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중도 성향
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Remarkable Tongue is England's premier bowler - Agnew
Gus Atkinson and Ollie Robinson showed their skills in victory over New Zealand, but Josh Tongue is now England's premier Test bowler, writes Jonathan Agnew.
"TONGUE" · 총 18건
필터 보기현재 지수
50.3
0 = 부정 우세
50 = 중립
100 = 긍정 우세
최근 7일 기준 88,160건을 분석한 결과, 뉴스 심리지수는 50.3(균형)입니다. 긍정 4,426건(5.0%)·중립 81,667건(92.6%)·부정 2,067건(2.3%)이며, 중립 비중이 뚜렷하게 높습니다. 성향 지수는 종합 15.0(중도 균형)입니다.
Gus Atkinson and Ollie Robinson showed their skills in victory over New Zealand, but Josh Tongue is now England's premier Test bowler, writes Jonathan Agnew.
Josh Tongue makes an early breakthrough on day four for England as he traps New Zealand's Tom Blundell lbw for four on day four of the first Test at Lord's, with the tourists 58-6, chasing 254 to win.
By Benjamin Njoku The organizing committee of the African Indigenous Language Film Festival has announced a new theme for its third edition. “Threads of Culture: Weaving Inclusion Through Filmmaking” has been replaced with “Digital Bridges, Ancestral Voices: Reclaiming African Screens with Indigenous Tongues.” The committee said the change followed a strategic review of the festival’s […] The post AILFF 2026 unveils new theme to Shape the future of indigenous-language cinema appeared first on Vanguard News.
“The Pitt’s” department head makeup artist Myriam Arougheti knew that after the success of the show’s first season, she would have to step things up a notch for season 2. The first season featured heart attacks, third-degree burns and an emergency thoracotomy. For Season 2, the challenge was to push boundaries and elevate the drama […]
RJ Abarrientos redeems himself from a couple of defensive lapses as he hits two gutsy four-pointers inside the final two minutes to propel Barangay Ginebra to a classic Game 1 win over TNT in the PBA Commissioner's Cup finals
AP Deputy Speaker K. Raghu Ramakrishna Raju condemns a threat by some Telangana leaders against Pawan Kalyan and says a democracy has no place for threatening politics
Consumer group makes ‘super’ complaint to ACCC after investigation found dangerous items on platforms such as eBay, Amazon and AliExpress Get our breaking news email, free app or daily news podcast Cigarette lighters that look like toys, gel blasters, flick knives and fake tongue studs are among the “frightening” number of unsafe and potentially banned products being sold to Australians on online marketplaces, a Choice investigation has found. After identifying the products, Choice on Wednesday formally asked the Australian Competition and Consumer Commission (ACCC) to take action against the retailers and begin a review of the country’s product safety laws more generally. Continue reading...
The school curriculum in Thailand will be revised to focus more on the Thai language, civic education and Thai history, with increased mother-tongue support for Thai students in international schools as well.
All pace bowlers have a specific role in a pace attack, so how will Ollie Robinson, Gus Atkinson and Josh Tongue combine? Steven Finn takes a look in his latest BBC Sport column.
