Blog

  • UN highlights need for peaceful resolution, as Trump & Putin prepare to meet on Ukraine

    UN highlights need for peaceful resolution, as Trump & Putin prepare to meet on Ukraine

    – Advertisement –

    – Advertisement –

    – Advertisement –

    UNITED NATIONS, Aug 15 (APP): The United Nations has reiterated the importance of dialogue as US President Donald Trump and Russian President Vladimir Putin prepare to meet on Friday in Alaska, with the Ukraine war on top of their agenda.

    The UN is stressing that any peace effort or deal must be consistent with the principles of the UN Charter, including respect for Ukraine’s sovereignty and territorial integrity.

    Speaking to reporters on the eve of the meeting, UN Spokesperson Stephane Dujarric welcomed “dialogue at the highest level” between the two permanent members of the Security Council.

    The meeting is scheduled to take place in Alaska at 11 AM local time (Midnight PST). The northern US state is separated from the mainland by Canada, while Russia lies just to the west across the Bering Strait and the International Date Line.

    Dujarric reaffirmed that the “[UN’s] position regarding the war in Ukraine remains the same.”

    “We want an immediate, full and unconditional ceasefire as a first step towards finding a just and sustainable and comprehensive peace, one that upholds Ukraine’s sovereignty, its territorial integrity and independence within internationally recognized border and in line with UN Charter, international law and all relevant UN resolutions,” he said.

    Asked about reports that the United States and Russia would meet without Ukraine at the table, Dujarric recalled the UN’s principled view that, to reach a durable settlement, “it’s helpful to have all the parties of the conflict at the table, the same table.”

    “We’ll obviously be watching what happens, and we’re watching what comes out of it.”

    The summit takes place against a backdrop of worsening humanitarian conditions. According to the UN relief coordination office, OCHA, hostilities continue to exact a heavy civilian toll, destroying homes and infrastructure, forcing thousands more to flee.

    Between Monday and Wednesday alone, over 6,000 people evacuated their high-risk communities near frontlines in the Donetsk region, either through organized evacuations or of their own volition.

    The UN Human Rights Monitoring Mission in Ukraine reported this week that July saw the highest monthly civilian casualty toll since May 2022, with 286 people killed and 1,388 injured.

    Since Russia launched its full-scale invasion of Ukraine, the rights mission has documented the deaths of at least 13,883 civilians, including 726 children, and 35,548 injured, including 2,234 children.

    The two leaders are meeting at a U.S. military base in Alaska. Ukrainian President Volodymyr Zelenskyy will not be in attendance. Zelenskyy spoke with Trump twice this week and has rejected the idea of territorial concessions to end the war.

    Trump said Aug. 14 that the “more important meeting” will be one that includes both Zelenskyy and Putin. That will come next, he said.

    “We’re going to see what happens,” Trump said Aug. 14. “And I think President Putin will make peace. I think President Zelensky will make peace. We’ll see if they can get along, and if they can, it’ll be great.”

    Continue Reading

  • Naqvi lauds KPK Police for foiling 14 terrorist attacks on Independence Day

    Naqvi lauds KPK Police for foiling 14 terrorist attacks on Independence Day

    – Advertisement –

    ISLAMABAD, Aug 15 (APP):Federal Interior Minister Mohsin Naqvi has lauded the Khyber Pakhtunkhwa Police for foiling 14 terrorist attacks planned by what he described as “Fitna al-Hindustan” on August 14.

    In a statement, the minister praised the professional skills of the KP Police, noting their success in thwarting the “nefarious designs of Indian-sponsored terrorists” during the nation’s 79th Independence Day celebrations.

    Naqvi congratulated KP Inspector General and the entire force for their decisive action, saying the achievement reflects the force’s dedication and bravery.

    “The KP Police remain on the front line in the war against terrorism,” the minister emphasised.

    Continue Reading

  • ‘I have to believe I deserve to be here’: ‘Tesco TikToker’ Hannah Lowther on her path to West End stardom | Theatre

    ‘I have to believe I deserve to be here’: ‘Tesco TikToker’ Hannah Lowther on her path to West End stardom | Theatre

    If you’re on TikTok, you’ll probably recognise Hannah Lowther. Known affectionately as the “Tesco TikToker”, she found viral fame during lockdown by filming herself singing and dancing in the aisles of the supermarket during her shifts there.

    “I got 10,000 views on a video and I thought: OK, that’s it, I’m famous, and I just never let it go,” the 27-year-old laughs. Since then, Lowther has built an audience of 1.2 million followers and leveraged her social media presence into a starry stage career, landing roles in West End musicals including Heathers and Six. “At the back of my mind, I was thinking: You know what? Maybe this could help me one day.”

    Her career is the stuff of many young performers’ dreams. Using social media, Lowther took her career into her own hands, built an army of fans, and catapulted herself to the spotlight. Now, she stands at the forefront of a growing and debated shift in the industry: one that sees performers with big online followings take centre stage.

