July’s ‘Buck Moon’ pictures show the full moon lighting up the sky

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The Buck moon rises over London seen from Primrose Hill (Alamy Live News)

Over the weekend astronomy fans were treated to the spectacular view of a full moon lighting up the night sky.

July’s full moon is known as the ‘Buck moon’ – because it occurs during the season when young male deer grow their antlers.

Hitting its peak on the nights of July 4/5, this year’s Buck moon was also a partial lunar eclipse, known as a penumbral eclipse.

During a lunar eclipse, the Earth comes between the sun and the moon, causing a shadow over the lunar surface. A total lunar eclipse will darken the entire moon but a penumbral eclipse leaves some of it still visible because only the outer shadow of the Earth (the prenumbra) falls across the moon.

This can also result in turning a shade of orange as it hangs low in the sky.

It was only very partially visible in the UK in the early hours of this morning – but that hasn’t stopped plenty of photographers from around the world capturing some stunning pictures of the event as it happened.

In New York the moon took on a deep red hue (Gary Hershorn/Getty Images)
The Buck moon rising over Roker Lighthouse in Sunderland (Simon Woodley / SWNS)
The full moon behind Kreuzenstein castle in Leobendorf, Austria (EPA)
Fireworks go off on the top of the Empire State Building with the full moon beneath them to mark July 4 (Photo by Gary Hershorn/Getty Images)
The full moon, know as the Buck Moon or the Thunder Moon rises behind cruise ship Oceana on The Solent with the Isle of Wight in the background. (Alamy Live News.)

As well as the Buck moon, July’s full moon is sometimes known as the ‘Thunder moon’ because of the summer storms that can take place at this time of year.

The next full moon taking place in August is known as the Sturgeon Moon.



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Lando Norris and McLaren make huge statement with stunning podium display at Austrian GP – Sport360 News

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An elated Lando Norris jumped out of the MCL35, ran over towards his team and embraced boss Zac Brown. A maiden podium for the Englishman and a second in three races for McLaren. It was a brilliant moment.

Although no fans were present to take in a spectacular season-opening Austrian Grand Prix, won by Valtteri Bottas, McLaren continue to make positive strides after a number of disappointing campaigns.

The Woking outfit have climbed from ninth, sixth and fourth in the constructors’ championship since 2017, and Norris’ stunning result at the Red Bull Ring maintains this upward trajectory.

The 20-year-old crossed the line in fourth, however, a stunning final lap saw him leapfrog Lewis Hamilton into third after the world champion picked up a five-second penalty for contact with Alex Albon 10 laps earlier.

Pulling out the fastest lap of the race – finishing within 4.8 secs of Hamilton – was enough to clinch a first podium in his short 22-race career.

Of course, strategy and the safety cars did play into his hands during the race, but the Guildford man showed excellent racecraft to surge past Sergio Perez late on and set a stunning quali-esque fastest, final lap.

It is now McLaren’s second podium in three races, with Carlos Sainz having ended a barren run of five years without a top-three finish at the Brazilian GP in November.

Excellent defensive driving and a mix of aggression, McLaren have a strong foundation to build on their fourth-place finish from 2019 – their strongest showing since 2012.

The driver pairing have struck up a great friendship, yet there could be extra spice in it this campaign.

Norris nipped at the heels of Sainz last term, shading the qualifying head-to-head (11-10). However, the Spaniard finished 47 points and five places (6th) ahead of the Briton in the drivers’ championship.

With Sainz joining Ferrari for 2021, Norris will no doubt be determined to push his teammate again over the coming months.

Achieving more formidable results against the imminent Scuderia man is the platform Norris needs to showcase his innate potential.

It is encouraging times ahead, nevertheless, as Daniel Ricciardo’s impending switch to McLaren next year makes for the most exciting driver line-up on the grid.

The Australian is a top notch driver, with aggression and a sheer appetite for victory. His experience will unearth the best from a rising star 11 years his junior.

Rekindling the flame with Mercedes engines brings back one of F1’s iconic partnerships, which yielded huge success in the late 1980s and early 1990s.

Behind the big three, the improving MCL35 is more stable, quick and attacks the corners to perfection in comparison to previous seasons.

With no change in the regulations for 2020, the battle for midfield supremacy is expected to be even closer, with the new-look Racing Point particularly strong.

Confident to continue an upward trend, McLaren are trying to discover the right balance and maintain their position at the head of the midfield.

A return to the front of the grid may well be achievable in the future, but for now, they need to turn their focus to the year ahead and try to extract the most from the MCL35.

