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Jimmy's Corner, a beloved dive bar in New York's Times Square, has been a staple of the community for over 55 years. However, the bar is now facing closure due to an eviction notice from its landlord, the Durst Organization.The bar's history dates back to 1971 when it was opened by Jimmy Glenn, a former boxer. Over the years, Jimmy's Corner has become a safe haven for locals and a symbol of the city's gritty past. The bar's walls are adorned with ageing photos of boxers and its restrooms are decorated with stickers representing long broken-up bands and long-shuttered bars.Regulars, including David Gladman, a 73-year-old former executive chef, have expressed their attachment to the bar. Gladman, who has been drinking at Jimmy's Corner since 1988, said, “It holds a lot of memories for me. For everyone.”The eviction notice has prompted a rally from the community, with local politicians and patrons coming together to protest the closure. Adam Glenn, Jimmy's son, who took over the bar in 2015, has filed a lawsuit against Durst and is fighting to keep the bar open.The Durst Organization has offered Adam money to vacate the premises, but he has refused. In a statement, the company said it had done nothing wrong and that the building was ideal for a new housing development.Local politicians, including Julia Salazar, a New York state senator, have joined the fight to save Jimmy's Corner, citing the importance of small businesses to the community. Salazar said, “Small businesses are the beating heart of the city. They represent culture. They also employ more than half of the workers in New York state, and it really has a profound ripple effect when a small business is forced to close due to unsustainable costs.”

Tracey Nelson, a NYC-based singer-songwriter, is set to release his debut album 'Hercules' on July 10. His music is described as beautifully dazed, countrified indie-rock, drawing comparisons to bands like The Clean and The Feelies. Nelson's self-titled 2025 debut EP was a lesser-heard gem, featuring tracks such as 'New Years Flowers' and 'Just Shoot Me Now'.The upcoming album 'Hercules' is co-produced by MJ Lenderman and Colin Miller, and features a lineup of musicians including Lenderman, Miller, Karly Hartzman, and Jack Kraus. The album promises to amplify the country elements of Nelson's previous work while giving him more space to explore his sound.This week's best new tracksPozer – Hulk Hogan (ft AJ Tracey): A standout track in the UK scene, delivering social realism over Jersey club beats, with an excellent verse from AJ Tracey.Zoh Amba – Another Time: A remarkable free jazz saxophonist turns songwriter, blending Appalachian roots with indie rock.One Leg One Eye – Many Are My Names Besides: A haunting track that combines scratchy drone and distorted wailing.Enter Shikari – Dead in the Water: A highlight from their new album, blending rave-rock with elements of Everything Everything and The Prodigy.James K – Peel (Loidis remix): A 14-minute remix turning ethereal dancehall-pop into snappy microhouse.Ambrose Akinmusire and Mary Halvorson – Soundcheck: Disarming trumpet playing and unsettling guitar work.Max F – Dream Channel (Space Ghost Club Remix): Life-affirming piano-centred house instrumental.

