The Night West Ham Played Behind Closed Doors

 West Ham play Castilla behind closed doors in the Cup Winners’ Cup in October 1980 after crowd trouble at the first leg in Madrid. Photograph: David Ashdown/Getty Images
West Ham play Castilla behind closed doors in the Cup Winners’ Cup in October 1980 after crowd trouble at the first leg in Madrid. Photograph: David Ashdown/Getty Images
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The Night West Ham Played Behind Closed Doors

 West Ham play Castilla behind closed doors in the Cup Winners’ Cup in October 1980 after crowd trouble at the first leg in Madrid. Photograph: David Ashdown/Getty Images
West Ham play Castilla behind closed doors in the Cup Winners’ Cup in October 1980 after crowd trouble at the first leg in Madrid. Photograph: David Ashdown/Getty Images

At half-time West Ham’s former chairman Len Cearns was sent on a futile mission by his fellow directors. They wanted him to go down to the home dressing room to ask John Lyall if there was any way his team could possibly remember that the foul language being used in the heat of battle was floating away from the pitch, rattling around the empty terraces and causing some discomfort for the people sitting in the posh seats.

“There was a lot of swearing going on in the game,” Alvin Martin says as he recalls West Ham hosting a European tie behind closed doors in the autumn of 1980. “You don’t realise it. You’re communicating in a factory way.”

It is nearly 40 years since Upton Park’s ghost game and Martin, who played in central defence as West Ham reached the second round of the Cup Winners’ Cup by winning the second leg of their tie against Castilla, chuckles when he is asked if his teammates paid any attention to the chairman’s request. “No. In all the years I played with Trevor Brooking he never used a foul word. That was exceptional. But that’s the way we communicated. You can’t just switch that off.”

Broadcasters might want to keep that in mind as English football grapples with the damage caused by the coronavirus pandemic. It is almost inevitable games will be played behind closed doors if the season resumes and it will be challenging for players to adjust. Martin’s teammate David Cross describes it as an eerie experience and remembers finding it hard to summon the usual intensity against Castilla, Real Madrid’s B team.

“You were conscious of your voice echoing around the stadium,” Cross says. “Voices would bounce off the stands and back to you. You didn’t get that bounce back off the crowd. You had to shout very loud on a Saturday afternoon to make sure one of your teammates 15 yards away could hear you. We were used to talking very loudly on the pitch.

“In training sometimes we’d play 11 v 11. Sometimes in our own stadium. We were used to playing football every day with no fans there. It’s just on matchday your fans gave you that atmosphere. I think it took us 15 to 20 minutes to realise we were in a proper match.”

In West Ham’s case it was a one-off, a punishment by Uefa after crowd trouble marred the first leg at the Bernabéu. For Castilla, who had qualified after losing the Copa del Rey final against Real, the Spanish champions, playing at such a famous ground was meant to be the stuff of dreams. In the stands it was anything but. There were ugly scenes in the away end and there was tragedy after the game when a West Ham fan died after being hit by a bus in the chaos outside the ground.

Uefa responded by fining West Ham £7,750 and ordering them to play their next two European home games at least 187 miles away from Upton Park. Sunderland’s Roker Park was one possibility for the second leg, while Martin remembers talk of the second leg taking place in Middlesbrough. Cross says the players were told they may have to play in France.

After an appeal by West Ham, Uefa decided to stage the game at Upton Park with no supporters present. There was also no live coverage on television and the official attendance was 262. “We would have relied on the fans at Upton Park, especially on a midweek game under the floodlights,” Martin says. Cross was more upbeat. “Playing at Upton Park was still an advantage for us, even if we didn’t have our fans, which is usually worth a goal,” the former striker says. “We were on familiar territory.”

Steve Bacon, West Ham’s former club photographer, was one of the 262. “There were lots of fans milling outside,” he says. “I was in the stadium and because there was no crowd we were able to wander round as we wanted. I went up the back of the North Bank and did the pictures from there. You could hear the players shouting to each other.

“Eddie Baily, one of John Lyall’s backroom staff, was a bit foul-mouthed. I can remember him effing and blinding above anything else in the ground. I could also hear Bryan Butler doing the commentary on BBC radio.”

West Ham had lost the first leg 3-1, but while they were in Division Two, they were dangerous on their day. They had beaten Arsenal in the FA Cup final that year and they saw off Castilla. Geoff Pike pulled an early goal back and although a stunning goal from Bernal, Castilla’s captain, took the game into extra time, a Cross hat-trick sealed a 5-1 win.

“I wonder if it will slow the pace down,” Martin says. “The atmosphere generates adrenaline in a player and everything becomes quicker. Players go that little bit harder into a tackle or run that little bit further and are absolutely aware that every little challenge in the game can determine the result.

“Will we see referees having an easier time? The language between the players and the referee will be much more noticeable. I think you’ll see an improvement in behaviour towards officials.