With young Norris showing his class and Sainz keen to impress ahead of his Scuderia switch, Brown certainly has two charging drivers purring with dominance.

Consistent results and another podium could make for another promising season.

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Macron keeps big names in place in Cabinet reshuffle

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French President Emmanuel Macron | Pool photo by Ludovic Marin/AFP via Getty Images

Foreign, finance and defense ministers remain in post but interior ministry gets new chief.

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Updated

PARIS — After promising reinvention for the rest of his term, French President Emmanuel Macron opted for a limited government reshuffle that kept key figures in place while aiming to beef up ministries to revive the economy.

In recent months, Macron and his officials had talked about resetting the government for the final two years of his first presidential term, with some suggesting a pivot to focus more on environmental and social policies. But the new ministerial team announced on Monday has familiar faces in many of the top jobs.

Jean-Yves Le Drian will continue to lead the Ministry of Europe and Foreign Affairs while Bruno Le Maire retains his position as finance minister, with a slight amendment to his title to make clear he is responsible for the economic recovery from the coronavirus crisis. Florence Parly remains defense minister.

The biggest change comes at the Interior Ministry, where outgoing Budget Minister Gérald Darmanin takes over. Like new Prime Minister Jean Castex, who was appointed on Friday, Darmanin is a conservative who is close to former President Nicolas Sarkozy.

The line-up does not suggest a major political reinvention. Its most notable innovation is the importance given to managing economic recovery across the board, by expanding several ministries like the Finance Ministry, the Ministry of Labor and the Ministry of Environment.

Unlike in his two previous government line-ups, Macron has not recruited new, high-profile figures from the traditional parties. Instead, the new Cabinet attempts to maintain Macron’s tenuous balance of combining left- and right-wing policies, though some of its highest-profile ministers are former conservative party members.

The new Cabinet also includes at least two ministers with ongoing court cases despite an initial promise by Macron that members of his government would be above reproach.

Darmanin, the new interior minister, is under investigation over an allegation of rape, which he denies. He replaces Christophe Castaner, a close Macron ally who has been embattled for many months, most recently losing the trust of police unions.

The new justice minister is a firebrand high-profile lawyer, Eric Dupond-Moretti, who has a difficult relationship with the judiciary, and is currently suing for what he alleges was illegal snooping into his communications.

Amélie de Montchalin, the outgoing junior minister for European affairs, is promoted to become minister of transformation and the public sector, a kind of whip for the government in charge of delivering results. There was no immediate announcement of her successor as secretary of state for European affairs.

A new ministerial position was also created: minister of the sea. The ministry is meant to reflect environmental and biodiversity concerns but also the geopolitics of France’s relationship with China, as France has territories in the Pacific, according to an Elysée official.

Barbara Pompili — a former member of the Green party who served as secretary of state for biodiversity from 2016 to 2017, before joining Macron’s party La République en Marche as an MP — is the new environment minister.

Castex, the new prime minister, replaced Edouard Philippe, who served as Macron’s head of government for the first three years of his term.

Macron and Castex spent much of the weekend making calls and meeting to put together the new government. They will announce additional secretaries of state, the most junior ministerial rank in the Cabinet, in the coming days.

In another sign of the even more assertive role Macron intends to play for the rest of his term, he will lay out his coming priorities on July 14 — a few days before the new prime minister outlines the government’s guiding policies. Castex had said on Friday that he would deliver that speech this week.

This article has been updated.



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Coronavirus UK map: the latest deaths and confirmed Covid-19 cases

Please note: these are government figures on numbers of confirmed cases – some people who report symptoms are not being tested, and are not included in these counts.

Update 3 July: Public Health England is now including “pillar 1” and “pillar 2” cases for local authorities in England. Many places will have seen an apparent rise in cases, which is chiefly due to this adjustment in the way the data is published. PHE explains the nature of the change here.



cases per day
deaths per day


About this data

These figures come from data published by Public Health England, working with the Department for Health and Social Care and Health Protection Scotland. Some of the numbers are updated daily, though others may be updated more regularly.

About Covid-19

Since first being identified as a new coronavirus strain in patients from the city of Wuhan in Hubei province, China, late last year, Covid-19 has spread around the globe.

The virus can cause pneumonia. Those who have fallen ill are reported to suffer coughs, fever and breathing difficulties. You can find out more about the symptoms here.

There are things you can do, such as wearing a face mask, to protect yourself and slow the spread of the virus. Chief among them are regularly washing your hands for at least 20 seconds with soap and water, and catching coughs and sneezes in tissues.