    Lowther always knew she wanted to work in the theatre. Growing up in Basingstoke, she went to dance classes, but it was when she was cast as Brigitta Von Trapp in the West End production of The Sound of Music in 2008 that something clicked. “I remember going into the theatre and asking [the adult actors] what their jobs were,” she says. “Then I realised this was an option for me.”

    Parr for the course … Hannah Lowther in the Henry VIII musical Six. Photograph: Ella Miskin

    Her teenage years were consumed by musical theatre. “I put the blinkers on. I thought: I’m going to do this and nothing else.” At 16, she took a three-year course at the drama school Italia Conti then, at 19, went on to the London School of Musical Theatre. “I graduated in 2019, did a panto at Christmas, and then in 2020, coronavirus happened,” Lowther says. “I got put on pause. The whole world did.”

    Except Lowther didn’t stop. She took a job at Tesco and, “out of pure boredom”, made her first TikTok video. Her early posts saw her belting out musical theatre hits to products on the shelves and high-kicking in front of the tills. “I was feeling like my musical theatre spark was diminishing,” she says. “I just thought surely someone else must feel the same.”

    She was right. Her TikToks reached thousands and were picked up by BBC and ITV news. “It was crazy: people came to interview me, people came into the store … I’m just that theatre kid who loves attention, so it was my dream,” Lowther says. Even now, she shakes her head in disbelief. “TikTok really helped me, and I say that with pride.”

    Her unconventional route to the stage hasn’t been without its critics. Despite training at two of the UK’s top drama schools, Lowther is often met with scepticism from people who attribute her success to her social media clout than talent.

    “People are always going to be a little bit apprehensive about [social media],” Lowther says. Strangers have often formed an opinion of her before they’ve even met. “Often when I meet them, they’ll be like: ‘You know what? You’re actually quite nice,’” she laughs.

    It is true that in person, Lowther is different from the version seen online. On TikTok, she’s all jazz hands and musical theatre fizz. Today, she is more reserved: still warm and funny, but with a vulnerability that doesn’t always make it into the frame. Lowther tells me about how she turned her phone off for a week after a video surfaced of her making a mistake during an early performance of Six. “My first thought was: I’m going to get ripped to shreds online, and that’s exactly what happened.”

    Because of her trajectory, Lowther faces a far greater level of scrutiny than most performers. Dealing with online criticism has become a part of her life. Underneath her videos, she often finds “nasty comments” about her voice, career and, most prominently, suggestions that she’s used social media to cheat her way to success. I’ve tried to teach myself to rise above it, and think that is more a reflection of the person than me, but it is easier said than done,” she says. To an extent, the torrent of abuse has begun to feel normal. “I forget that, for lots of people, it is not a daily struggle.”

    Perhaps this is why Lowther occasionally doubts herself. “Impostor syndrome is a real thing. This explosion happened so fast, sometimes I do sit there thinking: What am I doing at this audition?” She’s the first to say her road to theatre has been far from normal. The first West End show she was cast in, Heathers, came about because someone she met at a social media event was friends with one of the producers, and got her an audition. “It’s hard when I’m faced with people saying: ‘Why would she get this part?’ I’ve worked hard. I have to stick to my guns and believe I deserve to be in certain spaces.”

    skip past newsletter promotion

    I’m ready, I’m ready! … Hannah Lowther in the musical of SpongeBob SquarePants. Photograph: Phil Tragen

    Lowther believes more musical theatre hopefuls will turn to social media. In June, it was announced that TikTok star Maddie Grace Jepson, who has 1.9 million followers, will make her West End debut in Back to the Future: The Musical, while Love Island winner Amber Davies (1.2 million followers on Instagram) has since starred in countless shows, including the current run of The Great Gatsby. This is a marked change from the more traditional path actors usually take: many will spend years working their way up through off-West End roles, understudying and attending endless auditions before getting a big break.

    Today, casting directors and producers increasingly see a strong online following as part of a performer’s value: their fans, it is assumed, are a ready-made audience. For some, this is a welcome levelling of the playing field that helps regional or working-class performers who lack industry connections. But there are concerns. If you’re expected to perform in an eight-show week, proper training and stamina are essential – and not always something guaranteed by social media popularity.

    And this all arguably creates a hierarchy of another kind. Actors have spoken out against being asked about their follower count in the smallest non-speaking roles. In 2019, a casting call for a commercial asked actors to have “more than 5,000 followers on Instagram” went viral, leading to broader criticism in the industry. Everybody’s Talking About Jamie star Hayley Tamaddon said she was asked, at the end of a West End audition, about the number of followers she had on X (the role went to someone with 20,000 more followers).

