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NEW YORK — Taylor Swift cleaned up at Tuesday's MTV Video Music Awards, as Shakira accepted the night's prestigious Video Vanguard prize with a hip-shaking, career-spanning performance.

Swift continued her global reign by scooping awards including Best Song and Best Pop, as several of the night's top trophies still needed handing out.

Turn-of-the-millennium teen heartthrobs NSYNC reunited onstage for the first time in a decade to grant her the latter award, leaving Swift, who is poised to post the first billion-dollar tour, fanning her cheeks.

"I'm not doing well pivoting" from fan to winner, Swift said.

"Like, I had your dolls!" she said to the "Bye Bye Bye" singers.

But she didn't perform on the night known far more for its spectacle than its awards, instead sipping her drink as artists including Olivia Rodrigo, Anitta and Doja Cat took to the stage.

The made-for-broadcast show, held this year in Newark's Prudential Centre, frequently panned to Swift who was seated near the main stage next to Ice Spice, the viral Bronx rapper who has collaborated with the pop phenom.

A camera operator was even reportedly tasked with filming Swift for the show's entire duration.

Speaking onstage, she told fans that when writing she often feels she has "a very specific type of insecurity or self-loathing”, but when she hears them screaming the lyrics "it brings me to this very relaxing feeling of, maybe we all have the same issues".

Lil Wayne opened the show in a nod to this year's 50th anniversary of hip hop, and Sean Combs — known by his stage names Puff Daddy, Puffy, P. Diddy and Diddy — delivered a career-spanning performance as he accepted the night's Global Icon lifetime achievement award.

"This is so surreal," said the 53-year-old from Harlem. "I started out as a paper boy."

And it was Shakira who scored the night's most prestigious award for lifetime achievement, the Video Vanguard award that celebrates music video innovations.

The Colombian performer, 46, stole the show as she performed her signature hip pops and sang a bilingual medley including "She Wolf", "Te Felicito", "Objection [Tango]", "Whenever, Wherever" and "Hips Don't Lie".

Wearing a glittering, nude ensemble, the artist finished her set by crowd-surfing to a platform that then elevated her high above a screaming crowd of fans and peers.

"Thank you MTV. Thank you for being such a big part of my career since I was only 18 years old," she said.

Afrobeats and Bongos 

Rapper Nicki Minaj hosted the event for the second consecutive year, also debuting live her newest single, "Last Time I Saw You", which is slated for release on her album "Pink Friday 2" in November.

She also won the night's award for Best Hip Hop.

And Doja Cat ignited the crowd as she performed a medley of "Attention", "Paint The Town Red" and "Demons", donning a sexy skirtsuit situation she slowly loosened as she danced, meanwhile, unfurling a long blonde mane.

Best R&B went to SZA, who did not attend, while South Korea's Stray Kids won the award for Best K-pop and later performed.

Nigeria's Rema won the prize for Best Afrobeats, a new category, for his remixed single "Calm Down" featuring Selena Gomez.

The song surpassed a billion streams on Spotify over the weekend.

"This means so much seeing Afrobeats grow this big," Rema said while accepting the trophy.

Anitta dropped a booty-shaking dance party of a show with hits including "Funk Rave", which earned the evening's prize for Best Latin.

Colombian Karol G was also among the evening's top performers, and she scored a prize with Shakira for Best Collaboration.

Cardi B and Megan Thee Stallion debuted their live performance of "Bongos", their latest collaboration that follows the resounding success of "WAP".

Cardi entered the stage from the ceiling on a disco ball, her hair in loose waves a la Donna Summer. Megan joined her from another stage, and after their respective verses the pair led the audience through a high-energy, twerkified dance breakdown.

Pop-punk band Fallout Boy rounded out the millennial nostalgia tour that began the night with NSYNC.

The emo rockers performed their updated version of Billy Joel's "We Didn't Start The Fire", hitting major moments of the past three decades in a revamp that includes the line: "YouTube killed MTV".

TORONTO, Canada — Director Alexander Payne has entered the Oscars hunt with his new film “The Holdovers”, a poignant 1970s-set dramedy about a cantankerous prep school teacher and a troubled student that screened on Monday at the Toronto film festival.

The film reunites Payne with his “Sideways” star Paul Giamatti, who plays the surly Paul Hunham, who grumbles through his lessons on ancient civilizations and has no qualms about failing students who think their wealth should be able to buy good grades.

