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Amid an already dire humanitarian situation, Gaza is now confronting a cascade of infrastructure failures caused by acute shortages of fuel, engine oil and critical spare parts. The lack of these basic supplies is halting hospital generators, crippling water desalination, and grounding emergency vehicles, deepening the crisis for millions of residents. Humanitarian Crisis Deepens: Critical Shortages of Fuel, Oil and Parts in Gaza Dr Raed Hussein, director of the al‑Aqsa Martyrs Hospital, warned that a small generator supporting the main 400 kVA unit failed, forcing the shutdown of surgical operating rooms. Similar failures are reported across civil defence, where fire‑rescue vehicles and ambulances are out of service due to lack of fuel and engine oil. Cost Surge and Resource Scarcity: Numbers Behind the Shortage Engine oil price: ≈2,200 shekels per litre (up from ~25 shekels pre‑war). Seal component price: from 7‑12 shekels to hundreds of shekels. Cylinder head gasket: from 120 shekels to ≈2,000 shekels. Desalination output: 16,000 m³/day (down from 20,000 m³/day in March). Three firefighting vehicles and two ambulances have already broken down. Ripple Effects on Health, Water and Mobility The generator failures at al‑Aqsa Martyrs Hospital have forced the closure of operating rooms, raising the risk of a health disaster. Water and sanitation systems, already strained by energy restrictions, are producing less clean water, exacerbating disease risk. Transportation has collapsed: many cars sit abandoned, and residents like Heba Qahman must push wheelchairs for hours to reach distant hospitals. What Lies Ahead: Prospects for Relief and Systemic Recovery Humanitarian agencies warn that without a steady flow of fuel, oil and spare parts, essential services will continue to deteriorate. UNICEf highlights the need for immediate access to energy supplies and replacement components to restore water treatment capacity. Long‑term recovery will depend on lifting restrictions on imports and establishing reliable supply chains, otherwise Gaza’s infrastructure may face irreversible damage.

Breathing Earth's Ancient PastMore than 2bn years ago, during the Paleoproterozoic era, the Earth's atmosphere began to fill with free oxygen, enabling the rise of aerobic life and, ultimately, humans. This Great Oxidation Event is now being experienced firsthand by visitors to the Museum of Old and New Art (Mona) in Tasmania, where French-Swiss conceptual artist Julian Charrière has created an extraordinary installation that allows people to inhale oxygen that has been trapped in iron ore since that ancient time.When Charrière came up with the concept for what would become 'Breathe,' Mona's owner David Walsh not only approved the project but created a bespoke space for it, recognizing the unique intersection of science, art, and human experience that the installation represents.The Science Behind the Ancient OxygenThe installation is a marvel of scientific ingenuity and artistic vision. Charrière has sourced ancient iron ore from Australia's Pilbara region, which is processed daily in an on-site laboratory. The water is extracted from the ore using specialized machinery, then put through a Hofmann apparatus—a piece of scientific equipment that electrolyzes water—to liberate the trapped oxygen molecules.This pure, ancient oxygen is then released into a specially designed room where visitors can breathe it in, creating a direct connection to the beginning of life on Earth. As Charrière explains: 'I want people to get all the way back to the beginning of the earth. It's like a time machine.' The installation is designed as a solitary experience, with visitors accessing a vault-like corridor reminiscent of a mining drift, flanked by raw sandstone and lined with deep red rocks from the Pilbara.The Immense Timescale of the InstallationThe timescale involved in 'Breathe' is almost incomprehensible. The oxygen visitors inhale has been trapped in iron ore for over 2.4 billion years—since the Great Oxidation Event that transformed Earth's atmosphere and enabled the development of complex life forms. This installation literally connects each visitor to the primordial beginnings of our planet's atmosphere.As visitors walk through the tunnel, the temperature drops as they approach a high-ceilinged cylindrical room, an underground windowless tower where lighting depends on the amount of sun that can be reflected through a small opening above. Walking over tiles made of polished ancient tiger ore, they circle a floor-to-ceiling clear glass tube that houses the Hofmann apparatus. It is here, at a small opening, that visitors have their closest access to Charrière's pure, ancient oxygen.Redefining