Club also interested in Silva, Glasner and Filipe Luís
Alonso undecided on future after leaving Real Madrid
Chelsea have held encouraging discussions over a move for Xabi Alonso but are keeping their options open and are closely monitoring Andoni Iraola’s situation.
The west London club are looking for a permanent head coach and it is understood that Alonso and Iraola have emerged as the top picks for the role. Other managers are still under consideration, though, and Chelsea are not expected to rush a final decision on who to appoint.
Howard Webb has commended the process that led to West Ham’s equaliser against Arsenal on Sunday being overturned, describing Pablo’s foul on the goalkeeper David Raya as “clear and obvious”.
In what has been described as the most consequential decision in VAR history, the referee Chris Kavanagh chose to rule out Callum Wilson’s late goal at the London Stadium, handing Arsenal an advantage in the title race. While Webb, the chief officer of Professional Game Match Officials (PGMO), did not blame the official for missing the initial incident he argued it was inevitable that VAR “would have to get involved”.
Donderdag en vrijdag is in de binnenstad van Nijmegen het Novio Magica fantasyfestival. Ook filmhuis Lux doet mee, en laat voor de gelegenheid een aantal klassiekers uit het fantasygenre zien. Waaronder Labyrinth, met een glansrol van David Bowie als de goblinkoning. Underground werd door Bowie geschreven voor de soundtrack.
Since Reporters Without Borders started tracking their World Press Freedom Index 25 years ago, the global rating has never been lower than the 2026 score. From a summary of their analysis:
For the first time in the history of the Reporters Without Borders (RSF) World Press Freedom Index, over half of the world’s countries now fall into the “difficult” or “very serious” categories for press freedom. In 25 years, the average score of all 180 countries and territories surveyed in the Index has never been so low. Since 2001, the expansion of increasingly restrictive legal arsenals — particularly those linked to national security policies — has been steadily eroding the right to information, even in democratic countries. The Index’s legal indicator has declined the most over the past year, a clear sign that journalism is increasingly criminalised worldwide. In the Americas, the situation has evolved significantly, with the United States dropping seven places and several Latin American countries sliding deeper into a spiral of violence and repression.
The United States ranks 64th out of 180 countries, a pathetic showing for a country that claims to value the First Amendment:
US President Donald Trump has turned his repeated attacks on the press and journalists into a systematic policy, pushing the US down to 64th place (-7). The detention of Salvadoran journalist Mario Guevara, who was later deported, has contributed to the deterioration of an already tense security environment marked by police violence. The drastic cuts to the US Agency for Global Media (USAGM) workforce had global repercussions, leading to the closure, suspension and downsizing of international broadcasters such as Voice of America (VOA), Radio Free Europe/Radio Liberty (RFE/RL) and Radio Free Asia (RFA) in countries where they were some of the last reliable sources of information.
Some other takeaways from the 2026 report:
Post-Assad Syria has seen the biggest improvement in press freedom of all the countries and territories in the 2026 Index, climbing 36 places in the ranking.
In 2002, 20% of the global population lived in a country where the state of press freedom was categorised as “good.” Twenty-five years later, less than 1% of the world’s population lives in a country that falls under this category.
In some countries, the information space has shrunk over the past 25 years due to political changes and increasingly draconian regimes. This has notably been the case in Hong Kong (140th, -122) since Beijing tightened its control on the territory; in El Salvador (143rd), which dropped 105 places since 2014 and the start of the war on maras, or “gangs”; and in Georgia (135th), which has dropped 75 places as the crackdown on the press has intensified in recent years.
Twenty-five years after the attacks of 11 September 2001 in the United States, expanding the scope of defence secrets and national security has become a means to prohibit coverage of issues of public interest in many countries. This trend, which is particularly prevalent in authoritarian regimes, has also gained traction in democracies and typically goes hand in hand with abusive applications of the law against journalists, notably in the name of combatting terrorism.
Throughout her illustrious 32-year career, Pacita Abad (1946-2004) traveled to more than 60 countries. Myriad experiences ultimately introduced her to a wide range of techniques, materials, and relationships, shaping the artist’s practice over time. Movement provided an enduring source of new ideas and inspiration, and as she put it, “For me, traveling is my art school.”
In the spring of 1998, Abad visited Yemen. At the time, the country was still in recovery following the Yemeni Civil War, which took place four years prior. Grounded in her rigorous political engagement and the instabilities experienced in her native Philippines, Abad reflected on the immutable significance of cultural practices and their value despite periods of upheaval.