“For us it was a novelty. But playing behind closed doors will be more difficult over time. These players have been used to playing in front of 60,000 people. It will be something totally unknown to them. But the main thing is everybody will be geared up to getting results. The competitive edge will take over.”

The Guardian Sport



Dog Gives Olympics Organizers Paws for Thought

A dog wanders on the ski trail during the women's team cross country free sprint qualification event of the Milano Cortina 2026 Winter Olympic Games at Tesero Cross-Country Skiing Stadium in Lago di Tesero (Val di Fiemme), on February 18, 2026. (Photo by Anne-Christine POUJOULAT / AFP)
A dog wanders on the ski trail during the women's team cross country free sprint qualification event of the Milano Cortina 2026 Winter Olympic Games at Tesero Cross-Country Skiing Stadium in Lago di Tesero (Val di Fiemme), on February 18, 2026. (Photo by Anne-Christine POUJOULAT / AFP)
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Dog Gives Olympics Organizers Paws for Thought

A dog wanders on the ski trail during the women's team cross country free sprint qualification event of the Milano Cortina 2026 Winter Olympic Games at Tesero Cross-Country Skiing Stadium in Lago di Tesero (Val di Fiemme), on February 18, 2026. (Photo by Anne-Christine POUJOULAT / AFP)
A dog wanders on the ski trail during the women's team cross country free sprint qualification event of the Milano Cortina 2026 Winter Olympic Games at Tesero Cross-Country Skiing Stadium in Lago di Tesero (Val di Fiemme), on February 18, 2026. (Photo by Anne-Christine POUJOULAT / AFP)

A dog decided he would bid for an unlikely Olympic medal on Wednesday as he joined the women's cross country team free sprint in the Milan-Cortina Games.

The dog ran onto the piste in Tesero in northern Italy and gamely, even without skis, ran behind two of the competitors, Greece's Konstantina Charalampidou and Tena Hadzic of Croatia.

He crossed the finishing line, his moment of glory curtailed as he was collared by the organizers and led away -- his owner no doubt will have a bone to pick with him when they are reunited.


Mark Zuckerberg Set to Testify in Watershed Social Media Trial 

Meta's CEO Mark Zuckerberg testifies during the Senate Judiciary Committee hearing on online child sexual exploitation at the US Capitol in Washington, US, January 31, 2024. (Reuters)
Meta's CEO Mark Zuckerberg testifies during the Senate Judiciary Committee hearing on online child sexual exploitation at the US Capitol in Washington, US, January 31, 2024. (Reuters)
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Mark Zuckerberg Set to Testify in Watershed Social Media Trial 

Meta's CEO Mark Zuckerberg testifies during the Senate Judiciary Committee hearing on online child sexual exploitation at the US Capitol in Washington, US, January 31, 2024. (Reuters)
Meta's CEO Mark Zuckerberg testifies during the Senate Judiciary Committee hearing on online child sexual exploitation at the US Capitol in Washington, US, January 31, 2024. (Reuters)

Mark Zuckerberg will testify in an unprecedented social media trial that questions whether Meta's platforms deliberately addict and harm children.

Meta's CEO is expected to answer tough questions on Wednesday from attorneys representing a now 20-year-old woman identified by the initials KGM, who claims her early use of social media addicted her to the technology and exacerbated depression and suicidal thoughts. Meta Platforms and Google’s YouTube are the two remaining defendants in the case, which TikTok and Snap have settled.

Zuckerberg has testified in other trials and answered questions from Congress about youth safety on Meta's platforms, and he apologized to families at that hearing whose lives had been upended by tragedies they believed were because of social media.

This trial, though, marks the first time Zuckerberg will answer similar questions in front of a jury. and, again, bereaved parents are expected to be in the limited courtroom seats available to the public.

The case, along with two others, has been selected as a bellwether trial, meaning its outcome could impact how thousands of similar lawsuits against social media companies would play out.

A Meta spokesperson said the company strongly disagrees with the allegations in the lawsuit and said they are “confident the evidence will show our longstanding commitment to supporting young people.”

One of Meta's attorneys, Paul Schmidt, said in his opening statement that the company is not disputing that KGM experienced mental health struggles, but rather that Instagram played a substantial factor in those struggles.

He pointed to medical records that showed a turbulent home life, and both he and an attorney representing YouTube argue she turned to their platforms as a coping mechanism or a means of escaping her mental health struggles.

Zuckerberg's testimony comes a week after that of Adam Mosseri, the head of Meta's Instagram, who said in the courtroom that he disagrees with the idea that people can be clinically addicted to social media platforms.

Mosseri maintained that Instagram works hard to protect young people using the service, and said it's “not good for the company, over the long run, to make decisions that profit for us but are poor for people’s well-being."

Much of Mosseri's questioning from the plaintiff's lawyer, Mark Lanier, centered on cosmetic filters on Instagram that changed people’s appearance — a topic that Lanier is sure to revisit with Zuckerberg.