WHAT if, one fine morning, a call is extended — “Cockroaches of the world unite!” And suddenly millions of pointless, lazy little creatures swarm out from their ugly dens — from behind boxes, from under beds, from the dark corners of old cupboards? Lazy, yet resilient, cockroaches refused to evolve for the last 150 million years. All they have done is survive and breed. You chase them away with a broom, smash them with sandals, spray them with “Hit,” and still they return. When filth piles up, cockroaches are bound to appear. “What if all cockroaches come together?” — this was the exact question asked by 30-year-old Abhijit Dipke after Justice Surya Kant, the Honourable Chief Justice of India, compared India’s unemployed youth to “cockroaches” during a hearing on May 15. Within 24 hours, Dipke launched a website and social media handles on X and Instagram under the name Cockroach Janata Party (CJP). The name itself mocks the ruling party at the Centre. Then there is the logo: a cockroach sitting on a smartphone with full internet connectivity — reflecting the Chief Justice’s further accusation that professionally worthless youngsters turn into media or social media activists and attack everyone. But does a cockroach really attack anyone? Its clumsy wing-flutters may create a nuisance, and its flat existence may carry messages for future propagation. It troubles, certainly, but rarely harms. Outcome of a systematic betrayal The Cockroach Janata Party expects its members to meet certain standards. Gender, caste, or religion do not matter. Interested individuals are encouraged to conduct an eligibility self-check to ensure that they are effectively unemployed, physically lazy, chronically online, and capable of ranting professionally. These criteria perfectly echo how Indian society increasingly views Gen-Z. Justice Surya Kant’s remark, his later clarification notwithstanding, was not merely a personal slip of tongue. It reflected the broader mindset of India’s comfortable middle class, which does not endure the chronic financial and professional stress that the country’s youth face. Gen Z, or those born between 1997 and 2012, now constitutes more than a quarter of India’s population. Yet nearly 40pc of young graduates remain unemployed, according to the State of Working India 2026 report by Azim Premji University —only around 7pc secure permanent salaried employment within a year of graduation. The CJP’s manifesto contains five demands: no Chief Justice should receive a Rajya Sabha seat after retirement; the Chief Election Commissioner should face UAPA charges if legitimate votes are deleted; 50pc of cabinet positions should be reserved for women; media houses owned by Adani and Ambani should lose their licenses; and any MLA or MP defecting from one party to another should be barred from contesting elections or holding public office for twenty years. Rallies, slogans, and street-corner speeches no longer engage educated youth the way they once did. Instead, youngsters express their political consciousness through satire, memes, parody, and comedy reels. The party also demanded the resignation of the Union Education Minister following the recent cancellation of the 2026 NEET examination due to a question paper leak. The demands primarily target corruption and institutional decay, which easily makes one recall the 2011 anti-corruption movement — popularly known as the Anna Andolan — which sought to address political corruption through the Jan Lokpal Bill. That non-partisan civil movement eventually gave birth to Arvind Kejriwal’s Aam Aadmi Party while simultaneously strengthening the BJP’s anti-Congress narrative before the 2014 general election. Could the CJP similarly evolve into a larger anti-establishment movement? The speculation becomes stronger considering that Dipke himself was associated with the AAP between 2020 and 2023. For now, however, the CJP primarily serves as a platform to raise issues and demand accountability. “The rest is satire,” they say.—The Daily Star (Bangladesh)/ANN Published in Dawn, June 1st, 2026
Javier Bardem and his co-star are brilliant as the duelling pair at the heart of a dread-packed psychological drama – where evil lurks in plain sight The 1991 revenge thriller Cape Fear boasts many famous moments. A teddy bear rigged with fishing wire. A drowning man speaking in tongues. But the image I cannot shake is the back of a sailboat, piloted by a lawyer who is being hounded by Max Cady, a rapist he once sent to jail. The boat is called Moana. It makes sense – throughout Polynesia, moana means “ocean”. However, watching now, I can’t help but wonder if the Rock is going to appear and save the day with his magical pec tattoo. Martin Scorsese’s classic was a remake of a 1962 film, which was based on a 1957 novel. Recycling IP can feel depressing, but Cape Fear always stirs the pot. The 60s film, starring Gregory Peck as a morally upright man tormented by a senselessly evil one, had a Book of Job mystery to it. Scorsese’s version introduced sympathy for the devil, and a jaundiced view of its protagonist: a lawyer who buries evidence that might exonerate his client, whom he believes should go to jail. The high-water mark, though, is probably Cape Feare, the Simpsons parody featuring Sideshow Bob. (Best. Episode. Ever.) Continue reading...
Atletico Madrid aim a tongue-in-cheek dig at La Liga rivals Barcelona on Friday over their "smear campaign" in pursuit of Argentine forward Julian Alvarez.