In the spring of 2002, the modest Free Butt pub on Brighton’s seafront buzzed with a restless energy. Future stars such as Natasha Khan, then a university art student, danced atop the bar while the Yeah Yeah Yeahs thundered through their first UK dates. Behind the scenes, band frontmen like Guy McKnight of Eighties Matchbox B‑Line Disaster served pints, and budding engineers like Steve Ansell of Cat on Form fine‑tuned the sound. The atmosphere felt like a rite of passage, where any performer could slip from a cramped stage to national attention.Unlike the neatly branded scenes of New York’s garage‑rock revival or London’s Libertines‑driven hype, Brighton’s early‑2000s scene resisted a single aesthetic. Rock groups emerged from rehearsal rooms and tiny clubs with wildly different looks and sounds, creating a cultural mosaic rather than a monolithic movement.Electrelane’s guitarist recalls recording their debut Rock It to the Moon in a studio once owned by the Levellers, and crafting their sophomore effort inside a former public toilet. These unconventional spaces proved surprisingly fertile, underscoring the city’s DIY spirit.By the turn of the millennium, the big‑beat dominance of Fatboy Slim and Skint Records had faded, making way for a grassroots rock surge. Sea Power relocated from Reading to Brighton, drawn by the city’s “dilapidated charm and fresh sea air”. Their self‑organized Club Sea Power nights at the Lift offered a chaotic yet liberating platform that eventually caught Rough Trade’s attention.Women played a pivotal role in shaping the scene’s infrastructure. Promoters Lisa Lout and Anna Moulson, both still active, booked seminal shows—including the Strokes’ first UK gig at the Lift in 2001—and helped launch the Great Escape festival. Their efforts ensured that bands such as the Pipettes, Electrelane and Bat for Lashes could share stages and media coverage.Artists recall the city’s palpable sense of belonging. Rose Dougall of the Pipettes describes a landscape where “alternative culture was on every street, from vintage shops to the colour of the houses,” and where “small venues made it feel attainable to launch a project.” Similarly, Brakes frontman Eamon Hamilton contrasts Brighton’s walk‑able, collaborative vibe with London’s darker, more competitive energy.Music journalism mirrored the scene’s intensity. Everett True and photographer Steve Gullick launched Careless Talk Costs Lives in 2002, a deliberately short‑run magazine that championed female writers and bands at a time when the industry was still heavily male‑dominated.As rents surged through the 2010s, many of the cheap flats, rehearsal rooms and iconic venues that underpinned the scene vanished. The Free Butt closed, independent record stores shuttered, and the once‑abundant low‑cost infrastructure dwindled, prompting a migration of creative energy down the coast to places like Margate, Ramsgate, Folkestone and Shoreham.Nevertheless, the remnants of Brighton’s network continue to nurture new talent, from the Kooks to Dream Wife and Gazelle Twin. The city’s strength lies not in a singular sound but in its capacity to host a “constant collision of wildly dissimilar bands,” allowing artists to develop authentically and fearlessly.

János Bődey's photograph of two elderly ladies dressed as bride and groom in a Hungarian retirement home has captured the essence of joy and love in old age. The image is part of his series Carnival at the Retirement Home, which showcases the fulfilling lives of pensioners who have overcome difficulties.In Hungary, the average pension is approximately £500 a month, making it challenging for retirees to afford leisure, culture, or travel. Additionally, the health of Hungarian pensioners often falls short of Western standards, and securing a spot in a retirement home can be a lengthy process.Bődey's subjects, Magdolna, 87, and Irén, 86, have lived with their husbands for over 50 and 62 years, respectively, until their spouses passed away. They attribute their long and happy lives to a combination of good genes, an active lifestyle, and a healthy marriage.The photographer's series aims to serve as a role model for both peers and the middle generation, demonstrating that it's possible to lead a fulfilling life in old age. The elderly ladies recommend a healthy, active life with plenty of walking and traveling, as well as avoiding debt.Bődey's work is a departure from his usual coverage of conflicts and social issues. He finds inspiration in the happiness and playfulness of the carnival celebrations, which begin in February to mark the end of winter.The photographer's experience has taught him the importance of preparing for retirement by gathering emotional and financial resources, setting goals, and being creative. His series has been shortlisted for the Sony World Photography Awards 2026 and will be exhibited at Somerset House in London from April 17 to May 4.

The metal music scene has witnessed a surge in popularity of masked bands, with many notable acts donning elaborate masks as part of their stage presence. This trend is not only visually striking but also allows the bands to create a sense of mystery and anonymity. For bands like Imperial Triumphant, Gaerea, Sleep Token, Ghost, and Gwar, their masks have become an integral part of their image and artistry.Imperial Triumphant, an avant-garde metal band from the US, chose to wear striking gold masks modeled after 1920s art deco architecture. These masks brought their own set of problems, including getting lost in transit. The band's singer/guitarist, Zachary Ezrin, notes that the masks add a layer of complexity to their music, allowing them to tap into different parts of their personalities.Gaerea, a Portuguese black metal band, has also adopted the trend of wearing masks. Lead singer Alpha notes that the mask allows him to get into a different mode in his psyche, similar to how athletes get into a trance-like state during intense physical activity. The band's masks are not just for show; they also help to create a sense of anonymity, allowing the band to focus on their music rather than their individual identities.The use of masks in metal music is not a new phenomenon. Bands like Gwar and Slipknot have been using masks for decades, and their influence can be seen in many modern metal bands. However, the current trend of masked bands goes beyond just shock value; it's about creating a sense of mystery and artistry.The masks also allow bands to create elaborate mythologies and universes that fans can engage with. For example, Ghost poses as a subversive, devil-worshipping church, while Sleep Token's songs are ostensibly about their devotion to a god called Sleep. These mythologies help to create a sense of depth and complexity, drawing fans into the band's world.Despite the challenges of performing in masks, many bands find that it allows them to access new parts of their personalities and create a more immersive experience for their fans. As Ezrin notes, "I love the presentation of Imperial Triumphant... Even in 2026, when there are a million masked bands out there, I'd say we're still unique."

