Mikel Arteta signs new long-term contract with Arsenal
Arteta, who took over as Arsenal manager in late 2019, expressed his pride in the new deal.
LONDON, ENGLAND - AUGUST 07: Mikel Arteta looks on during the pre-season friendly match between Arsenal and Bayer 04 Leverkusen at Emirates Stadium on August 07, 2024 in London, England. (Photo by Warren Little/Getty Images)
By EasternEyeSep 13, 2024
ARSENAL manager Mikel Arteta has signed a new long-term contract at the Emirates Stadium, as announced by the club on Thursday.
The 42-year-old Spaniard is reported to have agreed to a three-year deal, which the club says has been crucial in re-establishing Arsenal as a top contender in English and European football.
Arteta, who took over as Arsenal manager in late 2019, expressed his pride in the new deal.
"I feel extremely lucky to work every single day with good people and the ambition we have here," he said. "I feel very inspired, I feel challenged, I feel supported, and I want to do much more than what we've already done together."
Arsenal co-chairman Josh Kroenke welcomed the new deal, praising Arteta's leadership. "Mikel is a dynamic and passionate manager, who is relentless in the pursuit of excellence," he said. "He has a deep understanding of Arsenal's values, and since joining us as head coach, he has taken the team to another level in an Arsenal way."
Arteta, who had been an assistant coach under Pep Guardiola at Manchester City, took over from Unai Emery in December 2019.
He won the FA Cup in his first season, marking his first managerial silverware.
Arsenal have finished as Premier League runners-up to Manchester City for the past two seasons, coming close to winning the title last season but falling short on the final day.
Arteta's team currently sits fourth in the table, with two wins and a draw, and will face Tottenham in the north London derby on Sunday. They also begin their Champions League campaign next week against Atalanta.
Last month, Arteta downplayed concerns about his contract, stating that his focus had been on the transfer window.
"We are on it, and we will take care of that in the right moment," he said, dismissing links to Paris Saint-Germain and Barcelona. "I don't think anybody has to panic. I am in the place where I want to be and am really happy."
Arsenal bolstered their squad during the summer transfer window, adding players such as Raheem Sterling, Mikel Merino, and Riccardo Calafiori. Despite these additions, questions remain over their attacking options, with Kai Havertz's inconsistency raising concerns.
However, Arsenal sporting director Edu expressed confidence in Arteta's leadership. "Mikel has shown his qualities since the very first day he joined us, not only as a football manager but as a person with wonderful values," Edu said. "Mikel's new contract gives us stability and clear direction as we aim for new heights."
Beyoncé stopped her Houston Cowboy Carter show after her suspended Cadillac prop tilted dangerously.
The singer was performing 16 Carriages mid-air when she yelled, “Stop! Stop!” to halt the show.
She was safely lowered to the stage and told fans, “If ever I fall, I know y’all will catch me.”
Parkwood Entertainment confirmed a technical mishap but said the show resumed without injuries.
Beyoncé stopped her Cowboy Carter tour performance in Houston after a mid-air prop began to tilt precariously during the penultimate song. The singer, perched in a suspended red Cadillac high above the crowd, abruptly cut the song 16 Carriages short when the vehicle began to slant.
The dramatic moment unfolded on Saturday night at NRG Stadium, where Beyoncé was performing a sold-out hometown show. The car, typically used as a soaring stage prop, began to tip sideways as she sang, prompting her to clutch a pole for stability and shout, “Stop! Stop, stop, stop!”
Fans gasped as the vehicle leaned further mid-song. Video clips posted online show Beyoncé remaining composed before being slowly lowered to the ground. Once safely back on stage, she smiled at the crowd and said, “If ever I fall, I know y’all will catch me.”
Beyoncé halts Cowboy Carter show after flying car nearly tips over crowd in HoustonGetty Images
Beyoncé’s production company, Parkwood Entertainment, later confirmed the incident was due to a “technical mishap” with the cables holding the Cadillac. “She was quickly lowered, and no one was injured,” the statement read. “The show continued without incident.”