Vandaag is het twintigste soloalbum van Paul McCartney, The Boys of Dungeon Lane, verschenen. Op het nu al lovend ontvangen album blikt de ex-Beatle terug op zijn jeugd in Liverpool en zijn eerste herinneringen aan George Harrison en John Lennon. Op een van de veertien nummers zingt hij samen met de 85-jarige Ringo Starr. De 83-jarige 'Macca' is niet de enige artiest van wereldformaat die op hoge leeftijd nog nieuwe muziek maakt. The Rolling Stones brengen op 11 juli een nieuw album uit, Foreign Tongues. Hoe houden deze oude knarren hun stem in topvorm? Nostalgie Muzikant en Beatleskenner Yorick van Norden was deze maand als enige Nederlander uitgenodigd voor de luistersessie van het nieuwe album van McCartney in Abbey Road Studio 2. "Dat was heel bijzonder", zegt hij. "Het idee dat je in een studio bent met een Beatle, met alles wat hij daar heeft gemaakt." In Studio 2 namen The Beatles bijna al hun platen op. Van Norden had een stoel vlak tegenover McCartney, die elk nummer inleidde: waar je als luisteraar op moest letten, en hoe het tot stand was gekomen. "Op de plaat staan twee à drie nummers waar McCartney een beetje kwetsbaar en wiebelig klinkt", zegt hij, zoals Days We Left Behind. "Maar dat is helemaal niet zo erg. Het zijn nostalgische nummers waarin een man van 83 terugkijkt op zijn jeugd en zijn rijke leven. Het zou heel anders binnenkomen als iemand van 22 dat zong." Als rockster op leeftijd moet je rekening houden met je oudere stem, zegt Van Norden. "Je stembanden bestaan uit spieren: hoe jonger je bent, hoe flexibeler die zijn. Ook bij de stem van McCartney, die zijn hele leven intensief en intuïtief heeft gezongen en lang heeft gerookt, eist de tijd uiteraard zijn tol." Van McCartney is bekend dat hij vaste stemrituelen heeft, zoals het inademen van hete stoom met een handdoek over zijn hoofd. Ook staat hij bijna dagelijks in de sportschool. "Hij was heel lang gezegend met een stem waarbij alles vanzelf ging. Zo dronk hij vroeger nooit water op het podium, maar dat doet hij tegenwoordig wel." Sneller hees Ook in Nederland zijn sommige rocksterren nog niet uitgeteld. De 85-jarige Peter Koelewijn treedt nog altijd op. "Je komt er wel achter dat je sommige nummers een toontje lager moet zingen", zegt Koelewijn. Bijvoorbeeld bij Angeline, Je wordt ouder papa en Kom van dat dak af. "Je voelt dat je sneller dan voorheen hees wordt." Als je ouder wordt, moet je jezelf niet voor de gek houden, vindt de zanger. "Je kunt niet meer hetzelfde als toen je 30 was, je moet je aanpassen. Zo kon ik vroeger doorhalen tot ver na middernacht, maar dat doe ik niet meer. Elke dag sporten doet hij ook niet. "Maar ik heb wel twee hondjes die vier keer per dag moeten worden uitgelaten." Goed doseren met je stem is het credo, zegt hij. "En ik heb zo'n bruin vermoeden dat Mick Jagger dat ook doet." Aan stemoefeningen doet hij niet. "Het is wat het is. Als het niet meer gaat, dan gaat het gewoon niet meer. En anders ga ik twee tonen lager zingen." De 81-jarige Frank Kraaijeveld deelt die mening. Hij is zanger en oprichter van de oudste rockband van Nederland, de Bintangs, en staat al 65 jaar op het podium. "Ik zie leden van de band ABBA wel eens oefeningen doen, maar daar heb ik geen kaas van gegeten." Heel hoge noten zingt hij overigens altijd samen met andere bandleden. "Dan trek je je aan elkaar op en moet je extra knijpen. Je houdt je ook niet in: die kracht hoort nou eenmaal bij rockmuziek." Stemcoaches Onder McCartney-fans is het de laatste jaren een terugkerend thema: hoe klinkt hij op zijn nieuwe plaat? "Voor zijn leeftijd klinkt het nog heel goed", concludeert Van Norden. "Zijn stem klinkt beter dan op zijn vorige twee albums." De plaat is goed geproduceerd door James Watt, vindt Van Norden. Met subtiele toonhoogtecorrectie is McCartneys zang bewerkt. "Iets wat tegenwoordig een standaardpraktijk is in de popwereld, ook bij jonge artiesten." Volgens Van Norden is McCartney altijd een meester geweest in popmuziek met rijke melodieën. Door nummers te schrijven binnen een kleiner stembereik past hij zich aan zijn huidige mogelijkheden aan, waardoor het album geloofwaardig en authentiek klinkt. "Hij probeert niet geforceerd relevant te blijven, maar omarmt juist zijn leeftijd en verleden."
Less than a week before Election Day, Los Angeles mayoral candidate Nithya Raman canceled her interview with a local TV station at the eleventh hour, citing a “tongue injury.”
The survey of 4,000 residents finds nearly half identified most with English or Singlish, up from one-third a decade ago.