Hunham is forced to remain at the New England school over the Christmas break to supervise a handful of students who cannot go home. Eventually, he is left with just one “holdover”: Angus (newcomer Dominic Sessa), who is navigating family issues.

The pair — along with cafeteria manager Mary (Da’Vine Joy Randolph), whose son was killed in Vietnam — build their own unlikely family over the course of the school holiday.

Payne lamented that his stars and writer David Hemingson could not be at the Toronto screening, which followed the film’s world premiere at the Telluride festival 10 days ago in Colorado, because of the ongoing double strike in Hollywood.

“Unlike musicians and stage actors, in film, we don’t get to have that immediacy of communication between us and the audience,” Payne told spectators at the Princess of Wales theater in Toronto.

“The only place we can kind of get close to that is at a fresh festival audience, and they’re sadly being deprived of that.”

Payne reserved particular praise for Sessa, who was recruited at Deerfield Academy, one of the boarding schools in Massachusetts where the film was shot.

Though Sessa was the star of the drama club, “he’d never been in front of a camera,” Payne told filmgoers in the post-screening question and answer session.

“To go toe-to-toe, head-to-head with Paul Giamatti in his first-ever film is really something to watch.”

The Toronto International Film Festival (TIFF) is a key part of the fall festival lineup, along with Venice and Telluride. 

Movies hoping to build early Oscars momentum typically hold premieres at one or several of the major industry events.

TIFF’s annual People’s Choice Award has become an increasingly accurate Academy Awards bellwether, predicting eventual best picture winners such as “Nomadland” and “Green Book”.

But the festival in Toronto, the biggest in North America, is unfolding against the backdrop of the twin strikes by Hollywood actors and writers, meaning many of them cannot promote their work if it was produced under the auspices of a major studio.

The actors and writers are striking over pay, the threat posed by artificial intelligence and other work conditions.

Awards prediction site Gold Derby lists “The Holdovers” among the early top contenders for best picture, best director and best original screenplay, as well as best actor for Giamatti and best supporting actress for Randolph.

The 62-year-old Payne is a seven-time Oscar nominee, and has won twice — both times for best adapted screenplay, for “Sideways” and “The Descendants.”

“The Holdovers” opens in US theaters in November.

TIFF runs through September 17.

Launched in Europe in 2019 with Chinese market variants soon following in 2021, the Volkswagen ID.3 is the German manufacturer’s purpose-built electric vehicle take on the family hatchback segment. Successor to the electric powered derivative of Volkswagen’s iconic Golf nameplate, the ID.3 nevertheless still runs concurrently with the e-Golf in China. Manufactured by the “people’s car” brand through the SAIC-Volkswagen joint venture in the People’s Republic, the Chinese-built ID.3 has found popularity in Jordan, if not quite the same ubiquity as its ID.4 and ID.6 crossover sisters.

Lighter, quicker, and more maneuverable and rewarding to drive than its larger and more popular relations, the ID.3 captures the well-rounded everyman practicality of the Volkswagen Golf that it might eventually replace. Under its skin, the ID.3 however harks back to Volkswagen’s eponymous first and most famous model that was later known as the Beetle. Like the air-cooled icon of ruggedly uncomplicated motoring that was the original Beetle, the ID.3 rides on a rear-motor and rear drive platform, but sits higher than either Beetle or Golf, owing to its heavy and cumbersome battery pack situated under its floor.

Assertive yet playful

Arguably the best designed of Volkswagen’s EV models, the ID.3 walks a fine line between assertive and playful, utilising a combination of convex and concave surfacing, sharp lines and soft edges, to achieve a look that has uncomplicated clarity ,yet, is modern and sophisticated. Narrow and upright with a big glasshouse and short, low bonnet, the ID.3 nevertheless maintains a sense of athletic momentum with its use of a squinting lighting signature, rising waistline, jutting side skirts and rear spoiler, descending roofline, blacked out rear fascia and moderately large 18-inch wheels.

Positioned at the rear, the ID.3’s electric motor powers the rear wheels through a single-speed automatic gearbox, and develops a healthy 167BHP and gutsy 228lb/ft torque. Unleashing a near instant wave of torque that seems to kick it forward, the ID.3 is smooth, swift and near silent from standstill, and achieves a 50km/h city speed in 3-seconds. However, its rate of acceleration decreases noticeably as speed increases, as usual for most EVs, with benchmark 0-100km/h acceleration arriving in an estimated 8.5-seconds, on the way to a 160km/h top speed. 