    Despite her time at drama school, it is clear that it’s TikTok that has opened doors for Lowther. She now hosts a theatre podcast, How Very Hannah (the podcast’s own TikTok account has more than 52,800 followers) which is going on a UK tour this autumn. “We play silly games, I give advice to people who send in questions, I chat with guests and try to remove any snootiness around theatre,” she says. That personal audience gives Lowther something many other young actors don’t have: leverage. She doesn’t have to wait to be cast to engage an audience, promote her work or generate income; she has built her own stage. It’s a powerful position.

    Does creating a public-facing brand ever get in the way of being taken seriously as a stage actor? “By trade, I am an actress,” she says cautiously, but she reveals that some people in the industry have initially turned up their noses at her influencer life.

    Why does Lowther think people are so keen to follow her life? She pauses. “It’s a weird one. As cheesy as it is to say, I try to be as authentic as possible … I try to show the lows, the highs and all the bits in between.” Lowther’s appeal does seem to be rooted in her honesty. She posts videos of her crying after failed auditions, hosts chats from her dressing room, and answers questions about how much actors really get paid. Part of the draw is that she isn’t too flashy or aloof. Her relatability offers other young performers a sense of hope: maybe, if they throw themselves into social media, they could have a career like hers too.

    Of course, out of the many people who post on TikTok, only a few will end up in the spotlight. Lowther is more than aware of this, and is determined not to fall behind. She still posts regularly on TikTok and feels a responsibility to make content that’s honest, joyful and rooted in her love of musical theatre. She has big dreams of being in a movie musical – “something like the Wicked movie” – but, ultimately, the theatre has her heart. “I really love being on stage. I feel like it is where I’m meant to be.”

    How Very Hannah Live! tours the UK to 29 November; tour starts Edinburgh.


    Continue Reading

  • Can’t pay, won’t pay: impoverished streaming services are driving viewers back to piracy | Piracy

    Can’t pay, won’t pay: impoverished streaming services are driving viewers back to piracy | Piracy

    With a trip to Florence booked, all I want is to rewatch Medici. The 2016 historical drama series tells of the rise of the powerful Florentine banking dynasty, and with it, the story of the Renaissance. Until recently, I could simply have gone to Netflix and found it there, alongside a wide array of award-winning and obscure titles. But when I Google the show in 2025, the Netflix link only takes me to a blank page. I don’t see it on HBO Max, Disney+, Apple TV+, or any of the smaller streaming platforms. On Amazon Prime I am required to buy each of the three seasons or 24 episodes separately, whereupon they would be stored in a library subject to overnight deletion. Raised in the land of The Pirate Bay, the Swedish torrent index, I feel, for the first time in a decade, a nostalgia for the high seas of digital piracy. And I am not alone.

    For my teenage self in the 00s, torrenting was the norm. Need the new Coldplay album on your iPod? The Pirate Bay. The 1968 adaptation of Romeo and Juliet? The Pirate Bay. Whatever you needed was accessible with just a couple of clicks. But as smartphones proliferated, so did Spotify, the music streaming platform that is also headquartered in Sweden. The same Scandinavian country had become a hub of illegal torrenting and simultaneously conjured forth its solution.

    “Spotify would never have seen the light of day without The Pirate Bay,” Per Sundin, the then managing director of Universal Music Sweden, reflected in 2011. But music torrenting died out as we all either listened with ads or paid for the subscription. And when Netflix launched in Sweden in late 2012, open talk of torrenting moving images also stopped. Most of the big shows and a great collection of award-winning films could all be found for just 79 SEK (£6) a month. Meanwhile, the three founders of The Pirate Bay were arrested and eventually jailed. Pirating faded into the history books as far as I was concerned.

    A decade and a half on from the Pirate Bay trial, the winds have begun to shift. On an unusually warm summer’s day, I sit with fellow film critics by the old city harbour, once a haven for merchants and, rumour has it, smugglers. Cold bigstrongs in hand (that’s what they call pints up here), they start venting about the “enshittification” of streaming – enshittification being the process by which platforms degrade their services and ultimately die in the pursuit of profit. Netflix now costs upwards of 199 SEK (£15), and you need more and more subscriptions to watch the same shows you used to find in one place. Most platforms now offer plans that, despite the fee, force advertisements on subscribers. Regional restrictions often compel users to use VPNs to access the full selection of available content. The average European household now spends close to €700 (£600) a year on three or more VOD subscriptions. People pay more and get less.

    A fellow film critic confides anonymously: “I never stopped pirating, and my partner also does it if he doesn’t find the precise edition he is looking for on DVD.” While some people never abandoned piracy, others admit they have recently returned – this time turning to unofficial streaming platforms. One commonly used app is legal but can, through community add-ons, channel illicit streams. “Downloading is too difficult. I don’t know where to start,” says one film viewer. “The shady streams might bombard me with ads, but at least I don’t have to worry about getting hacked or caught.”