“Door made of straw III” (1998), oil, acrylic, painted and dyed canvas, painted cloth stitched on canvas, 85 x 56 1/4 inches
“Rather than positioning herself within a nameable lineage of artistic influences who moved in conventional gallery spaces,” Tina Kim Gallery notes, “Abad instead favored the inheritance of historically anonymous workers in craft, textiles, and the decorative arts, from locations outside of established Western institutional and market infrastructure.” This quote appears in a statement for the New York gallery’s third solo exhibition of Abad’s works, titled Door to Life.
The presentation highlights a body of work Abad completed in subsequent years, which takes inspiration from Yemen’s vibrant, ornate displays of architecture and decoration. One particular focus was doors, which the gallery refers to as “portals.” Through countless photographs and numerous sketches of doorways she encountered on excursions, Abad created a prolific visual archive to take home and use as reference, adding “Everyday a new idea, everyday a new door.”
Installation view of “Pacita Abad: Door to Life”
Crafted in her signature trapunto style, Abad’s vertical, rectangular compositions layer meaning, memories, and material. Painted and appliquéd geometric patterns on canvas call to decorative elements found in traditional Yemeni architecture, like tessellations and botanical motifs.
The artist’s series of never-before-seen qamariya paintings are evocative of the semicircular glass windows common in Sanaa, the nation’s capital—another key element of Yemen’s time-honored artisan practices. The Arabic term qamariya translates to “moon-like” or “of the moon,” echoing the glass structures’ half-moon shape and dynamic ability to transmit light.
Door to Life continues through June 20 at Tina Kim Gallery in New York. You can also flip through more works, which were previously compiled into a small publication that supplemented Abad’s initial Door to Life exhibition in 1999.
“Door made of straw I” (1998), oil, acrylic, printed cloth, dyed canvas stitched on straw mat, 89 x 53 1/8 inchesDetail of “White Heightens the Awareness of the Senses” (1998)“I Am By The Door in a Second” (1999), oil, painted cotton collaged and stitched on canvas, 61 1/2 x 38 1/8 inches“White Heightens the Awareness of the Senses” (1998), oil, acrylic, oil pastel, dyed cotton, painted canvas, painted cloth stitched on canvas, 84 x 63 inchesInstallation view of “Pacita Abad: Door to Life”“Beside You” (2001), oil and painted canvas stitched on canvas, 18 1/2 x 18 1/2 x 2 inches framed“Stained glass door in Sanaa” (1998), oil, printed cloth, painted canvas stitched on canvas 83 x 61 3/4 x 1 1/4 inches“Rainbow door” (1998), oil, painted printed cloth stitched on canvas, 82 1/4 x 58 1/2 x 1 1/4 inches“Gray Border” (2001), oil and painted canvas stitched on canvas, 18 1/2 x 18 1/2 x 2 inches framed“Door Connects Me to the Greatest Happiness I Have” (1999), oil, painted cloth, buttons stitched on padded canvas, 59 3/4 x 38 5/8 inchesQamariya Window (series) (2000), oil on paper, dimensions variableDetail of “Door made of straw III” (1998)Pacita Abad with “Door to Life” paintings in Jakarta (1999). Courtesy of the Pacita Abad Art EstatePacita Abad with “Door to Life” paintings in Jakarta (1999). Courtesy of the Pacita Abad Art Estate
The FCC has softened its ban on foreign-made consumer routers, allowing vendors to keep issuing broader software and firmware updates for devices already in use in the U.S. through at least January 2029. Dark Reading reports: Under the original FCC ruling, foreign manufacturers were permitted to provide only limited maintenance and security patches to US customers through March 2027. In a public note (PDF) on May 8, the FCC extended that deadline to at least January 2029 and also expanded the scope of permissible updates. The FCC will now allow foreign manufacturers to provide not just minor security fixes and changes, but also more major software and firmware updates that could affect router functionality, which previously required additional FCC review. The agency described the revisions as intended to ensure the continued safety of already deployed foreign-made consumer routers in the US. "The FCC likely issued this revision in response to the operational realities of network security and the slow pace of equipment replacement," says Jason Soroko, senior fellow at Sectigo. "Replacing millions of embedded devices across national infrastructure requires immense time and capital, and abandoning existing systems to a completely unpatched state would create an immediate vulnerability."
"This waiver significantly alleviates the most pressing fears tied to the initial ban by preventing a sudden and dangerous security vacuum," added Soroko.
"Like a flea on an elephant's back": The unexpected rise of solar power. Solar power is forecast to overtake coal as the world's biggest source of electricity next year, and its growth shows no signs of slowing down. Behind its success is a little-known Australian inventor, Martin Green.