Versatile Volks

With powerful but heavy liquid-cooled 57.3kWh batteries estimated to weigh somewhere around 400kg, the ID.3 claims a long 450km single charge driving range, but would be expected to deliver somewhat shorter range in ‘real world’ conditions, topography and driving style. For 0-80 per cent charging using a fast non-domestic DC, where available, it is quoted at just 40-minutes, but still falls short of the quick convenience of combustion vehicle refueling time. Domestic AC charging time is meanwhile lengthier and even less convenient at 8.5-hours, depending on charger type and available electricity supply.

Yielding power more progressively than many EVs, the ID.3 is less susceptible to unintentionally un-sticking its driven rear wheels when powering out of corners. It rides a broad and muscular torrent of torque, and is responsively aggressive at low and cruising speed and versatile in building speed for inclines and overtaking, but with just one gear, acceleration vigour drops off somewhat at higher speeds. It is however best in stop/start urban driving, where abundant torque compensates for its single ratio gearbox, while regenerative brakes have greater opportunities to recoup kinetic energy.

Fresh and fun

The ID.3’s ride can be slightly firm over harsh lumps, bumps and cracks, but is otherwise forgiving. Buttoned down and well-controlling its hefty, near crossover-like 1,760kg mass through corners owing to a low centre of gravity, the ID.3 is, however, one of the more engaging EVs to drive. With quick, light and accurate steering, short overhangs and big footprint, and a slight rear-biased weighting and rear-drive, it turns tidily and eagerly into corners, and is fairly agile throughout. It meanwhile grips hard with its electric motor pressing down on its driven rear wheels.

A user-friendly commuter car that is quiet, confident and comfortable on highway, and maneuverable through winding roads and in town, the ID.3’s ride is smooth, stable and settled, with a grounded feel through corners. Uncluttered and unpretentious, but with a sense of quality about it, the ID.3’s cabin ambiance is fresh and airy, with a sporty steering wheel, horizontally-oriented design and user-friendly controls and tablet-style infotainment screen. Reasonably well equipped, the ID.3’s cabin provides good front and above-average rear space. Cabin accessibility, visibility and luggage volume are similarly good for its class. 

SPECIFICATIONS

Engine: Rear-mounted electric motor

Battery: Liquid-cooled lithium-ion, 57.3kWh

Gearbox: 1-speed automatic, rear-wheel-drive

Power, BHP (PS) [kW]: 167 (170) [125]

Power-to-weight: 95BHP/tonne

Torque, lb/ft (Nm): 228 (310)

Torque-to-weight: 176Nm/tonne

0-50km/h: 3-seconds

0-100km/h: 8.5-seconds (estimate)

Top speed: 160km/h

Range,: 450km (estimate)

Charging, DC fast charger, 0-80% / AC standard charging, 0-100%: 40-minutes / 8.5-hours

Length: 4,261mm

Width: 1,778mm

Height: 1,568mm

Wheelbase: 2,765mm

Luggage volume, min/max: 385-/1,267-litres

Kerb weight: 1,760kg

Steering: Electric-assisted rack & pinion

Suspension: MacPherson struts / multi-link

Brakes, F/R: Ventilated discs / drums, regenerative

Tyres: 215/55R18

By Shama Kaur,
Kundalini Yoga Teacher & Wellness Mentor

In an era marked by rapid technological advancements and constant connectivity, today’s youth face three unique challenges that can take a toll on their overall well-being. First and foremost, youth are overly stimulated from constant connectivity and information overload.

When social media content is used as a measuring stick to which youth compare themselves, this creates self-esteem issues. Secondly, the information is often misleading or inaccurate, which impacts their decision-making and their views of the world.

Thirdly, the more time youth spend in front of screens, the less time they spend in social interaction and physical movement which leads to a sedentary lifestyle and difficulty assimilating in social settings.

Navigating challenges

Amidst the chaos, yoga and meditation provide powerful tools that can help the youth to navigate these challenges and foster a balanced and fulfilling life.

The tools available address various aspects of their physical, mental and emotional health.

