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The Lead: A Modern Struggle with Classic LiteratureIn an era dominated by rapid-fire digital consumption, engaging with dense, classic literature has become an uphill battle. A recent reflection by a lifelong reader highlights a growing cultural phenomenon: despite a deep personal history with the classics, the modern brain—conditioned by screens and constant notifications—is struggling to process long-form, complex narratives.The Battle Against the Victorian BlockbusterSparked by The Guardian's list of the 100 best novels, the author attempted to rekindle his youth by diving into chunky Victorian classics. However, the attempt was met with frustration rather than nostalgia. The books that once captivated him now felt impenetrable.The Life and Opinions of Tristram Shandy, Gentleman by Laurence Sterne: Found to be verbose and infuriatingly digressive.Dracula by Bram Stoker: Entertaining initially, but ultimately derailed by the absurdity of its epistolary format and moralizing characters like Van Helsing.Our Mutual Friend by Charles Dickens: Despite a previous love for Dickens' pacing and humor, the 900-page narrative felt too heavy, leading to a loss of concentration and the urge to check football scores instead.The 15-Second Attention EconomyThis personal struggle is backed by alarming data regarding how we consume information today. The transition from the linear, monologic page to dynamic, ad-cluttered screens has fundamentally altered human cognition.Research by psychologist Gloria Mark indicates that screens compel us to constantly switch our attention toward new, shiny stimuli rather than focusing on content.Data from Chartbeat reveals a stark reality: one in three online readers spend less than 15 seconds on any given article.The Rise of Text Fatigue in the WorkplaceThe shift in reading habits is not merely a failure of willpower; it is a symptom of occupational and technological exhaustion. As more professionals occupy managerial roles, their days are spent drowning in emails, instant messages, and digital work tasks. According to University of Oxford professor Kate McLoughlin, while people are reading more than ever—consuming social media posts, blogs, and AI utterances—they are reading fewer books. This constant, shallow skimming has led to widespread text fatigue.Reclaiming the Page in a Screen-Dominated FutureIf three classic novels in a row end up abandoned, the issue is systemic rather than a flaw in the literature. The modern environment actively discourages the deep, sustained focus required by authors like George Eliot or Herman Melville. Moving forward, readers will need to be far more intentional about their media diets. Relearning how to read may require deliberate digital detoxes to rebuild the atrophied muscles of deep concentration, ensuring that the rich, complex works of the past do not become inaccessible artifacts of a bygone era.

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 Launch of the Quentin Blake Centre for Illustration The Quentin Blake Centre for Illustration, opening in London's Clerkenwell, is billed as the largest institution of its kind worldwide. It aims to elevate illustration to the heart of British cultural life, serving as a museum, gallery, and creative laboratory. The Art of Storytelling Through Illustration Renowned illustrators like Quentin Blake, Axel Scheffler, and Sarah McIntyre share their insights on the art of storytelling. Blake, known for his work with Roald Dahl, emphasizes that illustration is a language everyone understands. The Underestimated Value of Illustration Illustrators are often overlooked, but they play a crucial role in bringing stories to life. McIntyre's 'Pictures Mean Business' campaign aims to give illustrators proper credit for their work. The process of illustrating a picture book can take months of intensive work, often 9+ hours a day, 6 days a week. The Impact of Illustration on Children's Literature Illustrators like Jim Field and Matty Long discuss how their work adds depth to stories. Field sees illustration as an extra layer that weaves in subplots or reveals character traits. Long believes images should do the bulk of the storytelling. The Future of Illustration The centre will house Blake's archive of 40,000 drawings and serve as a hub for illustration. The goal is to recognize illustration as a vital art form that shapes children's books, animation, fashion, and digital culture.