This isn’t the first time Beyoncé has experienced prop malfunctions during a live show. Earlier this year, a robot bartender missed pouring her drink on cue, and during her 2018 On The Run II tour, a broken platform forced her to climb down a ladder while wearing heels.
Beyoncé fans react as ‘Queen B’ keeps cool mid-crisis
Fans quickly took to social media with reactions ranging from concern to humour, many quoting her old on-stage catchphrase: “Somebody’s getting fired.” Others expressed admiration for how calmly she handled the situation, finishing the concert without missing a beat.
The Houston show marked the 23rd stop on Beyoncé’s Cowboy Carter tour, which ends in Las Vegas next month. The three-hour spectacle, featuring country-infused ballads, fan favourites, and her daughters Blue Ivy and Rumi, continues to smash venue records worldwide.
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THE theme of the Royal Academy’s Summer Exhibition 2025 is “dialogues”, prompting the question: can art help bring together the people of India and Pakistan? Or, indeed, Israel and Iran – or Israel and Palestine?
It so happens that the coordinator of this year’s Summer Exhibition is the internationally celebrated artist and Royal Academician Farshid Moussavi, who is of Iranian origin.
She said: “The Royal Academy Summer Exhibition 2025 is dedicated to art’s capacity to forge dialogues and to nurture sensitivity towards societal concerns, such as ecology, survival and living together. These dialogues can be between people of different races, genders or cultures; between humans, other species and the planet; or across disciplines – art, science, politics, for example.
” In an interview with Eastern Eye, Moussavi stressed that art exhibitions alone cannot solve political problems.
But, she added: “Art exhibitions are about developing sensibilities and giving people the opportunity to see things differently – different from how they are presented, perhaps, in the media, on social media and general media.
“That’s all we can do. There is so much more that unites us than divides us.”
Asked whether art could help temper the anti-immigrant sentiment being stirred by some politicians in the UK, she replied: “The reason why I set the theme of dialogue is to encourage and nurture compassion and understanding. Yes, there is a lot of anti-immigrant [sentiment] – and it’s not just the UK, by the way, it’s everywhere.”
“Sometimes I feel that part of the negative feeling stems from simple ignorance – from not knowing or understanding each other. When you do not understand someone, you become afraid, or you see them as a threat. The more we come together – perhaps by going to exhibitions together, sitting around the table – the more we realise we can cohabit the world while being different. But we need to respect each other.”
The Story Teller by Ley Roberts
In his remarks at the opening of the 257th Summer Exhibition, Andrew Tarsia, director of exhibitions at the RA, said: “It has been held every year without interruption since it was first inaugurated in 1769. The theme of this year’s exhibition is dialogues – a theme which Farshid and the [hanging] committee have explored through more than 1,700 works displayed in the galleries. “Something that really marks this edition is the thoughtfulness with which the theme has been explored – through specific combinations of works that have been carefully curated, selected and hung across the galleries.”
He said Moussavi had worked with other members of the hanging committee, including “Tom Emerson and Stephanie Macdonald of 6a Architects, Vanessa Jackson, Christopher Le Brun, Helen Sear, Caragh Thuring and Richard Wilson. And, of course, the committee was chaired by the president of the Royal Academy, Rebecca Salter.”
This year, there has been a particular focus on architecture.
Tarsia was followed by Moussavi, who said that being the coordinator had given her “a wonderful opportunity to test art, and I’m including architecture as part of that capacity to forge dialogue between people, ideas and things.
Summer Exhibition coordinator Farshid Moussavi, with Royal Academy director of exhibitions Andrea Tarsia in the background
“We live at a time of unprecedented polarity, whether cultural, social or political. Since the world out there is focused on those polarities, here we have the opportunity to dwell on what is common to us.”
She was trying to “find conversations between artworks or within artworks as a way to inspire us to come together and address the many problems we face, which arise from multiple spheres.
“In order to address them, we need to think across things, rather than treat them in isolation. The first such separation we have tried to address is that between architecture and art at the Summer Exhibition. You will notice there is no dedicated architecture room – instead, architecture is treated as art and displayed throughout the galleries.” She added: “Pairing art and architecture has definitely been a theme.”