Here are five key areas where yoga and meditation impact the lives of young individuals positively:

1. Body health: Physical well-being is crucial for overall health. Yoga provides a holistic approach to maintaining a healthy body. 

Through asanas (yoga postures), young practitioners can improve strength, flexibility and posture, while enhancing body awareness and balance.

Regular yoga practice supports better cardiovascular health, boosts the immune system and reduces the risk of chronic ailments. 

Cultivating a positive relationship with the body through yoga encourages a sense of selfcare and respect.

2. Conscious eating: In today’s fast-paced world, mindless and unhealthy eating habits may be prevalent among youth. Yoga promotes mindfulness, including mindful eating. By incorporating mindfulness techniques at mealtimes, such as being fully present, chewing slowly and savouring each bite, young individuals can develop a healthier relationship with food.

This awareness helps them make conscious choices, fostering a balanced and nourishing diet that supports their overall wellbeing.

3. Mindful navigation of the digital world: Excessiveuse of social media has become a prevalent issue among today’s youth, impacting their mental and emotional health. Kundalini Yoga and meditation offer invaluable tools such as the 3-Minds Framework or the philosophies of the 3 Gunas to help them evaluate information and make decisions that are aligned with reality.

Through regular practice, young individuals can cultivate a sense of self-awareness, reducing dependence on external validation and fostering a positive self-image.

4. Regulating emotions and controlling impulsivity: The teenage years can be emotionally challenging, as young individuals navigate various pressures and transitions. Yoga and meditation provide effective techniques to regulate emotions and control impulsivity.

Breathing exercises and mindful practices help teens develop emotional intelligence, cultivate selfcompassion and manage stress. By learning to pause, observe their emotions, and respond thoughtfully, youth can develop resilience and emotional stability.

5. Improving decision-making, long-term planning and understanding consequences: Regular meditation has been shown to have positive effects on the frontal lobe of the brain, particularly the prefrontal cortex.

By positively influencing the frontal lobe, regular meditation develops youth’s ability to stay present and centered. Thus, youth can approach decision-making with increased discernment, weighing the potential outcomes and making choices aligned with their long-term goals and values.

Yoga and meditation provide invaluable tools for today’s youth to navigate the complexities of modern life. By incorporating these practices into their daily routines, young individuals can cultivate a healthy body, develop mindful eating habits, regulate emotions and makinformed decisions.

Empowering today’s youth with the transformative benefits of yoga and meditation lays a strong foundation for their overall well-being, self-discovery and resilience as they embrace the challenges and opportunities that lie ahead.

Reprinted with permission from Family Flavours magazine

TORONTO, Canada — The biggest film festival in North America opens on Thursday in Toronto with the international launch of Oscar-winning Japanese animation master Hayao Miyazaki's likely last movie, as the twin Hollywood strikes drag on.

Organisers of the event, a launchpad for numerous Academy Award-winning films, were finalising a stacked lineup of premieres, red carpet galas and prestige TV launches featuring work from dozens of countries when Tinseltown's actors staged a walkout.

But festival CEO Cameron Bailey says the global reach of the programming, and the ability of filmmakers and actors to promote independent fare even amid the strikes, speaks to the "strength of cinema right now".

"It took some weeks to really figure out the specifics and the details of how you would navigate a strike-affected festival, but it turns out that we're going to have lots of red carpet talent," Bailey told AFP.

Among those expected in Canada's largest city during the 10-day movie extravaganza are A-listers Patricia Arquette, Taika Waititi, Anna Kendrick and Ethan Hawke, who all moved behind the camera to direct their latest films.

French filmmaker Ladj Ly will debut "Les Indesirables", a follow-up look at marginalised communities in the suburbs of Paris four years after his Oscar-nominated debut feature "Les Miserables".

Also on tap is the international premiere of awards hopeful "The Holdovers" from director Alexander Payne ("Sideways") about a teacher (Paul Giamatti) tasked with supervising students at a boarding school who cannot go home for Christmas break.

And pop star Lil Nas X will bring some flair to the red carpet for the opening of his documentary "Lil Nas X: Long Live Montero" — just one of several music films on tap including a world premiere of "In Restless Dreams: The Music of Paul Simon".

But the first marquee screening on Thursday evening is "The Boy and the Heron", Miyazaki's first feature-length film in a decade — and likely his last for the storied Studio Ghibli, at age 82.