The Birth of a Classic The Bluetones' lead singer Mark Morriss and guitarist Adam Devlin share the story of their hit song 'Slight Return', from its humble beginnings to its massive success in the 90s. Mark Morriss' Vocals and the Song's Early Days We were still a three piece: Adam Devlin, my brother Scott and myself. We hadn’t met Eds Chesters yet, so we didn’t have a drummer. We were spending a lot of time writing songs, trying to hone this west coast, mid-60s, Crosby, Stills & Nash sound – even though it was the 90s and we were from Hounslow in London. Slight Return was the fourth or fifth song we wrote. Scott wrote the chord progressions and structure, but didn’t have any words or melody. He recorded guitar into a cassette player, then played that back on a second cassette player so he could record himself playing along to what he’d just recorded, in a very rudimentary way of four-tracking. We liked it, but we weren’t skipping around the room going: “My God, we’re going to be millionaires.” That came later. The Song's Rise to Fame It went down well at our early shows. It was catchy and memorable. We recorded a demo version and sold it on blue 7-inch vinyl at our gigs. When we got signed to A&M, they were keen for it to be a single, but we felt like it would be short-changing our fanbase, which was about 200 people, who had already bought it. We had to be talked around by the label, who said: “We can hear it being played on the radio.” But they wanted us to change the song’s name because Slight Return isn’t actually in the lyrics. The title in part refers to the last line of the song: “I’m coming home but just for a short while.” It’s also a kind of sideways tribute to Jimi Hendrix’s Voodoo Child (Slight Return). When we finally succumbed and let them release it as a single, lo and behold, it went ballistic. Adam Devlin's Perspective on the Band's Journey We thought we could write half-decent songs, so we cobbled together a set that would get us on the London circuit. I remember Scott bringing in a faster, simpler version of Slight Return. I fleshed out the guitar parts and put in a guitar solo. Mark worked out the vocal melodies, and we added a coda – the instrumental that fades out at the end, which originally had a sample from Tom Courtenay in Billy Liar, which was all very 60s. We had very different ideas from the record label and thought Can’t Be Trusted should have been the single. By then, I was living in another shared house in Wimbledon that didn’t have a washing machine. I was in the launderette when our manager phoned and said: “You’ve gone in at No 2.” I don’t think we were ready for it being so successful. The Legacy of Slight Return We've been playing it for 30 years. One tour, we’d got so bored with it, we didn’t even play it, which was a mistake because people thought we’d gone up our own arses. We learned our lesson: it’s the song everyone wants to hear. People get confused because Slight Return isn’t actually in the lyrics. I was at a farmers’ market recently when one of the stallholders said: “You were in that band who sang Where Did You Go?” I said: “Yes, but that’s not what it’s called.”

The Lead: A Record-Breaking CareerJames Milner has etched his name into football history by breaking the Premier League appearance record, a remarkable achievement that speaks volumes about his longevity, consistency, and unwavering dedication to the sport. The 40-year-old veteran has demonstrated an extraordinary level of professionalism throughout his career, earning admiration from teammates and rivals alike for his commitment to excellence both on and off the pitch.The Professional Profile: Beyond Ordinary DedicationFormer teammates paint a picture of a player who was exceptional from his early days. Michael Bridges, who roomed with Milner during his time at Leeds, recalls: "James Milner was the most dedicated and professional young player I've met. He also took the not inconsiderable transition from being at school to playing in the Leeds first team totally in his stride. Nothing fazed him. He was very level-headed."This level-headedness extended to Milner's lifestyle choices. While teammates socialized with alcoholic drinks, Milner remained steadfast in his commitment to peak physical condition, often opting for Ribena Toothkind instead. His dedication was so complete that teammates nicknamed him the "hydration monster" due to his intense focus on maintaining optimal hydration levels.The Technical Mastery: Versatility Across PositionsWhat sets Milner apart is not just his longevity but his remarkable versatility. Throughout his career, he has excelled in multiple positions, adapting his game to suit different tactical systems and managerial philosophies. Bridges notes: "Above all he's a very intelligent footballer who reads the game well and has the versatility to play in different positions for different types of managers. That's helped him."This adaptability has allowed Milner to remain relevant across different eras of football evolution. From his early days at Leeds to his current role, he has consistently demonstrated an ability to read the game and position himself effectively, even as the tactical demands of the sport have evolved.The Impact Analysis: Redefining ProfessionalismMilner's career offers a fascinating case study in modern professionalism. In an era where footballers