In Lahore, food is never merely food. It is memory, migration, performance, class, longing and history carried on the tongue. Few places embody this truth more vividly than Gawalmandi, the dense and storied neighbourhood in central Lahore whose narrow streets, smoky grills, old facades and crowded eateries became inseparable from the cultural imagination of the city. To speak of Gawalmandi is to speak of Lahore itself: a city built through displacement, improvisation, coexistence and reinvention. Until recently, Gawalmandi has been celebrated primarily for its famous Food Street, for sizzling kebabs, fragrant hareesa, fried fish, doodh-jalebi and late-night crowds that gather under strings of lights. Yet reducing Gawalmandi to a culinary destination alone would flatten its layered historical significance. The neighbourhood is also a site through which one can understand urban modernity in South Asia, the social consequences of Partition, and the transformation of everyday life in postcolonial cities. Through the writings of historians and theorists such as Gyan Prakash, Ash Amin and Arjun Appadurai, Gawalmandi can be read not simply as a neighborhood but as an urban text — a space where memory, mobility, intimacy and commerce converge. The literary recollections of A. Hameed, Ahmad Shuja Pasha and Pran Neville further illuminate how Lahore’s cultural worlds were built through ordinary people, shared spaces and everyday encounters. The name “Gawalmandi” itself reveals much about its origins. Derived from the wordsgawala (milkman) andmandi (market), the locality emerged as one of the largest buffalo milk production and distribution hubs in Punjab. Before it became associated with restaurants and food culture, it was a working neighbourhood shaped by cattle, dairy trade and the rhythms of everyday commerce. The area developed substantially after 1911, during the late colonial period, when Lahore was expanding beyond the Walled City. Its roads — Nisbet Road, Chamberlain Road and McLeod Road — reflected the imprint of British colonial urban planning, while its architecture retained distinctly subcontinental sensibilities. Buildings such as the 19th century Bajaj House and the 1914 Amrit Dhara structure demonstrate this hybrid aesthetic: colonial facades adapted to local climate, craft traditions and social life. Unlike the grand imperial spaces of colonial Lahore, however, Gawalmandi evolved through dense habitation and informal economies. It was a neighbourhood of wrestlers, traders, craftsmen and working families. It possessed a rough vitality that distinguished it from elite colonial enclaves. Over time, it also became associated with the Gujjar community, many of whom trace their ancestry and social roots to the area. Yet the decisive transformation of Gawalmandi came after 1947. The Indian Partition altered Lahore irreversibly. Entire populations moved across borders in conditions of trauma and uncertainty. Muslims from Amritsar, Jalandhar and other cities migrated into Lahore, while many Hindu and Sikh residents departed. Gawalmandi became one of the first major post-Partition residential settlements outside the Walled City. The neighbourhood’s post-Partition story reflects what Gyan Prakash describes as the making of the “modern city” through rupture, improvisation and uneven urban experience. In Mumbai Fables, Prakash argues that South Asian cities are not merely planned spaces but are continuously produced through the aspirations and survival strategies of ordinary people. Gawalmandi embodies this process perfectly. Many of the migrants who settled there arrived with little capital but considerable skill. Craftsmen opened workshops in front of their homes. Small vendors transformed domestic thresholds into commercial spaces. Families carried recipes, techniques and food traditions from their ancestral cities and adapted them to the new urban environment. As local accounts suggest, the food stalls gradually multiplied until every lane offered something distinctive. The migrants from Amritsar popularised gram flour-coated fried fish that eventually became known throughout Lahore as “Lahore fish.” Kashmiri families introduced hareesa. Wrestler families brought specialised barbecue techniques and falooda traditions. Doodh-jalebi emerged as another iconic local specialty. Thus, it offered a perfect ambience for politician like Nawaz Sharif to spend his impressionable years at Gawalmandi which remained his political support base throughout. This culinary evolution was not accidental. It was a social response to displacement. Partition migrants reconstructed belonging through food. In doing so, they transformed Gawalmandi into a sensory archive of memory. Recipes became repositories of lost homes, vanished cities and inherited skills. Arjun Appadurai’s influential work on globalisation and everyday life helps illuminate this phenomenon. Appadurai argues that locality is not fixed geographically but is continually produced through social practice, memory and performance. Food, in this sense, is one of the most powerful ways communities reproduce identity. Gawalmandi’s cuisine thus became more than commerce. It became a way of rebuilding the self after historical rupture. One of the most striking aspects of Gawalmandi is the way public