Taybeh, a small hilltop town in the heart of the West Bank, is one of the oldest Christian communities in the world. After increasing attacks from Israeli settlers it now feels itself under siege and is fighting for its very existence.The town’s ancient Greek name was Ephraim where, according to the gospels, Jesus hid with his disciples from the Jewish religious hierarchy, the Sanhedrin, before making his final fateful trip to Jerusalem.A church was built here in the fifth century, and the entirely Christian community survived the crusaders, conquest by Salah ad-Din Yusuf ibn Ayyub or Saladin, the Ottoman empire, the British empire, and three Arab-Israeli wars, but its inhabitants say its long-term future is in question.There are four substantial Israeli settlements around Taybeh, and countless unofficial outposts have also sprung up on the steep hills overlooking the Jordan valley. They have been set up by messianic Jews who send their young people, the “hilltop youth”, to harass and intimidate local Palestinians in the surrounding countryside.The relentless land grabs and intimidation is a pattern repeated up and down the West Bank in a campaign the UN has called ethnic cleansing, which has been driven by hardline members of the ruling coalition, the finance minister, Bezalel Smotrich, and the national security minister, Itamar Ben-Gvir.“First they kicked the Bedouin out in the last three years and put up their caravans and bring their cows and sheep. They are using the land without any permission from the owners and from ourselves,” said Fr. Bashar Fawadleh, the parish priest of Christ the Redeemer church.Over the past year, the pressure has been turned up further. In July last year, settlers set fire to the grounds of the fifth–century Byzantine church, St Peter’s. Since then, bands of hilltop youth have raided the town four times, setting fire to cars, slashing tires and smashing windows.The church, part of the Latin Patriarchate of Jerusalem, supports small business ventures to provide jobs and builds affordable housing, but the community is still haemorrhaging. Fifteen families have left in the past two years, leaving the current population at about 1,100.After the attack on St Peter’s church in July, the US ambassador, Mike Huckabee, visited the town to condemn what he called “an act of terror” and to appeal for prosecutions.No prosecutions have been reported, and Huckabee has not spoken out over any of the subsequent attacks on Taybeh. A Southern Baptist minister, the ambassador is a fervent supporter of Israel’s territorial claims to the West Bank and beyond, which he argues are divinely ordained.In the West Bank however, the Christian population has shrunk from 5% of the total population in 1967 to roughly 1% today, about 45,000 people.The fierce religious nationalism that the Israeli government has cultivated in recent years has largely been directed at Palestinian Muslims but there has been a rising tide of anti-Christian incidents.Jad Isaac, the director general of the Applied Research Institute-Jerusalem, which tracks the Israeli takeover of land and resources on the West Bank, said: “When Netanyahu says we are the only country which is taking care of the Christians, he’s a liar. He said that in Palestinian Christian communities in the West Bank “the strategy is to make life intolerable”.