An installation by Ryan Gander
She referred to the large inflatable balls designed by Ryan Gander, with questions inscribed on them such as, “How much is a lot?” and “When do you know you’re right?”
The RA said: “A playful, large-scale installation by Gander is on display in the Annenberg Courtyard. Featuring five three-metre-diameter inflatable balls inscribed with questions developed with children, the work represents the inquisitiveness of kids, who ask what grown-ups often dismiss as nonsensical or illogical.”
“Raising questions is the start of addressing our problems,” commented Moussavi. “You will notice his inflatable balls in the courtyard and one inside the gallery. They confront us with questions raised by children, but which are very difficult to answer. They make us think. They make us reflect.”
A sectional model of DY Patil University Centre of Excellence, Mumbai, by Spencer de Grey
One ball inside the building had blocked the usual route taken by visitors to the Summer Exhibition. This was deliberate, forcing them to choose between two routes instead of three.
“Some people apparently take the [exhibition] book and go through the numbers,” she quipped. “I do not do that. I go with what I feel like.”
She referred to a building in Ukraine that had been painted by Jock McFadyen: “For an architect, the elevation or façade of a building is like working on a canvas. We see these kinds of dialogues. We have also discovered other themes. The open submissions come in, and we begin to identify issues that seem to be on the minds of artists and architects. One recurring theme is reuse.
“I can point you to an area where artists are working with found materials. There is an existing building that has been transformed or repurposed for a different use, and you can see the old ceiling and the new ceiling side by side. We can take what already exists – perhaps something lifeless or no longer useful – and transform it, give it a new life.
” Committee members Tom Emerson and Stephanie Macdonald of 6a Architects “have, in response to the theme, invited architectural submissions that explore how architecture can bring society together and reconnect with nature and its entangled global past and present”.
On display is work by a number of architects, including London-based Arinjoy Sen. “His work and interests have an acute focus on contested landscapes, citizenship, migration, narrative and spatial justice,” his studio said. “Sen brings a contemporary take on narrative painting, specifically evoking traditional forms such as Mughal miniatures, Kalighat paintings and pattachitra. He revisits the idea of the ritual through and beyond its association with religion.
Rituals and Identity and Theatre of Resistance by Arinjoy Sen
“Sen uses the digital medium combined with traditional craft practices like kantha embroidery and carpet weaving.”
In addition to the large number of public submissions, Royal Academicians exhibiting work include Rana Begum, Frank Bowling, Grayson Perry, Lubaina Himid, Cornelia Parker, Veronica Ryan, Conrad Shawcross, Yinka Shonibare and Rose Wylie.
Suspended works are a recurring theme throughout the exhibition; hanging above visitors in the largest gallery is an installation of textile carcasses by Argentine American artist Tamara Kostianovsky. Other invited artists this year include Lucy and Jorge Orta, Hussein Chalayan, Anya Gallaccio and John Walker.
n The Summer Exhibition is currently open to the public at the Royal Academy of Arts and will run until August 17, 2025
With sharp wit, emotional honesty and a knack for turning personal crises into punchlines, Indian comedian Prashasti Singh is set to make her Edinburgh Fringe debut this August with her acclaimed stand-up show, Divine Feminine. Before taking on the world’s biggest arts festival, she will offer London audiences a sneak peek with previews at Soho Theatre from 23 to 26 July.
Prashasti, known globally for her appearances on Netflix’s Ladies Up, Comedy Premium League and Amazon Prime’s Comicstaan, uses this deeply personal new show to unpack the consequences of chasing a dream that might not have been hers to begin with. Raised in a patriarchal family, she once aspired to become a patriarch herself. Now, inching towards 40 and pretending to be 30, she wonders – was it all worth it?
A blend of silliness, angst, cultural insight and raw emotional truth, Divine Feminine is the Indian funny girl’s boldest, most introspective work yet. As she prepares for Edinburgh, she opens up about the journey, nerves and joy of revealing just a little too much on stage.
How do you reflect on your action-packed comedy journey so far?