often face intense scrutiny and shorter careers, Milner has bucked the trend through his extraordinary discipline and commitment. Steve Harper, who worked with Milner at Newcastle, draws a direct comparison: "His level of professionalism is right up there with Cristiano Ronaldo's. It's no coincidence that they're both still going strong."This approach has had ripple effects throughout the sport. Younger players now have a role model for how to maintain peak performance over an extended career. Milner's career demonstrates that longevity in professional football is not merely about talent but about lifestyle choices, work ethic, and mental fortitude.The Legacy: More Than Just AppearancesAs Milner surpasses Gareth Barry's previous record of 653 Premier League appearances, his legacy extends far beyond the numbers. Curtis Davies, who played with Milner at Aston Villa, emphasizes: "Breaking the appearance record will be testament to him and the way he has lived his life, and if anyone is going to go past Gareth Barry, another former Villa teammate, there's no better person than James to do so."Milner's career represents a different kind of greatness in modern football—one built on consistency, adaptability, and unwavering professionalism rather than just fleeting moments of brilliance. As he continues to add to his record, he stands as a testament to the values that can sustain a career at the highest level for more than two decades.

The Dance Challenge: A Weekend Immersion As I wait for my first Cuban salsa class to begin, I have the distinct feeling that I am poorly prepared. I'm wearing heavy jeans, a bulky woollen sweater and boots. I have never done a dance class in my life – or any kind of exercise class. I don't know anything about salsa, Cuban or otherwise. Standing alone, I notice that everyone has come with at least one friend, and begin to suspect that it takes two to Cuban salsa. This year, Rising festival – Melbourne's winter arts offering – has consolidated its longstanding dance focus into a mini-festival: the inaugural Australian Dance Biennale, showcasing Australian and international work. There's also a series of dance classes, romantically titled The Land of 1000 Dances, held in the romantically decrepit Flinders Street Ballroom. Running daily until 7 June, with classes costing $29 a pop, the diverse schedule includes Afro-fusion, ballroom, voguing, waltz and K-pop for teens and tweens. From Salsa to Shuffle: A Dancer's Journey As an audience member, I am an avid appreciator of dance; as a participant, I can most kindly be described as "curious" but uncoordinated. What if I went to a bunch of dance classes and then wrote about it? Precisely 24 hours before my first class, the misgivings begin – doing my first dance class while dressed for the show I'm seeing directly afterwards sounds like a bad idea. At the ballroom, I am briefly reassured: the crowd is a diverse mix of ages, genders and bodies, and hardly anyone is wearing dance-appropriate clothing. But the class itself is a blur – sometimes literally – as I try to learn and enact the cucaracha, the guapo and other basic Cuban salsa moves; attempt to locate the beat, my hips, any sense of coordination at all. Every time I feel as though I'm starting to get the hang of something, the instructor adds a new step. Then he corrals us into pairs – and a series of new moves, yelling "change partners!" every three minutes. Going solo, it turns out, is fine: everyone is friendly; many seem as unsure as I am. Some are nailing it but there's a sense of camaraderie: we're all in this together. That said, we're all a bit too sweaty to be holding each other. The Social Dynamics of Dance Classes I move from absolute befuddlement, through occasional moments of triumph, to a sense of quiet despair. A move that involves a 360-degree rotation to an eight-count almost breaks my spirit and I consider quitting. To my surprise, this awakens a latent fighting spirit: screw the rules, I'm doing it my way. I experience brief elation. Then we change partners and I find myself in a cursed duet involving four left feet. The elation shrivels. The class ends and I run to the theatre feeling like a dank, demoralised biohazard. I spend the next hour watching a show by the Irish choreographer Oona Doherty featuring a mix of professional, student and untrained dancers – and I mentally salute them all, with a newfound appreciation for the dark art of dance. Finding Joy in Movement I approach my next class, Melbourne shuffle, with a sense of dread. Not only do I now know how bad I am but I have agreed to be photographed. And I made the choice without knowing anything about the Melbourne shuffle, mistakenly assuming it was somewhere in the ballpark of the city's other great cultural tradition. This feeling I am experiencing, I discover, is known as "endorphins". The physical exertion, the mental focus required, the social connection – it all combines to create a chemical cocktail that makes the experience worthwhile despite the occasional humiliation. By the end of my dance weekend, I haven't become a dancer, but I've gained a profound respect for those who are. The Australian Dance Biennale and The Land of 1000 Dances offer not just entertainment, but an invitation to participate, to challenge oneself, and to discover new dimensions of movement and expression.