The semi-autobiographical film, which opened in Japan in July, follows young Mahito as he navigates the horrors of World War II and his mother's death. After meeting a talking heron, he enters a colourful fantasy world in search of her.

"That's one that we're especially thrilled to have. This is one of the greatest artists in cinema with what may be his final film," Bailey said.

"It's magnificent."

Also premiering on Thursday night: Arquette's "Gonzo Girl' and another directorial debut — "North Star" from Kristin Scott Thomas.

Arquette will receive the festival's Groundbreaker Award on Sunday; Bailey said in a statement that she "consistently challenges conventions and elevates the discourse on salary equity for women through her influential platform".

Oscars bellwether 

The Toronto film fest is a key part of the fall festival lineup, along with Venice and Telluride, at which movies hoping to build early Oscars momentum typically hold premieres.

TIFF's annual People's Choice Award has become an increasingly accurate Oscars bellwether, predicting eventual best picture winners such as "Nomadland" and "Green Book".

Premiering on Friday will be "Dumb Money", starring Seth Rogen and Paul Dano, about the amateur investors who turned GameStop into a Wall Street phenomenon in 2021.

On Saturday, Robert De Niro stars in actor Tony Goldwyn's "Ezra", about a man (Bobby Cannavale) who moves back in with his father (De Niro) after blowing up his career and marriage.

Other world premieres include Waititi's sports comedy "Next Goal Wins" and Michael Keaton's "Knox Goes Away", starring Al Pacino.

The festival comes as Hollywood actors and writers strike in a battle with studios and streamers over pay and other work conditions — meaning that union members generally cannot promote films produced by companies involved in the dispute.

Waivers have been offered in some cases, while in others, the films screening in Toronto are not subject to the strikes because they were independently or internationally produced.

TIFF only returned to full strength in 2022, after two years of online or hybrid events staged amid the coronavirus pandemic.

The festival runs until September 17.

LONDON — The piano Queen frontman Freddie Mercury used to compose almost all of his greatest songs and the original manuscript for “Bohemian Rhapsody” were snapped up for over £3 million on Wednesday when they went under the hammer in London.

The Sotheby’s auction room echoed to the sound of the track “We Will Rock You” before bidding began at the black-tie evening auction.

The items were among over 1,400 lots of Mercury memorabilia up for grabs over the next week, with the famous auction house’s facade decorated with a huge moustache for the occasion.

The 59 lots sold on Wednesday brought in £12,172,290, Sotheby’s said, adding that each one went for more than double the estimated price.

Mercury’s Yamaha quarter-tail piano went for £1,742,000 ($2,198,927), including buyer’s premium and fees, while the manuscript for the epic hit song “Bohemian Rhapsody” fetched £1,379,000.

Auctioneer Oliver Barker called the “Bohemian Rhapsody” lyrics — contained in 15-pages of pencil and ballpoint pen remarks — a “modern cultural icon”.

The manuscript also reveals that Mercury, who died from AIDS in 1991, originally intended to call the song “Mongolian Rhapsody”.

Mercury’s cherished baby grand was purchased by the charismatic star in 1975 after an exhaustive six-month search for “the ideal instrument to bring to life” his compositions.

A record 2,000 bidders from 61 countries registered to take part in the sale.

Part of the proceeds will be donated to the Mercury Phoenix Trust and the Elton John Aids Foundation, two organisations involved in the fight against AIDS.

“I miss Freddie to this day. He was a wonderful friend more full of love and life than anyone I’ve ever met, as well as a brilliant performer whose music has inspired and thrilled millions,” John said in a message read out at the start of the sale.

“He was kind, generous and funny and it is a tragedy that AIDS took him from the world much too soon,” he added.

Graffiti tributes 

The auction kicked off with 20 minutes of bidding for the green door to Mercury’s garden on which fans scrawled tributes.

The door to his Garden Lodge home in west London sold for £412,750, far in excess of the £15,000-25,000 estimate.

Other items being sold off at the auction include furniture, clothing, art works and knick-knacks.

Wednesday’s sale will be followed by two other live auctions and three online sales over coming days.

Works by Chagall, Dali and Picasso that adorned Mercury’s home were among the lots sold.

The entire collection is being offered for sale by Mary Austin, a close friend and one-time fiancee of Mercury, to whom the singer bequeathed his estate.