    Life on the open seas … Swedish-based filesharing website The Pirate Bay. Photograph: FocusDigital/Alamy

    According to London‑based piracy monitoring and content‑protection firm MUSO, unlicensed streaming is the predominant source of TV and film piracy, accounting for 96% in 2023. Piracy reached a low in 2020, with 130bn website visits. But by 2024 that number had risen to 216bn. In Sweden, 25% of people surveyed reported pirating in 2024, a trend mostly driven by those aged 15 to 24. Piracy is back, just sailing under a different flag.

    “Piracy is not a pricing issue,” Gabe Newell, the co-founder of Valve, the company behind the world’s largest PC gaming platform, Steam, observed in 2011. “It’s a service issue.” Today, the crisis in streaming makes this clearer than ever. With titles scattered, prices on the rise, and bitrates throttled depending on your browser, it is little wonder some viewers are raising the jolly roger again. Studios carve out fiefdoms, build walls and levy tolls for those who wish to visit. The result is artificial scarcity in a digital world that promised abundance.

    Whether piracy today is rebellion or resignation is almost irrelevant; the sails are hoisted either way. As the streaming landscape fractures into feudal territories, more viewers are turning to the high seas. The Medici understood the value linked to access. A client could travel from Rome to London and still draw on their credit, thanks to a network built on trust and interoperability. If today’s studios want to survive the storm, they may need to rediscover that truth.

    Continue Reading

  • Rain or shine: Bobb, Foden, Haaland and more test our new PUMA Third kit – Manchester City FC

    1. Rain or shine: Bobb, Foden, Haaland and more test our new PUMA Third kit  Manchester City FC
    2. Rain or shine: City and PUMA launch 2025/26 Third kit  Manchester City FC
    3. First official photos of brand new 2025/26 Manchester City third kit leaked  Yahoo Sports
    4. COMING SOON: Our 2025/26 PUMA Third kit  Manchester City FC

    Continue Reading

  • ESA’s Strategy 2040: A dream for Europe

    ESA’s Strategy 2040: A dream for Europe

    Heriberto Saldivar, Head of Strategy at ESA, introduces the European Space Agency’s Strategy 2040 and explains how it will help Europe to build the future of space.

    In April 2025, the European Space Agency (ESA) released Strategy 2040 – a blueprint for future activities and medium- to long-term priorities that will help to realise the European space agenda. The Strategy sets out goals for the next 15 years and is designed to reflect changes brought about by the increasingly turbulent geopolitical environment. The Strategy is the longest vision set by ESA to date and follows Agenda 2025 – a set of five key priorities encompassing a plan for Europe to maintain and expand its excellence in space, for the benefit of everyone.

    To find out more about Strategy 2040, its key goals, and how it was developed, Editor Georgie Purcell spoke with Heriberto Saldivar, Head of Strategy at ESA, who led the creation of the Strategy.

    Can you tell us more about Strategy 2040 and how it was developed?

    Strategy 2040 is a joint development between ESA and its Member States. For over two years, we have been working to develop a comprehensive strategy that spans all across Europe.

    ESA has been developing space solutions for its Member States for 50 years, and we have always had near-term visions and medium- and short-term objectives. In some directorates, such as our Science directorate, we have more long-term goals to accommodate for the complexity of certain missions. However, ESA’s agendas are typically focused into a one-term strategy, one directorate, or a shorter time period. Strategy 2040 is the first time that the agency has decided to build something more long term.

    The world is changing so fast, and we need to implement guidelines to ensure that we are not wasting our resources. 2040 is 15 years into the future – it is long enough to give us a long-term vision to start developing certain ideas, but also short enough to be able to see the changes.

    The development of Strategy 2040 was a long exercise. We first needed to establish common ground with our 23 Member States, as well as with our Cooperating States and Associate Member States. We analysed their space strategies, space laws, and how space is permeating society. We also conducted a very deep analysis of national policies and priorities – in areas such as transportation, education, health, ecology, and defence. This gave us an idea of direction for the future.

    At the same time, we wanted to gain an understanding of what our industry partners were doing and whether our activities aligned. We also conducted an analysis of the strategies of NASA, Japan, India, China, Korea, the Middle East and other space nations. This enabled us to develop a global view with a big consideration placed on the major challenges facing the world. For example, the World Economic Forum shares in its annual Global Risks Report some of the most severe risks we may face in the coming years – trends that are changing in societal, climate, and political landscapes. Our department’s Foresight team reviewed different scenarios and looked at ways to develop something robust.

    Within our development process, we included people from inside ESA, industry, and our young generation. It is very important that we build something that reflects the needs of the future but also has the experience of senior peers. We liaised closely with our Member States, who gave us very intense, constant feedback to understand where we could find a common ground. Alongside the needs of the European Union, we also looked at the situation across the Atlantic in the Asia-Pacific region and the work of our international partners.