the Art-Science Experience'Breathe' represents a groundbreaking fusion of scientific methodology and artistic expression, challenging traditional boundaries between disciplines. The installation creates a profound personal experience that connects visitors not just to art, but to the very essence of life on Earth.What makes this installation particularly powerful is its claim that each visitor is the first human being to ever inhale that specific oxygen. As Charrière explains: 'You are breathing something which is so pure and has not been touched by any being before you... And the beauty of the piece is you will carry it until you die. You're going to become a small part of this installation and you become a big part of the great oxygen cycle, and you will only finally free this oxygen once... once you're going in the other world.'This installation is part of a broader trend in contemporary art that incorporates scientific processes and concepts, creating works that are both intellectually stimulating and viscerally impactful.The Future of Scientific Art Installations'Breathe' is opening alongside Charrière's major new exhibition 'Hard Core,' which showcases both the ambition and scientific curiosity of the Berlin-based artist. Individual elements of 'Hard Core' have been exhibited elsewhere in the world, including at the Venice Biennale, but the full exhibition finds its perfect home at Mona, with its exposed rock, industrial aesthetic, and fusion of science with art.As museums and galleries continue to seek innovative ways to engage audiences, installations like 'Breathe' point to a future where art and science are not just displayed together but are fundamentally intertwined in the creative process. This approach has the potential to create more immersive, educational, and thought-provoking experiences that challenge visitors to see the world—and their place in it—in new ways.Charrière's work demonstrates how art can make abstract scientific concepts tangible and personal, creating connections across vast stretches of time and space. As our understanding of the universe expands, art installations like 'Breathe' will play an increasingly important role in helping us process and relate to these profound concepts.

The Comeback That Never MaterializedJust over a year ago, Lizzo appeared on Saturday Night Live, announcing a new album called Love in Real Life in grandstanding style. Wielding an electric guitar, clad in a Trump-baiting T-shirt that read Tariffied, she performed its title track and two other new songs, Still Bad and Don't Make Me Love U. As with her appearance earlier the same week on a late night talkshow – during which she ran into the audience to high-five fans who were yelling "we love you Lizzo!" – it looked very much like a defiant comeback, fit to drag her out of the controversy that erupted at the end of her hugely successful 2023 world tour. Three former backing dancers and a costume designer filed lawsuits against the singer alleging harassment and discrimination: damaging claims given how Lizzo's songs have preached a message of inclusivity, body positivity and self-confidence. Some of the allegations were dismissed by a judge but others are ongoing; Lizzo has refused to settle out of court, saying: "I'm fighting the case because I know that it's not true."The Album That Never WasBut the Love in Real Life single, a pivot towards rock that owed a little to Tom Petty's American Girls – or the Strokes' American Girls-indebted Last Nite if you prefer – failed to make the charts, a far cry from the period between 2018 and 2022 when Lizzo's singles seemed to go multi-platinum as a matter of course. The same fate befell Still Bad, a track much more in the vein of her big hits, prompting a rethink. The album was pulled, Lizzo apparently taking control of her own destiny – "I need to do shit my way". A mixtape that returned her more-or-less to where she started, before pop stardom came calling – punchy hip-hop, albeit tricked out with guest appearances from Doja Cat and SZA – appeared in its place: My Face Hurts from Smiling received mixed reviews and underwhelming streaming figures.A Career at a CrossroadsAll of which means that Bitch, her fifth album proper, lands at a deeply peculiar juncture in Lizzo's career. Given that the public apparently don't want her going rock, nor rapping in the style of her 2013 debut Lizzobangers, nor indeed making the kind of music they were buying in their millions three years ago, the question of what they actually do want has presumably hung heavy over its making.Musical Identity CrisisLizzo hasn't come up with a definitive answer. Bitch tries a bit of everything, from pastiching Tame Impala on Happy 2 Be to making clipped new-wave rock decorated