“Mary Austin has lived with the collection and has cared for the collection for more than three decades,” Gabriel Heaton, a books and manuscripts specialist at Sotheby’s, told AFP.

Mercury “was not interested in having a museum of his life but he loved auctions”, to the point of being a regular at Sotheby’s sales, said Heaton.

Austin believes the artist — who was 45 when he died — would have “loved” this sale, he added.

Moustache comb 

Mercury’s most flamboyant stage costumes, Hawaiian shirt and Superman tank top are also finding new homes along with shots by legendary snapper Mick Rock.

Brazilian entrepreneur Rafael Reisman, who bought a crown and cloak stage costume ensemble for £635,000 said Mercury “belongs to the world”.

A collection of mostly unseen personal polaroids shows Mercury as he “celebrates birthdays and Christmases, snuggles with his cats and relishes being surrounded by special objects at home”, Barker said.

The archive of 265 photographs mostly dating from the mid-1980s fetched over £88,000.

Also being sold off are the finest bottles from his cellar, such as Dom Perignon champagne, alongside more intimate items, such as a book of personally annotated poetry and a moustache comb.

Before the sale, the auction house hosted the collection at a month-long exhibition, open to the public free of charge.

Sotheby’s says it is the lagest collection, by volume, of a cultural icon to go to auction since the Elton John sale in 1988, when 2,000 lots sold for a total of £4.8 million.

LONDON — The Rolling Stones will release their first album of new music in 18 years next month, lead singer Mick Jagger, fellow founding bandmate Keith Richards and bass guitarist Ronnie Wood announced on Wednesday in London.

The album, “Hackney Diamonds”, is the first since the death of drummer Charlie Watts in 2019, and the first containing original material since 2005’s “A Bigger Bang”.

“We didn’t want to make just any record and put it out,” Jagger, 80, told a launch event at the Hackney Empire theatre in east London, hosted by US talk show host Jimmy Fallon and livestreamed on YouTube.

“I’m not saying we’re big-headed about it but we’re pleased with it and we hope you all like it,” the octogenarian rocker said.

The Stones’ 24th studio album, set for release on October 20, has 12 tracks, with the single “Angry” the first to come out.

Wood, 76, confirmed during the launch that superstar Lady Gaga features on another, “Sweet Sound of Heaven”, adding she “sings really sweet” on it.

Two of the tracks were recorded with Watts in 2019. The others feature Steve Jordan, whom Watts recommended to replace him.

“Ever since Charlie’s gone it’s different,” said 79-year-old guitarist Keith Richards of recording the new album without one of the band’s founders.

“He’s number four, he’s missing, he’s up there. Of course he’s missed incredibly.”

Already acclaimed 

“Hackney diamonds” is English slang for the shards of glass left scattered on the ground after smash-and-grab robberies, and refers to the historically working class east London neighbourhood.

“It’s like when you get your windscreen broken on a Saturday night in Hackney,” Jagger joked.

Throngs of people crowded outside the event venue, including those without tickets who came out of curiosity and hoping to spot the band.

“I’ve been following the Stones since I was four years old and I’m from round here — it’s my backyard,” said musician and fan Rory McGlinchey.

‘It’s crazy that 

they’re here!’

Wearing a Rolling Stones t-shirt, he said the new release was “great news”. “Can’t wait,” he told AFP.

Critics have already hailed the release as the band’s best work in many decades.

Will Hodgkinson, rock and pop critic for Britain’s The Times newspaper, said it is “unquestionably the best Stones album since 1978’s ‘Some Girls’”.

“Variously poignant, irreverent, anarchic and, in one gospel-tinged moment, quite spiritual, it touches on all the aspects we love about the band, glued together by the rambunctious energy they have made their own since the early Sixties,” he wrote.

The Daily Telegraph’s music reviewer Neil McCormick said “Angry” was “their best single in four decades”.

The Stones also unveiled the single’s typically rock’n’roll video.

It sees the band playing from Los Angeles’ billboards as scantily-dressed, leather-clad “Euphoria” actress Sydney Sweeney writhes to the soundtrack in the back of a convertible red Mercedes driving through the city.

Teaser

The Rolling Stones’ last studio album was 2016’s “Blue & Lonesome”, which was made up of blues covers.

“We’ve been very lazy,” said Jagger. “We’ve been on the road most of the time.”

The band teased the release of the new album through a spoof advert in the local Hackney Gazette newspaper.