    The Strategy is based on five thematic goals, each of which has specific objectives assigned. These are to: Protect our Planet and Climate; Explore and Discover; Strengthen European Autonomy and Resilience; Boost European Growth and Competitiveness; and Inspire Europe.

    The goal to Protect our Planet and Climate not only relates to climate change and sustainability, but also how we protect the orbit around our planet and how we protect our planet from external events like space weather that can disrupt such things as telecommunications or power grids.

    Explore and Discover encompasses factors such as the exploration ambitions of Europe, going to the Moon and Mars, and low-Earth orbit, as well as the scientific benefits that are derived from them. This also relates to the science that we do on missions, and the search for  some of the biggest answers in physics, gravity, matter, the creation of the Universe and the forces that shape it, etc., while also looking at our planet and how it is changing.

    The goal to Strengthen European Autonomy and Resilience is central to two key points. The first one is about access and mobility to space. If Europe wants to go to space, we need to have the means to do so. We learned this the hard way when we experienced a crisis of launchers a few years ago, which took us some time to recover from. Now, Europe has access to space, but we need to ensure that this access is autonomous and competitive. The second point relates to our citizens. Space is to benefit our society and is intertwined with our economy. We need to think about technologies in connectivity, position, navigation, timing, Earth observation, and more, to make a more connected and safe future for citizens. This also links to disaster mitigation and emergency response. We cannot dream of a bright future if we can’t keep our citizens safe.

    The fourth goal focuses on boosting European Growth and Competitiveness. Europe is incredible at developing technologies, and we need to keep this momentum going. The first objective is to spearhead new technologies and new capabilities, but Europe must also strengthen how it carries out its industrial capacities. This is something we need to do to unlock new markets, drive economic growth, and make Europe a commercial hub for the economy. Our colleagues at the UK Space Agency provide us with a lot of support in this area, because the UK is a well-known centre for venture capital.

    The last goal is to Inspire Europe. Europe as a continent is great, especially when we work together. We want to reinforce the space ecosystem in Europe, collect all the key European stakeholders, and work together as a continent. It is also crucial for us to inspire people. I think space can really spark a fire in children and the younger generation who will be developing these capacities for the future.

    How can the wider space sector co-operate with ESA to help meet the goals of Strategy 2040 and strengthen Europe’s place in the global space market?

    This is something that I have been discussing with a lot of people in industry. They are very eager to see where we’re going. When you’re planning things like recruitment and future budgets, you need to know that there’s a stability that you can use for career paths and development. The industry is very eager to see what we’re presenting, because it enables them to see a long-term vision.

    At the same time that we published Strategy 2040, we published Technology Vision 2040 – setting out the technologies that we see are important for the future. Not all of them are something that might become viable in the immediate future, but they are avenues that we think are important to explore.

    We are planning to sit down with industry and discuss ideas. We want to industrialise Europe, but a factory is an expensive investment. Getting the machines and supply chains ready, amongst everything else, is not something that can be achieved in just a few years. It takes time to build it. This is something that industry is very eager to see, because if they see a path, they can see where they’re going. This also links to the Member States and the national priorities, because if we’re aligned with them, the industry is aligned.

    Strategy 2040 follows the culmination of Agenda 2025. What were the key takeaways from this and how have the lessons learnt from this shaped Strategy 2040?

    Agenda 2025 was the cornerstone on which we built a lot of the steps for Strategy 2040. Agenda 2025 was a very initial step to put things right. At the beginning of the mandate of our current Director General (DG), he recognised that the agency needed to adapt, and the priorities set out in the Agenda reflected this need for change.

    The first priority was to strengthen ESA-EU relations. Our DG has managed to do this very successfully and is continuing to do so moving forward.

    The next goal was to boost commercialisation in a green and digital Europe. Firstly, we created the Directorate for Commercialisation (CIC), which has been able to expand and explore how we can commercialise. It’s difficult for an agency that has been working in a traditional way for 50 years to adapt to a new world, however, thanks to the work done by the CIC team, things are now moving more dynamically, and we are continuing to learn and grow.

    Objective three was to develop space for safety and security. This is something that we are continuing to prioritise. Since the Agenda was presented in 2021, the situation of security has become more and more critical and we are, therefore, strengthening our work in this area.

    The last two points of the agenda are more internal – programme challenges and to complete the ESA transformation. To address these issues, we needed to work in ESA internally and utilise new methods and technologies to become more efficient. This has been a really intense exercise across the whole agency and we are on the right track.

    I would say that Agenda 2025 has been a good warm up and has given us a solid foundation to build upon and deliver Strategy 2040.

    Strategy 2040 is a longer-term plan, but what can we expect in the near future?

    We have a lot of priorities, and we need to be able to set the stepping stones to reach them. Some of them centre around a zero debris circular economy – ensuring that we have a responsible and sustainable use of space. We are implementing a lot of things, including the Zero Debris Charter, that should become an integral part of how we develop new missions and the next steps.

