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The Sun
22 minutes ago
- The Sun
Galal Yafai reveals beatdowns he took from his older champion brothers knocked him into the fighter he is today
GALAL YAFAI reveals the beatdowns he took from his champion older brothers knocked him into the fighter he is today. Yafai grew up as the youngest boxer in the household and admits it was constant civil war at home older siblings Gamal and Kal. 4 4 4 He told SunSport: "My mum would come in screaming and shouting, we'd always end up fighting but I knew my place when you're like ten years old or nine years old. "Two-three years is a big difference. When they were 13-14 years old and I'm only just 10, it's a big jump. So yeah, I knew my position. I used to get beaten up on a little bit!" Despite taking his fair share of brotherly blows, Yafai admits the real wars came between Kal and Gamal. He said: "They were closer in age and I think they felt sorry for me a little bit because I was a little bit smaller than them. "They had the real big fights and my mum used to come out shouting and it was kind of like hillbilly style. It kind of helped us to get where we got to. "Kal was always better than me, Gamal was always bigger and better so I don't think I ever got the better of everyone really. "I could hold my own, well I could hold my own when I got a bit older, but I think they took it easy on me. "But they always helped me anyway, it helped in my career." Yafai trained as a teenager and watched his older brothers become amateur champions - later replicating that success in the professional ranks. The youngest of the pack only began boxing again at 18 but by 2021 he was on the Olympic champion after packing in his job working in a Land Rover factory. Boxing icon Tyson Fury spotted posing topless in Scots town as he chats with locals Now he is undefeated and 9-0 as a pro - meanwhile ex-world champ Kal, 36, is retired and Gamal, 33, now coaches the younger generation. But Yafai - who returns on Saturday against Francisco Rodriguez Jr in a bid to earn a shot at WBC and WBO champ Kenshiro Teraji - doubts brother Gamal will be part of his corner team - preferring he remains just a fan for now. He said: "My coach Rob McCracken sorts all that out and I just like my brothers being there. They help me just being there and showing me support and having my back. "My brother Kal's been in my corner before as like a second in America. But as long as Rob's in my corner and my brothers are there supporting me, yeah, I'm happy." 4
Reuters
23 minutes ago
- Reuters
South Korea's K-League to lift 26-year-old ban on foreign goalkeepers
June 21 (Reuters) - K-League clubs will be allowed to register foreign players as goalkeepers for the first time in 27 years, starting with the 2026 season, the South Korean top division league said. The league banned its clubs from registering foreign players as keepers in 1999, when it had eight teams, in a bid to ensure domestic keepers get enough playing time. The K-League 1 now has 12 teams, with a second tier introduced in 2013. The decision to end the ban on foreign keepers was taken at a board meeting on Thursday, the league said in a statement on Friday. "The board said it took into consideration the fact that foreign players were restricted from registering as goalkeepers, a specialised position, resulting in excessive salary increases for domestic players compared to field players," it added. "The number of clubs has increased significantly since the time the foreign goalkeeper restriction was introduced, so even if foreign goalkeepers were allowed, domestic goalkeepers would still have enough playing time. "As a result, from 2026, the K-League will remove the stipulation that the goalkeeper must be a domestic player from the K-League's competition guidelines, which will apply to both the K-League 1 and K-League 2."
Sky News
38 minutes ago
- Sky News
From niche to a billion pound industry: How immersive events have taken over
While cinemas are struggling and London's West End has witnessed a significant escalation in ticket prices, creatives behind immersive experiences say their sector is experiencing "a gold rush moment". From shows built around obvious fan bases - such as Mamma Mia! The Party - to those working with established intellectual property, including Squid Game: The Experience, the UK has proven to be a world leader when it comes shows that make audiences feel part of the action, rather than just observers. Little Lion Entertainment are the team behind two shows currently running in the UK: Pac-Man Live in Manchester and the Crystal Maze Live in London. Its CEO Tom Lionetti told Sky News: "There has been a real boom in the experience economy… It kind of feels like a bit of a gold rush moment in this industry. "It's not nascent anymore, it really is a big industry and it's getting bigger. "West End theatre is incredibly expensive at the moment and even cinema can be expensive for what it is, so I think it's about caring about the experience … you've got to consider value for money these days." Their Crystal Maze show challenges ticketholders to climb through tunnels and collect crystals just like contestants on the '90s programme. And it's one of the longest-running immersive shows in the world, still going strong in London 15 years after the concept was first staged. "The genesis really was this idea of breaking the fourth wall," Lionetti says. "I was an actor and I come from a theatre background, but what we were really intrigued with was giving people agency so you become the star of the show." Last year, according to the Gensler Research Institute's 2025 Immersive Entertainment & Culture Industry Report, the global market for immersive entertainment was valued at £98bn - and it's projected to reach £351bn by 2030. Despite times being financially tough post-pandemic, while cinemas have been struggling to put bums on seats, the continued popularity of experience events could indicate consumers are being a little more choosy about what they spend their hard-earned wages on. Our eagerness to show off on social media could also account for some of what's driving the boom, as well as the isolating nature of how technology-dependant we've become. As Secret Cinema's senior creative director, Matt Costain, explains: "Whether it's competitive socialising or immersive experiences, people are look for something that offers them more… and this is an example of an activity where people can come together and have a sense of community." Secret Cinema - which combines live performance and film screenings - has been staging events for 15 years now. In that time, they've partnered with major studios from Marvel to Netflix. Their latest offering will run from August see them bring Grease's Rydell High to life. Costain says: "When we first started this was niche, film fans who wanted to dress up and keep a secret… but immersive has moved mainstream and we've found ourselves one of two or three companies who've been in it since the beginning. "Part of our job as artists is to help people remember that they really love to play." He jokes that those "who find it the most difficult to get started" are invariably the ones "at 11pm with their tie tied around their head and dancing on a table". While there are many shows working with established intellectual property (IP), there are also some hugely creative original works also being produced - Storehouse being one of those. For 16 weeks, attendees at Staged in Deptford, which was once the archival store for Rupert Murdoch's News International, will be guided through a story that takes place inside a 'digital memory palace' that supposedly houses every story, message, memory, and meme since the dawn of the internet. Produced by Sage & Jester, its lead producer Rosalyn Newbery explains: "You're not moving into a theatre with infrastructure, put it this way, we literally had to bring electricity to the venue, bring power to the venue, bring water to the venue, none of that was there for us… it's a big old job and there's a lot of detail that you can't take for granted." Over 7,000 crew worked more than 57,000 hours to build the set. Getting a show of this size and scale off the ground is a feat in itself. As creative director Sophie Larsmon says: "There are a lot of people trying to get these projects off the ground and there are a lot of projects that never see the light of day…because of the hoops that have to be jumped through for licensing and financing. "It takes huge amounts of creative effort, I've seen a lot of projects where quite late in the process the green light is taken away." While some creators might struggle to access support because the work doesn't fit into traditional cultural boxes, it is certainly an industry that's worth shining a spotlight on. As Larsom says: "The UK has always led the way in developing this form… I think people are cottoning on to the fact that this is a sector [that's] going to be a big revenue earner for the UK."