with Cure-like guitars on She Stole My Man; Sexy Ladies is a girls-night-out-soundtracking reiteration of the old body positivity message. This scatter-gun approach makes Bitch a disjointed listen.The Subdued ToneMoreover, there's something oddly subdued about its tone, whether it's dabbling in 80s retro – Don't Make Me Love U brings to mind the arena-rousing keyboard hook from Tina Turner's The Best, but renders it into a distant, affectless backing vocal – or delving into jazzy R&B; on Too Nice. The vibraphone-heavy beat on the latter is fantastic, rich in small-hours atmosphere, but the actual song feels nondescript: it only really comes to life in its dying moments, when Lizzo stops singing and starts playing a flute solo. The title track interpolates the chorus from Meredith Brooks' 1997 pop-grunge hit of the same name, but somehow flattens it in the process. Crooned over smooth, G-funky R&B;, it feels stripped of its fiery power, less of a snarl and more of a shrug.Equivocal LyricsThe lyrics often seem similarly equivocal. You don't want for apparent references to Lizzo's recent woes – "I hope it makes you happy to hurt somebody else", "the thing about depression, you think your life is over", "you'd still be working at the mall if it wasn't for me" – but they ultimately feel neither pugilistic nor racked, just confused and sore: "I have feelings too," she sings on piano ballad A Toast.Highlights Amidst the StruggleNot everything here is underwhelming: Whose Hair Is This is a great southern soul pastiche, home to an impressively raw vocal and a snappy plot twist at the end of the lyrics; That Grrrl employs an old-school Chicago house bassline to energising effect. But what's definitely lacking is an unequivocal pop smash, the kind of thing that Lizzo once seemed to be able to write to order.A Changing Cultural LandscapePerhaps that's inevitable. One of the reasons Lizzo hit so big in the first place was that she made pop music that perfectly captured a zeitgeist, and that zeitgeist has moved on: the era of body positivity has been displaced by the era of Ozempic and Mounjaro; the kind of post-pandemic, post-Trump optimism embodied on 2022's About Damn Time now sounds like a transmission from a distant lost age. We're living in a different world now, and Bitch suggests Lizzo has yet to work out how to respond to it: "I'm doing my best," she sings on A Toast, which feels like the most telling lyric of all.

Lead: A Wild Card Returns as England’s Summer Gets Even More ChaoticThe Guardian posits that Ollie Robinson, the once‑exiled England bowler, may be the chaotic element the national side needs to survive a summer squeezed by the IPL, a Women’s T20 World Cup and a packed domestic calendar.Robinson’s Recall Amid a Turbulent English SummerAfter a 27‑month exile since his debut in Ranchi, the 32‑year‑old has been recalled following a promising spring with Sussex. His return comes as England prepares for a four‑day Test against New Zealand at Lord’s, with tickets still on sale at roughly £110 each.First Test tickets: ~£110, still available.Second Test scheduled at The Oval in two weeks.England’s effective Test window: 47 days before the Hundred and other competitions begin.Numbers That Shape the NarrativeKey figures underline the pressure:27 months since Robinson’s last England appearance.32 years old – older than many of the "Nice Young Lads" in the squad.England’s summer packed with four major tournaments: IPL, World Cup, Women’s T20 World Cup, The Hundred.Why Robinson’s Disruption Matters for England’s Test OutlookRobinson embodies the anti‑establishment spirit that defined the early Bazball era: raw talent, a rebellious attitude and a flair for drama. His presence could:Re‑ignite a competitive edge in a side perceived as a "sideshow".Offer a counter‑balance to the polished, franchise‑focused image promoted by the ECB.Provide a talking‑point that keeps fans engaged amid dwindling stadium attendances.At the same time, his history of off‑field controversies – from past racist tweets to unsanctioned podcasts – raises questions about team culture and media management.Looking Ahead: Can Robinson Salvage England’s Test Summer?If Robinson delivers with his trademark pace and seam, he could become the catalyst that steadies England’s Test fortunes and re‑asserts a distinct national identity separate from the franchise‑driven narrative. Failure, however, would likely accelerate calls for a deeper overhaul of the Stokes/McCullum project.In a season where commercial budgets run into the millions and the IPL threatens to dominate the international calendar, Robinson’s raw, unfiltered style may be the only thing that reminds fans that Test cricket can still be unpredictable, gritty and, above all, human.