    We also want to see European human presence on the Moon, and this is something that we’re working on. We’re working towards building a capability to have a stronger European presence in low-Earth orbit and exploration.

    We also have a lot of missions and initiatives in the pipeline, especially scientific missions such as NewAthena, the largest X-ray observatory ever built. At the same time, one priority that we find really important is to strengthen European autonomy and resilience. We’re working very hard on a programme called European Resilience from Space (ERS), which develops state-of-the-art solutions for predictions and management of disasters and emergencies. This is critical to ensure our citizens are safe. We need to have eyes from the sky to tell us about movements that are happening, and we cannot wait for a satellite to move until certain things have happened. We need to change a bit of orbit to have constant monitoring. We need to be able to communicate information live to our citizens and to security personnel – police, rescue services, etc. – to be able to receive support.

    It is also important to position Europe as a commercial hub. Europe is in a very interesting position right now. It is a stable place where we can bring and attract talent, but also where we can develop a hub to attract investment. We must be able to develop the industry. We’re very good at creating novel technologies, but we need to work hard to scale this up.

    What is the main message that you want to deliver with the release of Strategy 2040?

    We want to give Europe a dream.

    Europe has been at the centre of incredible changes in the world – steam, electricity, and even flight. Someone, very poetically, said to me: “Europe’s Age of Enlightenment transformed astrologers into scientists and alchemists into chemists, marking a turning point that brought profound change and progress to the world.” We need to go back to that spirit.

    Europe knows how to build, and we believe that space can be one of these things that really elevates us. Strategy 2040 is a way for us to bring back this hope to our citizens and say, “Yes, the world is difficult. We’re having a lot of challenges, but let’s dare to dream. Let’s push something there and build a future we want to live in.”

    Let’s help Europe to dare to dream and really go back to what we do best – building the future.

    Please note, this article will also appear in the 23rd edition of our quarterly publication.

    Continue Reading

  • ‘Weird Al’ Yankovic Says He Won’t ‘Lose Any Sleep’ Over Rock Hall Snub

    ‘Weird Al’ Yankovic Says He Won’t ‘Lose Any Sleep’ Over Rock Hall Snub

    Despite his status as a pop culture icon for close to 50 years now, ‘Weird Al’ Yankovic has claimed he’s not terribly bothered about being overlooked by the Rock & Roll Hall of Fame.

    Explore

    See latest videos, charts and news

    Speaking to Vulture, Yankovic was asked to share his pitch to the Rock Hall to “do the right thing and induct” him, though the musical parodist seemed somewhat resigned to never being inducted when he replied, “The Rock Hall is going to do what they’re going to do.”

    “They’re obviously expanding the boundaries of what constitutes rock and roll when they make their decisions,” he explained. “If they’re going to ever pick a comedic entry, I’d like to think I’d be considered for that. If they pick another accordion-playing parody writer ahead of me, I’d be upset. 

    “I don’t lose any sleep over having not been nominated. Right now, there aren’t millions of people saying, ‘Why isn’t he in the Rock & Roll Hall of Fame?’ And I’d prefer that to having millions of people saying, ‘Who let that jerk in there?’”

    Despite Yankovic having been eligible for inclusion into the Rock Hall since 2005, he’s yet to be nominated on any annual ballot. However, chairman John Sykes did reveal in December that the influential musical satirist has “come up in conversations” over the years.

    “He’s a genius,” Sykes explained. “He has made brilliant versions of the songs, but I’ll be honest: He’s never made it close to the ballot.”

    Comedian John Mulaney shared his thoughts on Yankovic’s absence from the Rock Hall earlier this year, reflecting on how the likes of Chubby Checker are to be inducted this year, given his debut single “The Class” has been classified as a novelty song.

    “I’m a big proponent of novelty music,” Mulaney admitted. “I’m a big proponent of ‘Weird Al’ getting into the Rock & Roll Hall of Fame. This is one step closer, though I don’t know why they need to be led via steps. ‘Weird Al’ brought more people to music than is recognized at all.

    “I will, in fact, greatly devalue my coolness by saying [when I was young], it wasn’t until ‘Smells Like Nirvana’ defanged ‘Smells Like Teen Spirit’ that I could enjoy ‘Smells Like Teen Spirit,’” Mulaney added. “It was scary at first. It just was like, ‘I’m pretty happy, I’m a kid.’ I needed a way in. And after you laugh at ‘Smells Like Nirvana,’ you go, ‘Oh, this is a really good song.’”

    This year’s Rock Hall inductees include the likes of The White Stripes, Outkast, Soundgarden, Bad Company, and Cyndi Lauper.

    The 2025 Rock & Roll Hall of Fame Induction will be live on Saturday, Nov. 8 at the Peacock Theater at L.A. Live in Los Angeles. The 2025 ceremony will once again stream live on Disney+, with a special airing on ABC at a later date and available on Hulu the next day.