He is also expected to face questions about Instagram’s algorithm, the infinite nature of Meta’ feeds and other features the plaintiffs argue are designed to get users hooked.


Olives, Opera and a Climate-Neutral Goal: How a Mural in Greece Won ‘Best in the World’ 

A building with the mural entitled “Kalamata” depicting opera legend Maria Callas by artist Kleomenis Kostopoulos is seen in Kalamata town, about 240 kilometers (150 miles) southwest of Athens, Monday, Feb. 9, 2026. (AP) 
A building with the mural entitled “Kalamata” depicting opera legend Maria Callas by artist Kleomenis Kostopoulos is seen in Kalamata town, about 240 kilometers (150 miles) southwest of Athens, Monday, Feb. 9, 2026. (AP) 
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Olives, Opera and a Climate-Neutral Goal: How a Mural in Greece Won ‘Best in the World’ 

A building with the mural entitled “Kalamata” depicting opera legend Maria Callas by artist Kleomenis Kostopoulos is seen in Kalamata town, about 240 kilometers (150 miles) southwest of Athens, Monday, Feb. 9, 2026. (AP) 
A building with the mural entitled “Kalamata” depicting opera legend Maria Callas by artist Kleomenis Kostopoulos is seen in Kalamata town, about 240 kilometers (150 miles) southwest of Athens, Monday, Feb. 9, 2026. (AP) 

Long known for its olives and seaside charm, the southern Greek city of Kalamata has found itself in the spotlight thanks to a towering mural that reimagines legendary soprano Maria Callas as an allegory for the city itself.

The massive artwork on the side of a prominent building in the city center has been named 2025’s “Best Mural of the World” by Street Art Cities, a global platform celebrating street art.

Residents of Kalamata, approximately 240 kilometers (150 miles) southwest of Athens, cultivate the world-renowned olives, figs and grapes that feature prominently on the mural.

That was precisely the point.

Vassilis Papaefstathiou, deputy mayor of strategic planning and climate neutrality, explained Kalamata is one of the few Greek cities with the ambitious goal of becoming climate-neutral by 2030. He and other city leaders wanted a way to make abstract concepts, including sustainable development, agri-food initiatives, and local economic growth, more tangible for the city’s nearly 73,000 residents.

That’s how the idea of a massive mural in a public space was born.

“We wanted it to reflect a very clear and distinct message of what sustainable development means for a regional city such as Kalamata,” Papaefstathiou said. “We wanted to create an image that combines the humble products of the land, such as olives and olive oil — which, let’s be honest, are famous all over the world and have put Kalamata on the map — with the high-level art.”

“By bringing together what is very elevated with ... the humbleness of the land, our aim was to empower the people and, in doing so, strengthen their identity. We want them to be proud to be Kalamatians.”

Southern Greece has faced heatwaves, droughts and wildfires in recent years, all of which affect the olive groves on which the region’s economy is hugely dependent.

The image chosen to represent the city was Maria Callas, widely hailed as one of the greatest opera singers of the 20th century and revered in Greece as a national cultural symbol. She may have been born in New York to Greek immigrant parents, but her father came from a village south of Kalamata. For locals, she is one of their own.

This connection is also reflected in practice: the alumni association at Kalamata’s music school is named for Callas, and the cultural center houses an exhibition dedicated to her, which includes letters from her personal archive.

Artist Kleomenis Kostopoulos, 52, said the mural “is not actually called ‘Maria Callas,’ but ‘Kalamata’ and my attempt was to paint Kalamata (the city) allegorically.”

Rather than portraying a stylized image of the diva, Kostopoulos said he aimed for a more grounded and human depiction. He incorporated elements that connect the people to their land: tree branches — which he considers the above-ground extension of roots — birds native to the area, and the well-known agricultural products.

“The dress I create on Maria Callas in ‘Kalamata’ is essentially all of this, all of this bloom, all of this fruition,” he said. “The blessed land that Kalamata itself has ... is where all of these elements of nature come from.”

Creating the mural was no small feat. Kostopoulos said it took around two weeks of actual work spread over a month due to bad weather. He primarily used brushes but also incorporated spray paint and a cherry-picker to reach all edges of the massive wall.

Papaefstathiou, the deputy mayor, said the mural has become a focal point.

“We believe this mural has helped us significantly in many ways, including in strengthening the city’s promotion as a tourist destination,” he said.

Beyond tourism, the mural has sparked conversations about art in public spaces. More building owners in Kalamata have already expressed interest in hosting murals.

“All of us — residents, and I personally — feel immense pride,” said tourism educator Dimitra Kourmouli.

Kostopoulos said he hopes the award will have a wider impact on the art community and make public art more visible in Greece.

“We see that such modern interventions in public space bring tremendous cultural, social, educational and economic benefits to a place,” he said. “These are good springboards to start nice conversations that I hope someday will happen in our country, as well.”