The Plight of Women in Northern Nigeria In northern Nigeria, particularly in rural communities, girls are more likely to drop out of school due to cultural practices such as early marriage or poverty, which forces parents to prioritize enrolling male children over females. According to UNICEF, more than half of the girls in the region are not attending school. The Women Centre for Continuing Education The Women Centre for Continuing Education (WCCE) in Sokoto State, northwest Nigeria, was established in 1997 to provide adult education and vocational skills to women. The centre offers a three-year curriculum for its primary section and three years each in the junior and senior levels for secondary sections. Students also sit for the mandatory Junior Leaving School Certificate of Education (JLSCE) and Senior School Certificate of Education (SSCE) examinations. The Challenges Despite the initiative, several challenges persist, including poverty, early marriage, and restrictive gender norms that prioritize domestic responsibilities over education. Many women lose confidence after years away from formal education, and some communities still view education as an investment for boys rather than a lifelong right for women. The Way Forward To bridge the gender disparity in education, Nigeria must adopt a lifelong learning framework that recognizes education as a continuous right and opportunity. This requires increased investment in adult education, digital and remote learning platforms, community-based education, and flexible pathways for women who missed formal schooling.

The Rise of Sound Baths Sound baths, a wellness trend where participants lie down or sit while practitioners play instruments like gongs and singing bowls, have become increasingly popular. Proponents claim that these experiences can "soothe and calm your nervous system" and promote "healing" through specific sound frequencies. Can Sound Baths Really Relax Us? Research suggests that sound baths can have a positive impact on mood and stress levels. A 2016 study found that participants who took part in a meditation session involving Tibetan singing bowls reported feeling less tension, anger, and fatigue. Another study linked Tibetan sound meditation to improved cognitive function and mental health in breast cancer patients. The Science Behind Sound and Emotion Experts agree that the effects of sound on wellbeing are largely related to how we perceive and interpret those sounds, rather than specific types or frequencies. Our breathing can synchronise with beats we hear, a phenomenon known as "rhythmic entrainment," and music can induce different emotions such as happiness, sadness, and fear. A Nice Experience or Music Therapy? While sound baths can be a "nice experience," experts caution that they should not be confused with music therapy, a regulated profession that uses music listening or production to improve psychological and physical health. Music therapists work with a range of clients, including in schools and hospitals, and there is no single equivalent regulatory body for sound bath practitioners. The Verdict In conclusion, while sound baths may have some benefits, experts agree that their effects can be overstated. Focusing on one thing and trying to quiet the mind is key to their potential benefits. As with any wellness trend, it's essential to approach sound baths with a critical and nuanced perspective.

The Grand Slam and the Road to RecoveryJonas Vingegaard has achieved the rare feat of winning all three Grand Tours, joining an elite club of cycling legends that includes Eddy Merckx, Chris Froome, and Felice Gimondi. The 29-year-old Dane’s victory in the Giro d'Italia is a testament to his resilience, coming just over a year after a life-threatening crash in the Basque Country that left him with broken ribs, a punctured lung, and a sternum injury. "It is a special day for me," Vingegaard said, showing rare emotion as he paid tribute to his family. "It’s way more than I could ever dream of when I was a kid."A Dominant Performance in the Absence of RivalsVingegaard’s win was characterized by a crushing margin of over five minutes, securing five summit finishes along the way. While the field lacked the usual firepower of Tadej Pogacar, Remco Evenepoel, and Paul Seixas, the victory was still significant. Austrian climber Felix Gall noted that Vingegaard was "clearly on a different level," suggesting that even without his main competition, the Dane remains the benchmark for the sport.Statistical Dominance Over the Last 11 MonthsVingegaard's consistency over the past year has been staggering. He has finished second in the Tour de France, won the Vuelta a España, and secured victories in Paris-Nice, the Volta a Catalunya, and now the Giro d'Italia. This string of results places him among the most consistent performers of his generation, though the absence of Pogacar in Italy skews the statistical landscape slightly.Shifting Dynamics in the Pro PelotonThe race also marked a transition for other teams. Geraint Thomas took on a new role as director of racing for the Netcompany Ineos team, while their Dutch leader Thymen Arensman finished fourth but struggled in the final mountains. The absence of the sport's biggest stars in Italy highlights the strategic importance of the Tour de France, where the stakes are highest and the competition is fiercest.The Ultimate Test: Tour de France 2026As the cycling world turns its attention to Barcelona in July, the narrative remains centered on the Vingegaard vs. Pogacar rivalry. With Pogacar and Evenepoel training at altitude in Spain, Vingegaard faces a stiffer challenge than he encountered in Italy. While a third Tour win is a realistic possibility for the Dane, it will likely require a dip in form from the Slovenian superstar to secure the top spot on the podium.