Oh, it has been great! A lot of luck and of course some challenges. I stumbled upon stand-up at the verge of 30 while still at my marketing job. The stars aligned in a way that it became my profession before it truly became my passion. The initial years were mostly about getting on stage as much as possible and delivering what was expected of me. I think in the last couple of years, I have finally understood myself as an artist and performer, and with this show, I am at last finding my voice.
How much does the success of Divine Feminine mean to you? I have travelled with this show across India, Europe and Australia and have been overwhelmed by the love it has received. The Hindi version is 1.5 hours long and performing it has given me immense confidence and security as an artist. That is also why I wanted to break out of my comfort zone and write a version of the show in English to reach a more global audience. The process has been very enriching, and I am very curious to see how a more diverse audience will respond.
How much are you looking forward to taking the show to this year’s Edinburgh Fringe? Very, very excited. I have visited the festival a couple of times before and have always wondered how it would feel to be a performer at such a big and vibrant festival. This year I will get to experience that.
What can audiences expect from your show? Some very silly, some very angsty jokes, some cultural, some human insights and a lot of emotional truth.
Do you ever feel like you are revealing too much about yourself on stage? I do feel that I reveal a lot about myself, but I do not think it is a problem. I feel whatever inside me is finding expression in humour is no longer raw or volatile. It has been processed enough internally that I am able to laugh at it, and hence feel safe putting it out in front of people.
How do you feel when you are on stage in front of a live audience? It is always the best part of my day. I feel very good.
Does being at a festival like Edinburgh, with thousands of acts, put pressure on you or motivate you? I think it does both. I have seen some mind-blowing shows at the Fringe in past years, so I want my show to be a respectful offering in this amazing buffet. At the same time, the Fringe is a place where artists and audiences are most open to experiments. So I feel motivated to try new things and take some risks that I would otherwise shy away from.
What is the comedy master plan going forward? There is no master plan. I am working on a very simple philosophy – do work that I enjoy and people enjoy, and then find ways to grow that work and the number of people who enjoy it.
What inspires you creatively? Great work by other artists. The drive for excellence. People who are brave enough to put out their original, twisted thoughts in front of others. That is why being at the Fringe is so exciting.
Who is your comedy hero? Oh, this is a long list. So many people have done such great work before me. It is really very difficult to name just one.
Who is the funniest person you know in real life? One aunt of mine who has had a fairly tough life. She reminds me that humour is a great life skill beyond the stage.
Has being funny ever got you out of trouble? Absolutely never.
Why should we all come and watch Divine Feminine at the Edinburgh Fringe? See, if you have come this far, you are already hooked. Also, if you have ever thought that you could be losing your sanity or femininity, if you have ever felt old or joyless or lonely or not perfect in any way – the show is for you. It is funny, insightful and fairly honest. I am looking forward to seeing you all at the Fringe.
The former PM of India, Indira Gandhi, declared a state of emergency in 1975. In London, the newly formed Friends of India Society was organising protests and campaigning for the restoration of democracy. On Saturday, 24 April 1976, an international conference was held at Alexandra Palace.
Shiva Naipaul, the famous Trinidadian writer of Indian origin, wrote the following article in The London Times newspaper. Here is a brief summary of what he wrote:
A Philosophical Threat to Mrs Gandhi’s Political Power
The event was a well-organised affair. Each centre of Indian settlement in this country—Coventry, Bradford, Leicester and Southall—supplied a delegation. In addition, there were overseas delegates from a dozen countries, including solitary representatives from Venezuela and Hong Kong. On the other hand, the strength and quality of its (Friends of India’s) democratic convictions remain an altogether more debatable proposition.
"Take the delegate from Croydon. (That is me!) He was a young man dressed in traditional style—white pyjama trousers and white kurta. Surveying his fellow delegates from the rostrum, he exuded fearless conviction. Ever since the granting of independence, he observed, relentless efforts had been made to suppress the Hindu view of life. His voice rose as he warmed to his theme. 'All the history books will tell you that Alexander the Great defeated Porus. But it was the other way round. It was Porus who defeated Alexander. Through the distortions of so-called history, a sense of defeatism has been instilled in the Indian people.' It was a speech devoid of logical coherence (!). But the applause was loud and passionate."