The Tournament ScaleThe 2026 World Cup is the largest tournament ever, involving more stadiums in more countries than before. A total of 16 venues will play host to this summer's big games, with each venue telling a story about the past, present and future of sports in its city. The tournament marks a historic expansion of the World Cup format, with FIFA-approved names being used instead of sponsored names that run afoul of the governing body's clean venue rules.The Canadian StadiumsBC Place Vancouver (usually known as BC Place) is located in Vancouver, British Columbia, Canada. Opened in 1983 and last renovated in 2011, the stadium has a tournament capacity of 54,000. It will host seven World Cup matches including Australia v Turkey, Canada v Qatar, New Zealand v Egypt, Switzerland v Canada, New Zealand v Belgium, plus a Round of 32 match and a Round of 16 match.BC Place features one of the most distinctive architectural elements at this World Cup: a cable-supported retractable roof, the largest of its kind in the world. The feature was added during a major renovation following the 2010 Winter Olympics. Recent reports indicate the roof will remain closed for the World Cup due to potential issues with uneven sunlight affecting the imported natural grass surface.The American StadiumsSeattle Stadium (usually known as Lumen Field) is located in Seattle, Washington, United States. Opened in 2002, the stadium has a tournament capacity of 69,000. It will host five World Cup matches including Belgium v Egypt, USA v Australia, Bosnia and Herzegovina v Qatar, Egypt v Iran, plus a Round of 32 match.The Architectural FeaturesEach stadium brings unique characteristics to the World Cup experience. BC Place's retractable roof, the largest of its kind globally, can open or close in about 20 minutes. When open, the cables cast distinctive shadows across the field. Meanwhile, Lumen Field offers an intimate atmosphere despite its large capacity, with its design creating an intense fan experience that has become a hallmark of Seattle sports culture.The Historical SignificanceThese venues have hosted memorable events beyond soccer. BC Place was the site of the opening and closing ceremonies of the 2010 Winter Olympics, the first Olympic opening ceremony held indoors. It also hosted the 2015 Women's World Cup final where Carli Lloyd's hat-trick led the US to a 5-2 win over Japan. Lumen Field, home to the Seattle Seahawks and Seattle Sounders, has become known for its passionate fan base and innovative design elements.The Tournament ScheduleThe distribution of matches across these venues reflects the strategic planning of the tournament. BC Place will host matches throughout the group stage and into the knockout rounds, including a Round of 16 match. Seattle Stadium will feature matches from the group stage and a Round of 32 encounter. The scheduling ensures each host nation has meaningful representation while maintaining competitive balance throughout the tournament.