    Continue Reading

  • The Temper Trap Unveil ‘Lucky Dimes,’ First New Single in Nine Years

    The Temper Trap Unveil ‘Lucky Dimes,’ First New Single in Nine Years

    Australian indie-rock outfit The Temper Trap have made a grand return, sharing “Lucky Dimes” as their first original single in nine years.

    Released on Thursday (Aug. 14), the new track is described as something of a step forward for the Melbourne quartet, with a heavier edge being made present thanks to frenetic guitarwork and thumping percussion.

    Paired with a video directed by Melbourne-based creative Joey Clough, the new single was crafted alongside Grammy-nominated producer Styalz Fuego, who has previously worked with the likes of Charli XCX and Troye Sivan.

    Explore

    See latest videos, charts and news

    “Good to know that 9 years after the last one, we still have something to say,” said vocalist and guitarist Dougy Mandagi. “It’s been an absolute pleasure creating this record and we can’t wait to share it with you, not to relive the past but to write the next chapter.”

    The Temper Trap first formed in Melbourne in 2005, signing to revered local stable Liberation Music the following year. The group’s debut single, 2008’s “Sweet Disposition,” was a minor hit on the indie scene, gaining prominence thanks to its use in the Marc Webb-directed 2009 film 500 Days of Summer.

    The song’s profile resulted in a No. 1 position on the Dance/Mix Show Airplay charts, a No. 3 showing on the Dance Club Songs, and a peak of No. 17 on the Hot Rock & Alternative Songs charts.

    Their debut album, 2009’s Conditions would reach the top ten in their native Australia, though 2012’s self-titled effort would become their first of two consecutive records to top the charts in Australia, while also generating a No. 83 placing on the Billboard 200.

    The group’s most recent album was 2016’s Thick as Thieves, which has been followed by a number of remixes in recent years, alongside a cover of The Church’s “Under the Milky Way” in 2023.

    In late July, “Sweet Disposition” also received newfound attention when it was voted into No. 11 on triple j’s Hottest 100 of Australian Songs countdown.

    Watch The Temper Trap’s “Lucky Dimes” below.

    Continue Reading

  • South Korean Supreme Court dismisses US composer’s ‘Baby Shark’ copyright claim

    South Korean Supreme Court dismisses US composer’s ‘Baby Shark’ copyright claim

    SEOUL, South Korea — South Korea’s Supreme Court rejected a 30 million won ($21,600) damage claim Thursday by an American composer who accused a South Korean kids content company of plagiarizing his version of “Baby Shark,” ending a six-year legal battle over the globally popular tune known for its catchy “doo doo doo doo doo doo” hook.

    The top court upheld lower court rulings dating back to 2021 and 2023 that found no sufficient grounds to conclude the company, Pinkfong, infringed on Jonathan Wright’s copyright.

    Wright, also known as Johnny Only, recorded his version in 2011, four years before Pinkfong’s, but both were based on a traditional melody popular for years at children’s summer camps in the United States.

    The courts ruled Wright’s version did not differ enough from the original melody to qualify as an original creative work eligible for copyright protection, and that Pinkfong’s song had clear differences from Wright’s.

    The Supreme Court said its ruling reaffirms the established legal principle on existing folk tunes as derivative work.

    “The Supreme Court accepts the lower court’s finding that the plaintiff’s song did not involve substantial modifications to the folk tune related to the case to the extent that it could be regarded, by common social standards, as a separate work,” it said in a statement.

    Pinkfong said in a statement to The Associated Press that the ruling confirmed its version of “Baby Shark” was based on a “traditional singalong chant” that was in the public domain. The company said it gave the tune a fresh twist by adding “an upbeat rhythm and catchy melody, turning it into the pop culture icon it is today.”

    Wright’s South Korean attorney did not immediately respond to requests for comment.

    Pinkfong’s Baby Shark became a global phenomenon after it was released on YouTube in 2015, with the original “Baby Shark Dance” video now exceeding 16 billion views and peaking at No. 32 on the Billboard Hot 100.

    Baby Shark remains a crucial product for Pinkfong, which earned 45.1 billion won ($32.6 million) in revenue in the first half of 2025, according to its regulatory filing. The company has turned the five-member shark family — Baby Shark, Mama Shark, Papa Shark, Grandma Shark, and Grandpa Shark — into TV and Netflix shows, movies, smartphone apps and globally touring musicals.

    Continue Reading

  • Ancient predators and giant amphibians found in African fossil treasure trove

    Ancient predators and giant amphibians found in African fossil treasure trove

    An international team of paleontologists has spent more than 15 years excavating and studying fossils from Africa to expand our understanding of the Permian, a period of Earth’s history that began 299 million years ago and ended 252 million years ago with our planet’s largest and most devastating mass extinction. Led by researchers at the University of Washington and the Field Museum of Natural History, the team is identifying the animals that thrived in southern Pangea — the planet’s single supercontinent at the time — just before the so-called “Great Dying” wiped out about 70% of terrestrial species, and an even larger fraction of marine ones.