  • Due to the unprecedented and ongoing nature of the coronavirus outbreak, this article is being regularly updated to ensure that it reflects the current situation as best as possible. Any significant corrections made to this or previous versions of the article will continue to be footnoted in line with Guardian editorial policy.

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Oscar-Winning Movie Composer Ennio Morricone Dies

ROME, July 6 – Ennio Morricone, whose scores for movies such as “The Good, the Bad and the Ugly,” “The Mission” and “Cinema Paradiso” made him one of the world’s most famous and prolific screen composers, has died, ANSA news agency said on Monday. He was 91.

ANSA said Morricone, who won two Oscars and dozens of others awards including Golden Globes, Grammys and BAFTAs, broke his femur some days ago and died during the night in a clinic in Rome.

His last Oscar was in 2016 for best original score for Quentin Tarantino’s “The Hateful Eight.”

He first declined the job, but then relented, demanding that Tarantino allow him a “total break with the style of Western films I wrote 50 years ago.”



Italian composer Ennio Morricone in this 2018 file photo. The Oscar-winner, who produced more than 400 original scores for feature films, has died.

Morricone wrote for hundreds of films, television programs, popular songs and orchestras, but it was his friendship with Italian director Sergio Leone that brought him fame, with scores for Spaghetti Westerns starring Clint Eastwood in the 1960s.

They include the so-called “Dollars Trilogy” – “A Fistful of Dollars,” “For a Few Dollars More,” and “The Good, the Bad and the Ugly.”

Morricone used unconventional instruments such as the Jew’s harp, amplified harmonica, mariachi trumpets, cor anglais and the ocarina – an ancient Chinese instrument shaped like an egg.

The music was accompanied by real sounds such as whistling, cracking of whips, gunshots and sounds inspired by wild animals including coyotes.

He always tried to shake off the association with the Spaghetti Westerns, reminding people, particularly outside Italy, that he had a very creative and productive life before and after the films he made with Leone.

STRAIT-JACKET

“It’s a strait-jacket. I just don’t understand how, after all the films I have done, people keep thinking about ‘A Fistful of Dollars’. People are stuck back in time, 30 years ago,” the Maestro, as he was known in Italy, told Reuters in 2007.

“My production for Westerns is maybe 7-1/2 or 8 percent of what I have done overall.”

One of Morricone’s most evocative soundtracks was for the 1986 film “The Mission,” by Roland Joffe, for which he was nominated for an Oscar and won a Golden Globe.

To accompany the story of the Jesuit missions in 18th century South America, Morricone used European style liturgical chorales and native drums to convey the mix of the old and new worlds.

Another non-Western classic was Leone’s “Once Upon a Time in America,” in 1984, which told the story of poor Jewish children in New York who grow up to become Prohibition-era mobsters.

In Italy, Morricone developed a close friendship with director Giuseppe Tornatore, whose “Cinema Paradiso” won the Oscar for best foreign film in 1989.

Morricone also composed for Brian De Palma’s “The Untouchables,” Barry Levinson’s “Bugsy,” and Margarethe von Trotta’s “The Long Silence.”

PRECOCIOUS TALENT

Born in Rome in 1928 while Italy was headed by Fascist dictator Benito Mussolini, Morricone learned music from his father, a trumpeter in small orchestras.

He entered Rome’s conservatory at the age of 12, studying trumpet, choral music and composition, and later was chosen to join the orchestra of the prestigious Academy of Santa Cecilia.

He first wrote music for theater and radio programs and later was a studio arranger for record labels, working with some of Italy’s best-known pop stars of the 1950s and 1960s.

He ghost-composed several film scores before he received his first credit for a feature film for Luciano Salce’s “Il Federale” in 1961.

His success with director Leone, a former schoolmate, made him one of the most desired composers for the screen, with directors around the world beating a path to his door: John Huston, John Boorman, Terrence Malick, Bernardo Bertolucci, Barry Levinson, Warren Beatty, Oliver Stone, Barry Levinson, Roman Polanski and Franco Zeffirelli.

Morricone said his one big regret was never having worked with Stanley Kubrick.

“He did call me to do the score for ‘A Clockwork Orange’ and I said ‘yes’. He did not want to come to Rome, he did not like flying. And then he called (Sergio) Leone, who told him I was busy working with him. He never called again,” he said.

One of few Italians to have become a Hollywood legend without living there, Morricone said a studio had once offered him a luxurious villa in California, but he turned it down.

“All my friends are here, as well as plenty of directors who love me and appreciate my work,” he said. “Rome is my home.”

Morricone married Maria Travia in 1956. They had four children, three sons and a daughter.