The Global Bauxite Rush and Guinea's ContradictionIn the small village of Bembou Silaty, northwestern Guinea, 38-year-old Mamadou Aliou embodies the central contradiction of Guinea's bauxite boom. Working in the environmental health and safety department for a mining company while simultaneously advocating for his community's rights, Aliou represents the complex relationship between global resource demands and local realities."Before these companies arrived, we cultivated our land, and it sustained us," Aliou told Al Jazeera. "We could cover our daily needs, especially food. But now, when a piece of land is registered and belongs to a mining company, you have nothing there any more."The Strategic Value of Guinea's Bauxite ReservesGuinea holds the world's largest reserves of bauxite, the ore that becomes alumina and ultimately aluminum—a metal essential for car and aircraft frames, windows, wind turbines, and solar panels. Over the past three decades, the country has multiplied its bauxite production tenfold, with more than a dozen ongoing projects currently operating.As the global energy transition demands ever more aluminum, Guinea has found itself in a strategically crucial position. Approximately 75 percent of the bauxite exported by the country over the past decade has ended up in China, which produces 60 percent of the world's aluminum. Companies from Russia, the United States, and the United Arab Emirates have also established significant operations in the country to secure this valuable resource.Economic Disparities and Compensation ChallengesIn the traditional bauxite heartlands of Kindia and Boke, the main roads are notably well-maintained, and steady jobs in technical roles or transport logistics have created economic opportunities for some Guineans. In Bembou Silaty, however, the situation remains starkly different—a quiet village without electricity, where farming methods remain untouched by mechanization.People working in technical roles at the mine can earn up to about $300 a month, a significant sum in Guinea. For other locals who make a living from farming, most don't have a regular wage and rely on the yield from their crops. Across Guinea, an estimated half of the population depends on agriculture for their livelihood.Locals in Bembou Silaty say every hectare claimed by mining is a hectare lost to farming, in a country that spent more than $500m importing rice in 2024. "They give you compensation for your land, but it's not enough, and in the end, it's mismanaged," Aliou said. "Within a month or two, someone who received 50 or 100 million Guinean francs ($5,700-11,400) has nothing left. No land, no money. They have to start over, from below zero."Environmental Degradation and Water ContaminationThe environmental impact of bauxite mining in communities like Bembou Silaty has been profound. Not all homes in the village of about 5,000 have indoor toilets and plumbing. While a new water point serves nearly all residents, the water contains iron contamination.In neighboring villages, the situation is even more dire. "Since the mining companies came, we've had this problem with the water. The children get sick, and the parents too," said Mariama Kindi Diallo, a farmer. "The doctors tell us not to drink the rain or river water. There are no roads, no school, no phone signal. What are we supposed to do? We are asking for help to have a dignified life."Environmental concerns extend beyond water contamination. Surgical holes drilled into the ground mark where mining companies have tested for bauxite—a reminder to farmers that the impact on the land is felt even before extraction begins. In a recent report, Djami Diallo, the Guinean minister of the environment and sustainable development, stated that each year, certain companies had their impact studies and evaluation reports rejected for failing to comply with environmental standards.The Government's Push for Value AdditionTo address these challenges and increase the benefits for Guinea, the government of Mamady Doumbouya, which came to power in a 2021 coup, is attempting to reorganize the mining sector. It is pressing investors to process bauxite within Guinea, ensuring a portion of the value stays in the country.Processing bauxite into aluminum can multiply its price by 37 times. Instability in Iran amid the US and Israel's war has contributed to rising aluminum prices, which surpassed $3,600 per tonne in April. Doumbouya is set to lead the country for the next seven years, after winning the December 2025 elections with nearly 87 percent of the vote.Achieving this transformation, however, requires a huge increase in electricity generation—power that is non-existent in villages like Bembou Silaty and unreliable even in the capital, Conakry. Guinea is working with neighboring Senegal on a solution: Using Senegalese gas to generate enough electricity to process its bauxite on African soil.The Global Trail of Bauxite and MigrationThe story of Guinea's bauxite extends far beyond its borders. More than 3,000km away, in Parets del Valles, Spain, the journey's end plays out. For Spain, Europe's largest consumer of Guinean bauxite, more than 90 percent of its imports come from Guinea.The aluminium produced there feeds the automotive industry and serves both industrial and domestic purposes. In Spain, there is light, hot water, paved roads—all the base elements of a decent life that remain elusive in many parts of Guinea.Increasingly, more boats are leaving directly from Guinea, towards the Canary Islands and on to mainland Europe. According to Frontex, the European Union border security agency, more Guineans arrived in the Canary Islands, Spain, in 2023 (2,324) than in the previous 13 years combined. In 2024 and 2025 combined, another 6,000 Guineans arrived.Many left, following the bauxite trail, hoping to find something more in the places where their resources are both enjoyed and exploited. "If you compare the bauxite we export with what we get in return, the difference is enormous," Aliou reflects. "We gain almost nothing. Just enough to survive."