The Performance Vespers, a semi-staged concert, was set in Vivaldi's Venice, within the broader and more ancient cultures of the Mediterranean. The audience was seated on either side of a raised platform, with string players from Figure, led by Frederick Waxman, at one end, and countertenor Iestyn Davies, a troubled figure staring at a laptop and lit by a single candle, at the other. The Music The performance featured Vivaldi's Nisi Dominus, a vibrant, multimovement setting of Psalm 127 for alto, strings, and chamber organ. Davies's richly cushioned voice brought lyrical warmth and fluid phrasing to this elaborate music, even as his anxious character sought deeper meaning in his mundane life. A Clash of Cultures At the heart of Sam Rayner's resourceful staging was an arresting clash of cultures. Approaching the platform, Isadora Pulman regaled the world-weary Davies with Morenica, a traditional Sephardic song about a woman who playfully rejects the calls of passing sailors as she waits for the son of a king. Accompanied by Balkan flute and Middle Eastern zither, and with the light glinting off her bejewelled ears and throat, Pulman's smoky vocals seemed to suggest that those in search of a more purposeful future could do worse than embrace the example of a less inhibited past. The Impact The performance was a haunting sound, open throated and ornate, its vinegary harmonies peppered with ululating decorations. The Idrîsî Ensemble, a choral collective specialising in the performance of Old Roman chant, brought a unique and captivating sound to the performance.

Canada's Strategic Push for Long-Term Trade StabilityCanada is making a decisive move to secure North American trade relations by proposing a 16-year renewal of the United States-Mexico-Canada Agreement (USMCA). The proposal includes a push for parallel discussions on sectoral tariffs, aiming to protect Canadian industries from recent US trade penalties and establish long-term economic certainty.The Proposal for a 16-Year USMCA ExtensionCanada’s minister responsible for Canada-US trade, Dominic LeBlanc, outlined the recommendations in a formal letter to both the US and Mexico. Accompanied by Canada's chief trade negotiator to the US, Janice Charette, LeBlanc is scheduled to meet with US Trade Representative Jamieson Greer. This marks a crucial step in re-engaging with the US administration after former President Donald Trump suspended bilateral talks late last year over a controversial Ontario advertisement.Key Demands and the July 1 DeadlineThe renegotiation process faces a strict deadline of July 1. The US has laid out aggressive demands, with Greer indicating that Canada may need to accept certain tariffs to successfully engage in the review process. The primary points of friction include:Automotive: The US is pushing for stricter rules of origin.Agriculture: The US demands greater access to Canadian markets for US dairy businesses.Trade Penalties: Addressing US tariffs on Canadian steel, aluminum, and cars that have actively hurt Canada's economy.Provincial Frictions: Lifting restrictions on US liquor sales within Canadian provinces.Playing Catch-Up in a Bifurcated Negotiation LandscapeCanada has recently faced heavy criticism from its own business sector for moving too slowly, especially as Mexico has engaged more proactively with the US. Prime Minister Mark Carney acknowledged a "bifurcated discussion" approach, noting that the US holds distinct technical grievances with both neighboring nations. Carney's recent diplomatic overtures in New York, emphasizing that a "Canada Strong will help make America great again," signal a conciliatory strategy designed to ease tensions and restart robust bilateral engagement.The Future of North American Trade DynamicsIf the three nations fail to agree on an extension by the deadline, the USMCA will devolve into a precarious cycle of annual reviews until 2036. Canada's dual approach—seeking a long-term extension while simultaneously isolating sectoral tariff discussions—is a defensive maneuver to prevent ongoing economic uncertainty. The outcome of the current meetings will dictate whether Canada can successfully reintegrate into the core trilateral negotiation process or if it will continue to face isolated trade pressures from the US.