50 years after Kahlo's death, when all her belongings were finally freed from the bathroom in which Rivera had ordered them to be locked away. The Casa Azul Experience This took place at Casa Azul, the house in Coyoacán (The Place of the Coyote Owners) where Kahlo was born and spent most of her 47 years. It's now a beautiful, beguiling museum with smooth exterior walls painted a gorgeous blue. These border shiny red concrete paths that thread through fountains and lush gardens bursting with palm, yucca, cactus and bougainvillaea. "We don't know exactly where the blue came from," says Perla Labarthe Álvarez, the museum director. "But in her diary, Frida expressed what the colour meant to her: purity, electricity and love. Because of her health – she had surgery all her life, more than 30 operations – she was at home a lot so it had to be a comfortable place where she could rest. Many of her still lifes were done in the garden. She called her home A Place Full of Places." It's a perfect description. For this is a breathtakingly evocative location, even leaving aside the fact that Trotsky lived here for two years with his wife, having a brief affair with Kahlo. The Artistic Legacy Tours begin in the living room, with its hefty pyramid-style fireplace designed by Rivera and, as an old photo shows, once flanked by two of his macabre Judas dolls, papier-mache devils that are stuffed with fireworks and set alight at festivals. Opposite is Kahlo's mesmerising portrait of her beloved photographer father, painted 15 years after he died, his eyes as captivating as hers. On the walls, photos and texts detail the polio Kahlo contracted at the age of six, leaving her with one shorter leg, and the trolley-bus crash at 18 that impaled her on an iron handrail and left her in pain for much of her life, as well as unable to have children. She could never paint this accident, even though what she did paint was often deeply painful and personal – and these works were largely created at Casa Azul, upstairs in her studio, where visitors can see the easel adapted to allow her to use brushes lying on her back or seated in her wheelchair.

The Rediscovery of Julia Kerr's Music Julia Kerr, a talented composer and mother of Judith Kerr, author of The Tiger Who Came to Tea, had her music lost for years after fleeing Nazi Germany with her family in 1933. However, her compositions have been rediscovered and performed recently. Chronicles of a Forgotten Composer Kerr's opera, Chronoplan, was set to premiere in 1933 but was halted due to Hitler's takeover. She took the incomplete score with her when she fled, and it was eventually recorded by Bavarian Broadcasting in 1952, becoming the first opera to have a radio premiere. The Unveiling of Kerr's Musical Legacy Descendants gathered at Albert Einstein's former summer house in Caputh, south-west of Berlin, to celebrate Julia Kerr's life and works. Compositions found in archives were performed by singer-actor Ruth Rosenfeld and pianist Norbert Biermann. Historical musicologist Christian Leitmeir played a crucial role in uncovering Kerr's musical legacy. Reviving a Lost Legacy The rediscovery of Kerr's work is part of a larger trend of shedding light on forgotten female composers. Her great-grandson, George Kerr, expressed his admiration for her talent and dedication to her family. The Exile Museum in Berlin will feature Julia, Alfred, and Judith's stories in its new exhibit.