life unfolds in the street itself. The neighbourhood’s food culture depends on density, proximity and collective presence. Families eat outdoors late into the night. Vendors cook in open view. Children move through crowds. Strangers share tables. Ash Amin’s writings on “urban conviviality” are especially useful here. Amin argues that cities create forms of everyday coexistence that are not necessarily based on formal political unity but on repeated encounters, shared spaces and practical negotiation. Gawalmandi exemplifies such convivial urbanism. Historically, the area brought together Hindu, Sikh and Muslim communities. Even after Partition altered its demographic structure, the neighbourhood retained traces of plural cultural memory. The architecture, culinary practices and urban rhythms continued to carry echoes of mixed histories. This coexistence was not utopian. Like many dense urban neighbourhoods, Gawalmandi also experienced conflict, class tensions and political contestation. Yet its streets enabled forms of interaction rarely found in segregated modern urban developments. In contemporary Lahore, where gated communities increasingly dominate elite aspirations, Gawalmandi offers a radically different model of urban life. It remains noisy, porous, crowded and unpredictable. Its vitality depends precisely on this openness. The neighbourhood therefore challenges sanitised notions of urban modernity. For Gyan Prakash, South Asian cities are often marked by contradiction: aspiration exists alongside decay; modernity coexists with informality. Gawalmandi reflects these tensions vividly. It has long been described simultaneously as chaotic and authentic, deteriorating and alive. Much of its emotional resonance emerges through literary and nostalgic writing about Lahore. A. Hameed often portrayed Lahore not as a monumental city but as a lived emotional landscape built through tea houses, conversations, alleyways, smells and fleeting encounters. In his recollections, old Lahore possessed a human intimacy increasingly threatened by modern development. Gawalmandi belongs precisely to this disappearing urban sensibility. Similarly, Ahmad Shuja Pasha’s writings on Lahore captured the social texture of the city’s neighborhoods — the humour, eccentricity and performative culture of ordinary Lahoris. Pasha understood that Lahore’s identity resided less in official histories than in everyday public life. Gawalmandi’s crowded streets, wrestling culture, food traditions and neighbourhood politics all reflect this performative urban ethos. Pran Neville also provides crucial insight into the city’s cosmopolitan past. Neville repeatedly emphasised Lahore’s composite culture, where Hindus, Muslims and Sikhs participated in overlapping social worlds. Thus Gawalmandi is not merely a site of consumption. It is a repository of layered memory. Walking through Gawalmandi today reveals another dimension of its significance: its fragile architectural heritage. Many structures in the area still retain pre-Partition features — wooden balconies, carved facades, ornamental windows and mixed colonial-subcontinental designs. Yet these structures exist under immense pressure from commercialisation, neglect and unregulated development. The transformation of Gawalmandi into an official Food Street around 2000 reflected both preservation and commodification. Local activists, food enthusiasts and government authorities attempted to conserve historical structures while branding the area as a tourist destination. Residents were initially hesitant. The idea of converting everyday streets into curated cultural space was unfamiliar. Eventually, however, buildings were restored, commercial signage regulated and restaurants expanded into formerly residential spaces. The initiative gained international attention after visits by diplomats and foreign officials who viewed the street as evidence of Lahore’s cultural richness and public vibrancy. Yet heritage-making in South Asia is always political. In 2011, the Punjab government shut down the Food Street, arguing that it obstructed roads and created inconvenience. Historic gates associated with pre-Partition families were demolished. Thousands connected to the local food economy reportedly lost livelihoods. The closure revealed the uneasy relationship between bureaucracy and organic urban culture. (to be continued) Published in Dawn, May 24th, 2026
Satirical project is viral sensation and outlet for protest on social media as it taps into young people’s frustration It began as a satirical online project after India’s chief justice compared unemployed young people to cockroaches. Now millions of young Indians are flocking to it as an outlet for their frustration. A parody political party with the insect as its symbol has exploded across India’s social media by turning absurdist humour into protest. Memes and short videos mocking corruption, joblessness and political dysfunction have flooded social media sites, where millions of users are embracing the cockroach – an insect known for its ability to survive harsh conditions – as a tongue-in-cheek symbol of endurance. Continue reading...
Song is especially proud to manage Aurora's language access plan, where she helps all newcomers access city services in their native tongue.