The cryptic ad, which also appeared in sister title the Islington Gazette, referenced several of the band’s best-known songs including “[I Can’t Get No] Satisfaction”, “Gimme Shelter” and “Shattered”.

The ad went on: “Opening our new store on Mare Street, September 2023. Our friendly team promises you satisfaction when you say gimme shelter we’ll fix your shattered windows.”

Clues that the ad was not for a bona fide east London glass repair business included a miniature version of the band’s famed lips logo to dot the letter i.

The ad — in the same font as the “Some Girls” album — also says the firm was established in 1962, the same year the band was formed.

Last year the Stones travelled through Europe for their 60th anniversary tour which featured stops in cities including Madrid, Milan and Munich, and also a performance at British Summer Time festival in London.

Asked for the secret to their decades-spanning musical marriage, Jagger quipped: “Not speaking too often”.

“How to say shut up politely,” added Richards.

By Sonia Salfity
Desperate Dieter

It’s too easy to be taken in by diet crazes that seem to sprout up as fast as weeds in a garden.

But it’s not quite as easy to filter through them to decide which ones are safe to even try.

Part of what makes it more difficult is our constant access to technology. Even something as basic as television programming during our childhood was never bombarded with commercials the way they are today. These seemingly innocent interruptions, whether on television, computers or smartphones, cause havoc to our mental focus.

Weeds that grow a million times faster They are like weeds that grow a million times faster than the ones our forefathers endured. 

They have even made it harder for all of us to be able to focus our attention for long periods of time. Sadly, it’s becomethe norm to see young children, teens and adults of all ages all hunched over, desperately trying to catch up ontheir devices.

I cannot tell you how annoying it is when a group of us are sitting together engaging in great discussions when suddenly people start checking their notificationson their phone or taking non-emergency calls withouteven excusing themselves.

Disrespecting people’s time This type of behaviour is very disrespectful to the people you’re sitting with because it shows them that you don’t value their time enough to give it priority.

I’ll confess that I’ve been on both sides of this fence because when I have to get a phone call I’ve been waiting for, I’ve had to step away to take care of pressing issues.

The problem is we have become accustomed to treating everything in our lives as a ‘pressing issue’. We fail to recognise what an actual emergency is from what can wait to be addressed at a later time.

You might wonder what all this has to do with desperate dieters. Here’s why this is essential to our wellbeing. When we fail to be fully present in the moment, we effectively set our brains up to be absent during mealtimes. In other words, we become absent even with our own selves. It’s almost impossible to be aware of your actions, thoughts and emotions when you’re checked out mentally.

This means we aren’t paying attention to the quantity or quality of the food we’re ingesting, nor are we even enjoying eating it when we’re on auto pilot.

An unhealthy relationship with food This causes us to spiral into an unhealthy relationship with our food. Not to mention the long-term effects on every aspect of our lives. This is not how our grandparents ate. They sat down for every meal; they engaged in conversations. They were intentional and present mentally.

They made eye contact. They didn’t have the hightech distractions we have but they were also healthier because of it. They were only hunched over due to old age and not when they were stooping to check their ‘not so smart’ phones like we do. We also had a less

obese population. Last but not least, they always ate at home since there were no fast-food restaurants and fewer options for restaurants to choose from. 

Add to that the fact that they had to cook from scratch, so they didn’t have access to all the processed foods we eat that are extremely high in sodium, fat and sugars. 

They actually ate the real foods that were naturally organic before modernity even decided to charge people triple fororganic food in a grocery store.

Learning from our elders Join me as we learn from our older generations and start adopting their healthier habits by putting our phones in another room during mealtimes. Let’s give priority to relationships and community that are physically present and face-to-face and not on some device that gives you the illusion that you are fully connected.

Let’s aim to have less take-out food and more homemade meals from scratch even though they take more time. There are no shortcuts to being healthy because you either have to take the time on the front end or you’ll have to pay with more time on the back end when you’re sick and unable to perform your dayto- day functions.

It’s as simple as that. We were designed by God to be smarter than any smartphone that could ever be invented.

Let’s act that way and outsmart the devices that the world keeps selling us to line their pockets. 

Let’s train ourselves to live in moderation not just with food, but with our gadgets and everything else that uses up our precious time and threatens to distract us from our life goals.

Reprinted with permission from Family Flavours magazine