Colleagues and fans took to social media to share their tributes to the legendary composer:



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Decolonising the coronavirus vaccine – The Mail & Guardian

Reflecting on a potential Covid-19 vaccine trial during a television interview in April, a French doctor stated, “If I can be provocative, shouldn’t we be doing this study in Africa, where there are no masks, no treatments, no resuscitation?” These remarks reflect a colonial view of Africa, reinforcing the idea that Africans are non-humans whose black bodies can be experimented on.

This colonial perspective is also clearly articulated in the alliance between France, The Netherlands, Germany and Italy to negotiate priority access to the Covid-19 vaccine for themselves and the rest of Europe. In the Dutch government’s announcement of the European vaccine coalition, they indicate that, “… the alliance is also working to make a portion of vaccines available to low-income countries, including in Africa.”

In the collective imagination of these European nations, Africa is portrayed as a site of redemption—a place where you can absolve yourself from the sins of “vaccine sovereignty,” by offering a “portion of the vaccines” to the continent. Vaccine sovereignty reflects how European and American governments use public funding, supported by the pharmaceutical industry and research universities, to obtain priority access to potential Covid-19 vaccines. The concept symbolises the Covid-19 vaccine (when it eventually becomes available) as an instrument of power deployed to exercise control over who will live and who must die.

In order to counter vaccine sovereignty, we must decolonise the vaccine. Africans have a particular role to play in leading this decolonisation process as subjects of colonialism and as objects of domination through coloniality. Colonialism, as an expansion of territorial dominance, and coloniality, as the continued expression of Western imperialism after colonisation, play out in the vaccine development space, most notably on the African continent.

So what does decolonising the vaccine look like? And how do we decolonise something that does not yet exist? For Frantz Fanon, “Decolonisation, which sets out to change the order of the world, is, obviously, a program of complete disorder.”

Acknowledging that the Covid-19 vaccine has been weaponised as an instrument of power by wealthy nations, decolonisation requires a Fanonian program of radical re-ordering. In the context of vaccine sovereignty, this re-ordering necessitates the dismantling of the profit-driven biomedical system.

This program starts with de-linking from Euro-American constructions of knowledge and power that reinforce vaccine sovereignty through the profit-driven biomedical system. Advocacy campaigns such as the “People’s Vaccine”, which calls for guaranteed free access to Covid-19 vaccines, diagnostics and treatments to everyone, everywhere, are a good start. Other mechanisms, such as the World Health Organisation’s Covid-19 Technology Access Pool, similarly supports universal access to Covid-19 health technologies as global public goods.

Since less than 1% of vaccines consumed in Africa are manufactured on the continent, regional efforts to develop vaccine manufacturing capacity such as those led by the Africa Centre for Disease Control and Prevention, as well as the Alliance of African Research Universities, must be supported. These efforts collectively advance delinking and move us closer toward the re-ordering of systems of power.

The opportunity for disorder is paradoxically enabled by the Covid-19 pandemic, which has permitted moments of existential reflection in the midst of the crisis. A few months ago, a press release announcing the distribution of “a portion of the vaccines” to Africans, may have been lauded as European benevolence. But in the context of a pandemic that is more likely to kill black people, Africa’s reliance on Europe for vaccine handouts is untenable, necessitating a re-examination of the systems of power that hold this colonial relationship in place.

The Black African body appears to be good enough to be experimented on, but not worthy of receiving simultaneous access to the Covid-19 vaccine as Europeans. Consequently, Africans continue to feel the effects of colonialism and white supremacy, and understand the pernicious nature of European altruism.

By reinforcing the current system of vaccine research, development and manufacturing, it has become apparent that European governments want to retain their colonial power over life and death in Africa through the Covid-19 vaccine.

Resistance to this colonial power requires the decolonisation of the vaccine.

This article was first published on Africa is a Country.



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The science behind why everyone is angry on Twitter on Mondays

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The link between hot weather and aggressive crime is well established. But can the same be said for online aggression, such as angry tweets? And is online anger a predictor of assaults?

Our study just published suggests the answer is a clear “no.” We found angry tweet counts actually increased in cooler weather. And as daily maximum temperatures rose, angry tweet counts decreased.

We also found the incidence of angry tweets is highest on Mondays, and perhaps unsurprisingly, angry Twitter posts are most prevalent after big news events such as a leadership spill.

This is the first study to compare patterns of assault and social media anger with temperature. Given anger spreads through online communities faster than any other emotion, the findings have broad implications – especially under climate change.

[Read: Twitter wants to let you react with emoji — but why?]