The Colombian Presidential Runoff SetFar-right outsider Abelardo de la Espriella will face left-wing Senator Ivan Cepeda in the runoff for Colombia's presidential election next month. As polls closed on Sunday, the two candidates surged ahead in the vote tally, quickly extinguishing the hopes of right-wing Senator Paloma Valencia, a former frontrunner.Election Results and Voter TurnoutAs of Sunday afternoon, with 99 percent of the votes tallied, de la Espriella took the lead, with 43 percent of the ballots cast in his favor. Cepeda trailed him by more than 600,000 votes, earning 40 percent of the ballots. Neither candidate breached the 50-percent threshold needed to avoid a head-to-head match-up on June 21.More than 23.6 million Colombians voted in Sunday's election, though there was a high number of blank or nullified ballots. Early estimates indicate that 245,342 voting sheets were null, and another 406,830 were left blank.Contrasting Campaign StrategiesDe la Espriella, a businessman and lawyer who has never held elected office, leaned heavily into fears of crime as he launched an outsider campaign, similar in style to the dark-horse bid of Argentinian President Javier Milei. His platform includes a pledge to undertake a crackdown on crime and build 10 mega-prisons. Nicknamed "The Tiger", he founded the Defenders of the Homeland political party, known for its slogan, "Stand firm for the nation."By contrast, Cepeda is a well-known quantity in Colombian politics. His father was a senator too, as well as a leader in Colombia's Communist Party, before he was assassinated in 1994. Cepeda himself has served as a senator since 2014 and represents Colombia's outgoing left-wing president Gustavo Petro's Historic Pact party.Security Policies Divide the CandidatesCentral to the rift in Colombia's politics is the country's six-decade-long internal conflict. Cepeda has been critical of right-wing efforts to solve the conflict through military might alone. Instead, he has allied himself with Petro's "Total Peace" platform, which actively seeks negotiated solutions to the fighting, in addition to military tactics.De la Espriella, meanwhile, has embraced the kind of hardline security platform commonly associated with El Salvador's leader Nayib Bukele. "The only peace process I believe in is one imposed by the force of arms and the laws of the republic," de la Espriella told The Associated Press. Like United States President Donald Trump, de la Espriella has also threatened to launch a bombing campaign to disrupt drug-trafficking.Regional Political Shifts at PlayThe second round is likely to be an uphill battle for Cepeda. Colombia's right-wing is expected to consolidate behind de la Espriella in the second round. In Sunday's vote count, more than 10.3 million ballots were cast for de la Espriella, compared to roughly 9.7 million for Cepeda.A victory for the right would continue a regional trend in Latin America. Last year alone, left-wing governments in Chile, Honduras and Bolivia were all replaced by right-wing presidential contenders.What's Next in Colombia's Political LandscapeThe runoff on June 21 will present voters with starkly different approaches to Colombia's long-standing challenges. De la Espriella signalled optimism about the second round in a social media post as the results rolled in: "We are going to defeat tyranny and absolutism... In 21 days, we will make history!"Cepeda, acknowledging "immense challenges" with the current peace policy, has nevertheless pledged to carry it forward while rejecting overly militaristic solutions. The outcome will not only determine Colombia's next president but could also influence the direction of regional politics in Latin America.