FIFA President Gianni Infantino declared on Tuesday that Iran will fulfill its World Cup 2026 fixtures in the United States as originally planned, reinforcing the governing body’s commitment to a schedule that includes all qualified teams. The Iranian Football Federation had earlier announced that it was negotiating with FIFA to shift its group‑stage matches from U.S. venues to Mexico, citing safety concerns stemming from the war involving the United States and Israel that began on February 28. Mexico’s President Claudia Sheinbaum offered her country’s readiness to host Iran’s first‑round games if a relocation became necessary, highlighting regional solidarity. According to the tournament draw, Iran’s Group G campaign will open in Los Angeles on June 15 against New Zealand, followed by a clash with Belgium in the same city on June 21, and a final group match versus Egypt in Seattle on June 27. The war’s outbreak had cast doubt on Iran’s participation, prompting Infantino to address concerns during halftime of Iran’s friendly against Costa Rica in Turkey. He told AFP, “Iran will be at the World Cup… That’s why we’re here,” and praised the team’s quality. Infantino also referenced assurances allegedly given by former U.S. President Donald Trump that the Iranian squad would be welcome, though Trump later warned that the team should not travel “for their own life and safety.” Iran responded firmly, stating that “no one can exclude Iran’s national team from the World Cup.” In a March 19 online FIFA Council meeting, Infantino reaffirmed the organization’s stance: “FIFA is committed to ensuring the World Cup proceeds as scheduled with all teams participating,” adding that football can serve as a bridge for peace even when geopolitical conflicts lie beyond its control. Iran’s recent friendly against Nigeria in Belek, Turkey, featured players wearing black armbands and carrying school rucksacks to honor victims of a tragic air strike on a primary school in Minab on February 28, which killed at least 170 people. The New York Times reported that a U.S. Tomahawk cruise missile mistakenly hit the school, according to preliminary military findings. These gestures underscore the intersection of sport and geopolitics, as the global football community strives to maintain the tournament’s integrity while acknowledging the human cost of ongoing conflicts.

Speaking at halftime of Iran’s friendly against Costa Rica in Turkey, FIFA president Gianni Infantino told AFP that Iran will take part in the 2026 World Cup and will play its group games on U.S. soil as originally planned. He emphasized his confidence after meeting the team and its coach, describing Iran as a "very, very strong" side. Infantino added that the tournament’s schedule will be respected "according to the draw," dismissing recent talks by the Iranian Football Federation about relocating its matches to Mexico. Mexican President Claudia Sheinbaum has publicly offered to host Iran’s first‑round fixtures if required. Iran, which secured its spot by topping the Asian qualifying group, is set to open Group G against New Zealand in Los Angeles on 15 June, followed by matches versus Belgium (21 June, Los Angeles) and Egypt (26 June, Seattle). The nation has qualified for four straight men’s World Cups but has yet to advance beyond the group stage in the last three editions. The certainty of Iran’s participation comes amid the ongoing war that erupted on 28 February between the United States, Israel, and Iran. While Infantino initially cited assurances from former President Donald Trump that the Iranian team would be welcome, Trump later warned that traveling to the tournament could endanger the players’ lives and safety. Responding to the diplomatic tension, Infantino reiterated FIFA’s commitment to a "fair‑play" tournament, stating that the organization cannot resolve geopolitical disputes but will use football’s global reach to foster dialogue and peace. In a symbolic gesture during a recent friendly against Nigeria in Turkey, Iranian players wore black armbands and carried school rucksacks to honor the victims of a devastating airstrike on a primary school in Minab, which killed at least 170 civilians, including children and teachers. U.S. military investigators have preliminarily concluded that a mis‑targeted Tomahawk cruise missile caused the strike. Infantino’s assurance that "all teams" will compete as scheduled underscores FIFA’s determination to keep the World Cup on track despite the broader geopolitical turmoil surrounding the event.

The Iranian men's national football team made a poignant gesture before their friendly match against Nigeria in Turkey, wearing black armbands and posing with pink and purple school bags with ribbons on them. This powerful display was a tribute to the victims of a devastating air strike on a primary school in Minab, Iran, which occurred on the first day of the Middle East war on February 28. The air strike killed at least 170 people, including students and teachers. The attack happened on the day the United States and Israel launched the war with attacks across Iran. Iran's foreign minister accused the US of a "calculated, phased assault" on the school. According to The New York Times, preliminary findings of a US military investigation indicate that a US Tomahawk cruise missile hit the school due to a targeting mistake. The US military had been bombing an adjacent Iranian base, of which the school building was formerly a part, using outdated data to set the target coordinates. US President Donald Trump initially suggested that Iran itself may have been responsible for the attack, despite the country not having Tomahawk missiles. The incident has added to the tensions between Iran and the US, with Iran qualifying for the World Cup finals this summer but asking for its matches to be moved from the US to Mexico due to concerns over player safety. In the friendly match, Iran lost 2-1 to Nigeria. The team's gesture was a powerful reminder of the human cost of conflict and the impact on innocent civilians, particularly children.