Shiva Naipaul concluded the article by saying that with this type of opposition, Indira Gandhi had nothing to worry about in terms of power politics.
Well, history has proved Shiva wrong. India has become a mature democracy, a role model to most countries in the world, and a world economic and cultural power. Shiva himself acknowledged that India had proved him wrong.
P.S. On one occasion, on a bitterly cold winter morning, we demonstrated outside the Indian High Commission. We decided to go for a coffee and left our banners on the corner of a nearby shop. When we came back, the banners were gone. To coordinate a united opposition to the Emergency, Jayantibhai Patel held discussions with the Communist Party of India, London chapter. They would open the discussion with a quotation from a book of Marx or Mao! Jayantibhai told me that sometimes in later years, he would bump into them at grocery shops.
(Nitin Mehta is a writer and commentator on Indian culture and philosophy. He has contributed extensively to discussions on Hinduism, spirituality, and the role of Gurus in modern society. You can find more of his work at www.nitinmehta.co.uk.)
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Keir Starmer speaks to members of the media during a visit to RAF Valley, on Anglesey in north-west Wales, on June 27, 2025. PAUL CURRIE/Pool via REUTERS
PRIME MINISTER Keir Starmer and Glastonbury organisers said on Sunday (29) they were appalled by on-stage chanting against the Israeli military during a performance at the festival by Punk-rap duo Bob Vylan.
During their show on Saturday (28), the duo chanted "Death, death, to the IDF" in reference to the Israel Defense Forces, the formal name of the Israeli military.
Police said they were considering whether to launch an investigation, but did not name Bob Vylan or Irish rap band Kneecap, who appeared on the same stage and also criticised Israel.
"Video evidence will be assessed by officers to determine whether any offences may have been committed that would require a criminal investigation," Avon and Somerset Police, in western England where the festival is held, said on X late on Saturday.
"There is no excuse for this kind of appalling hate speech," Starmer said in a statement. "I said that Kneecap should not be given a platform and that goes for any other performers making threats or inciting violence."
The festival organisers criticised the chanting by Bob Vylan, which comprises the guitarist-singer with the stage name Bobby Vylan and a drummer known as Bobbie Vylan.
"Their chants very much crossed a line and we are urgently reminding everyone involved in the production of the festival that there is no place at Glastonbury for antisemitism, hate speech or incitement to violence," it said on Sunday.
The Israeli Embassy in Britain condemned the "inflammatory and hateful rhetoric expressed" on stage.
Bob Vylan's band members did not respond to a request for comment.
Starmer also criticised the BBC, which transmits much of the festival live, for showing the performance. "The BBC needs to explain how these scenes came to be broadcast," he said.
The BBC said some of the comments made during Bob Vylan's set were deeply offensive.
"During this live stream on iPlayer, which reflected what was happening on stage, a warning was issued on screen about the very strong and discriminatory language," a spokesperson said.
"We have no plans to make the performance available on demand."
Bob Vylan's show on the festival's West Holts stage took place just before controversial Irish rap trio Kneecap played to a huge crowd, leading chants against Starmer and also taking aim at Israel.
During the show, frontman Liam Óg Ó hAnnaidh accused Israel of committing war crimes, saying: "There's no hiding it."
Known by the stage name Mo Chara, he was charged with a terrorism offence last month for allegedly displaying a flag in support of Iranian-backed militant group Hezbollah at a concert. He has denied the charge.
Starmer had said it was ""not appropriate" for Kneecap to play at the festival.
A senior member of his government, health secretary Wes Streeting, earlier on Sunday criticised the chants by Bob Vylan but added that he was also appalled by violence committed by Israeli settlers in the occupied West Bank.
"I'd also say to the Israeli Embassy, get your own house in order in terms of the conduct of your own citizens and the settlers in the West Bank," Streeting told Sky News.
Political commentator Ash Sarkar said it was typical of punk musicians to spark controversy.
"Don't book punk bands if you don't want them to do punk stuff," said Sarkar, a contributing editor to Novara Media, a leftist media organisation.