Bij de AVROTROS denken ze dat het Songfestival draait om de AVROTROS. Maar het Songfestival draait helemaal niet om de AVROTROS, het Songfestival draait om 35 gays die een liedje zingen waarbij het extra leuk is als er ook een Nederlandse gay een liedje zingt, want dan hebben we wat te juichen / uit te lachen. Omdat die ruggengraatloze meekletsers van de AVROTROS zich in een hoekje hebben laten groepsdrukken door Jodenhaters, tonpraters en Hamas-liefhebbers op de eerste rij van de Rode Lijn doet er dit jaar geen Nederlandse inzending mee aan het Songfestival. AVROTROS-directeur Taco Zimmerman weet namelijk precies hoe het is om als de enige vrije democratie in het Midden-Oosten met daarbij bijvoorbeeld ook brede wettelijke bescherming en erkenning van homostellen voortdurend raketten op je kop te krijgen van door politieke islam vergiftigde schurkenstaten en door haatland Iran gesponsorde jihadistenbewegingen, waardoor jong en oud al tientallen jaren om de haverklap naar schuilkelders moet rennen, terwijl ze continu op hun hoede moeten zijn voor bomaanslagen en mesaanvallen, eigenlijk alleen maar omdat ze, tsja, Joden zijn. En zo oordeelde de AVROTROS met een schijnheilig statement over een land dat op 7 oktober 2023 in de diepste existentiële crisis sinds 1939-1945 werd getorpedeerd met een brute slacht-, moord- en verkrachtpartij van krankzinnige proporties, gepleegd door ideologisch ontspoorde baardhazen die 'we' hier nog zouden doodknuffelen als arme jongens, mochten we de kans krijgen.
De AVROTROS is simpelweg gezwicht voor de hardste schreeuwers, precies zoals heel veel van die Rode Lijners geen flauw idee hadden wat ze nou precies daar in het centrum van Amsterdam deden. Ze lieten zich opnaaien door Bloempot en Vlinder en andere hippe vogels uit Amsterdam-Noord die tijdens de wandeltocht vooral heel druk waren de thuisblijvers via Instagram te verwittigen van het feit dat ZIJ tegen oorlog zijn - in ruil voor een paar likes natuurlijk. Zelfs Ingmar mocht mee. 'Wij zijn tegen oorlog en tegen leed!' En hup, daar gingen ze, natuurwijntje in de hand & achter Oxfam Novib aan, bekend van het organiseren van uitjes met de terreurverheerlijkende Hamas-financier Abou Eenarm en bekend van het organiseren van avondjes met aartsnare Zwarte Magica's die de treinen liever vandaag dan morgen opnieuw naar het oosten laten kachelen. Hup, achter Hamas-grientrien Esther van der Most aan, bekend van het 'goede doel' Plant een Olijfboom, maar vooral bekend als een op het randje van krankzinnigheid balancerende Hamas-bewonderaar die voortdurend met hele en halve terroristen van Samidoun in bed ligt. Zo iemand die het uit haar bek kreeg de daders van de brute slachtpartij op het Nova Festival te omschrijven als 'Palestijnse parachutehelden'. En in die ranzige kringen ook de sulletjes van de AVROTROS, public broadcaster from The Netherlands.
Waar die paar andere landen die niet naar het Songfestival gaan daar nog redenen voor hebben (eigen ervaring met bezetting of strijd voor zelfbeschikking, linkse politieke traditie, kleine/geen Joodse gemeenschap, enz.), dacht de AVROTROS moreel popiejopie te kunnen spelen en de rest daarmee op de bandwagon te krijgen. Nou, missie mislukt. En nu blijkt dat we wel echt gezien worden als het lulletje rozenwater van Europa, met wijdverbreid en mede door de AVROTROS en andere grachtengordelprogressieven aangewakkerd salon- en natuurwijnantisemitisme in ons land (waardoor een oud-Songfestival-winnaar zelfs moet VLUCHTEN uit Nederland), sturen we als enige boycotland dus geen deelnemer, maar wél een delegatie. En zo polderen we onszelf weer van A naar B, van Auschwitz naar Birkenau, en zijn we alleen maar verder van huis. De NPO is zogenaamd de plek voor ons allemaal, het is alleen niet (meer) de plek voor mensen die een broertje dood hebben aan polarisatie, Jodenhaat en moreel boompjeschudden van een eng clubje als de AVROTROS. Zonde van het LIVEBLOG, maar wij kijken dit jaar een keertje niet.
In tegenstelling tot AVROTROS krijgt GeenStijl geen gratis geld - word donateur