    “This mass extinction was nothing short of a cataclysm for life on Earth, and changed the course of evolution,” said Christian Sidor, a UW professor of biology and curator of vertebrate paleontology at the UW Burke Museum of Natural History & Culture. “But we lack a comprehensive view of which species survived, which didn’t, and why. The fossils we have collected in Tanzania and Zambia will give us a more global perspective on this unprecedented period in our planet’s natural history.”

    Sidor and Kenneth Angielczyk, curator of paleomammalogy at the Field Museum, are co-editors of a 14-article series published Aug. 7 in the Journal of Vertebrate Paleontology featuring the team’s recent discoveries about the myriad of animals that made Permian Africa their home. These include saber-toothed predators, burrowing foragers and a large, salamander-like creature.

    All these finds were excavated in three basins across southern Africa: the Ruhuhu Basin in southern Tanzania, the Luangwa Basin in eastern Zambia and the Mid-Zambezi Basin in southern Zambia. Most were discovered by team members on multiple, month-long excavation trips to the region over the past 17 years. Others were analyses of specimens dug up decades prior that had been stored in museum collections.

    “These parts of Zambia and Tanzania contain absolutely beautiful fossils from the Permian,” said Sidor. “They are giving us an unprecedented view of life on land leading up to the mass extinction.”

    Starting in 2007, Sidor and his team, including UW students and postdoctoral researchers, made five trips to the Ruhuhu Basin and four to the Mid-Zambezi and Luangwa basins, all in cooperation with the Tanzanian and Zambian governments. The researchers trekked between field sites miles apart to collect fossils. They stayed in villages or camped in the open — once waking during the night to the ground-quaking stomps of a nearby elephant herd. All fossils collected by the team will be returned to Tanzania and Zambia after researchers have completed their analyses.

    The Permian is the endpoint of what paleontologists call the Paleozoic Era. During this time, animal life — which evolved first in Earth’s oceans — began to colonize land and complex terrestrial ecosystems developed. By the Permian, a diverse array of amphibian and reptile-like creatures roamed environments ranging from early forests to arid valleys. The end-Permian mass extinction — whose precise cause scientists are still debating — obliterated many of these ecosystems and ushered in the Mesozoic Era, which saw the evolution of dinosaurs, as well as the first birds, flowering plants and mammals.

    For decades, scientists’ best understanding of the Permian, the Great Dying and the start of the Mesozoic came from the Karoo Basin in South Africa, which contains a near-complete fossil record of periods before and after the mass extinction. But beginning in the 1930s, paleontologists realized that basins in Tanzania and Zambia contain fossil records of this time range that are almost as pristine as the Karoo’s. The excavation trips by Sidor, Angielczyk and their colleagues represent the largest analysis to date of the region’s fossil record from before and after the Great Dying. In 2018, they published a comprehensive analysis of the post-Permian animals of the Ruhuhu and Luangwa basins. These new papers look further back into the Permian.

    “The number of specimens we’ve found in Zambia and Tanzania is so high and their condition is so exquisite that we can make species-level comparisons to what paleontologists have found in South Africa,” said Sidor. “I know of no better place on Earth for getting sufficient detail of this time period to make such detailed conclusions and comparisons.”

    The team’s papers describe a number of new species of dicynodonts. These small, burrowing, reptile-like herbivores first evolved in the mid-Permian. By the time of the mass extinction, dicynodonts — many of whom sported a beak-like snout with two small tusks that likely aided burrowing — were the dominant plant-eaters on land. The team’s findings also include several new species of large, saber-toothed predators called gorgonopsians, as well as a new species of temnospondyl, a large salamander-like amphibian.

    “We can now compare two different geographic regions of Pangea and see what was going on both before and after the end-Permian mass extinction,” said Sidor. “We can really start to ask questions about who survived and who didn’t.”

    In addition to the UW and the Field Museum, the team includes scientists from the University of Chicago, Loyola University Chicago, Idaho State University, the National Museum of Natural History in Paris, Carleton University, the University of Southern California, the University of the Witwatersrand in South Africa, the Iziko South African Museum, Southern Methodist University, the North Carolina Museum of Natural Sciences, the Museum for Natural History in Berlin, the U.S. Geological Survey, the University of Oklahoma, the National Heritage Conservation Commission in Lusaka, Virginia Tech, and the Chipembele Wildlife Education Center in Mfume, Zambia. Seven of these scientists are former UW postdoctoral researchers, doctoral students or undergraduate students. The research was funded by the U.S. National Science Foundation and the National Geographic Society.

    Continue Reading