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Why the Iran war is breaking the US-European strategic alliance

German Chancellor Friedrich Merz, French President Emmanuel Macron, British Prime Minister Keir Starmer and Italian Prime Minister Giorgia Meloni arrive for a press conference at the Elysee Palace in Paris on April 17, 2026. Jeanne Accorsini/Pool/AFP via Getty Images

Days after U.S. and Israeli strikes on Iran began on Feb. 28, 2026, Spanish Prime Minister Pedro Sánchez denied American forces the use of the Naval Station Rota and the Morón Air Base – installations that had hosted U.S. troops for more than 70 years.

“We are a sovereign country that does not wish to take part in illegal wars,” Sánchez said. U.S. President Donald Trump responded by threatening a full trade embargo against Spain.

Weeks later, Italian Prime Minister Giorgia Meloni – Trump’s closest European ally and the only EU head of government invited to his second inauguration – broke publicly with Washington.

“When we don’t agree, we must say it,” she said. “And this time, we do not agree.” Rome then refused to let U.S. bombers refuel at a base in southern Italy.

These are not minor diplomatic frictions. As a scholar of alliance politics and nuclear security, I see something much larger than a tactical disagreement. The Iran war’s most consequential casualty may not be in Tehran. It may be American credibility as an ally, and with it, the trans-Atlantic alliance itself.

The Iraq comparison misleads

The initial U.S. and Israeli strikes on Iran were launched with virtually no advance consultation with European allies. The Trump administration treated NATO partners not as participants in strategic decision-making but as logistical infrastructure to be commandeered or punished for refusing assistance.

European governments, even those most invested with the U.S., declined to join the campaign. The Trump administration has responded with the embargo threat against Spain and the withdrawal of 5,000 U.S. troops from Germany.

“The U.S.A. will REMEMBER!!!” Trump posted on Truth Social on March 31, 2026.

The reflex in Washington has been to read this as a rerun of 2003, when France and Germany opposed the Iraq War. In January 2003, Defense Secretary Donald Rumsfeld dismissed France and Germany as “old Europe” while courting the postcommunist “new Europe,” including Poland, the Czech Republic and Hungary.

On the surface, the parallel is tempting: a unilateral American war in the Middle East, European refusal to participate, trans-Atlantic recriminations.

Protestors carry three posters depicting lawmakers with crowns on their heads.
Protesters against the Iran war carry placards in Rome on March 28, 2026, depicting U.S. President Donald Trump, Italy’s Prime Minister Giorgia Meloni and Israeli Prime Minister Benjamin Netanyahu.
Tiziana Fabi/AFP via Getty Images

But the comparison conceals more than it reveals. In 2003, the United States wanted Europe in its coalition. The George W. Bush administration sought United Nations authorization, courted allies and treated European refusal as a problem to be managed.

In 2026, the Trump administration explicitly does not want European input. It views allies as freeloaders and threatens them with economic coercion. It treats their hesitation as cause for retribution rather than negotiation.

The deeper difference is structural. In 2003, the trans-Atlantic alliance still rested on shared commitments to collective defense, open trade and an international, rules-based order.

Today, the Trump administration does not share the commitments that traditionally bound the United States to its European partners, whether on NATO, the Russia-Ukraine war, or the rules governing trade and migration.

The shared values that papered over the Iraq disagreement in 2003, and that allowed President Nicolas Sarkozy to reintegrate France into NATO’s command by 2009, are no longer there to do the work of repair.

The April 2026 collapse of Viktor Orbán’s 16-year rule in Hungary left Trump without a serious political ally among major European governments.

The real precedent is Suez

A more illuminating precedent lies further back. In 1956, Britain and France went to war with Egypt over the Suez Canal, in coordination with Israel, deliberately concealing their plans from the Eisenhower administration. Washington responded by threatening to crash the British pound, forcing London and Paris into humiliating retreat.

The crisis is conventionally remembered as the moment Britain accepted that it was no longer an independent great power.

But its more important legacy was strategic. Suez exposed the depth of Europe’s dependence on the United States. That humiliation drove Charles de Gaulle’s pursuit of an independent French nuclear deterrent. It also accelerated European integration and planted the recognition that genuine strategic autonomy would be a generational project.

The Iran war inverts the conditions of that lesson. In 1956, Europeans learned that they could not act independently of Washington. In 2026, they are learning that they cannot rely on Washington’s consent being available, and that the U.S. will act without them, against their stated interests and at their economic expense.

Two men in suits and ties talk while seated in front of a table.
Secretary of State John Foster Dulles, left, and President Dwight Eisenhower discuss the nationalization of the Suez Canal by the Egyptian government in August 1956 at the White House.
Abbie Rowe/PhotoQuest via Getty Images

The pattern is the same: Dependence on the U.S. is unsustainable, and autonomous capacity is no longer optional. What has changed is that Europe is now willing to use the financial, economic and military tools it has long possessed in ways it would not have considered before.

The EU’s €90 billion joint-debt loan to Ukraine signals an autonomous European strategic stance. So do discussions of activating the bloc’s anti-coercion trade instrument against U.S. tariffs, France’s nuclear arsenal expansion and offers to “Europeanize” deterrence.

The strategic postures were debated for decades. The Iran war is making them operational.

This is not yet European strategic independence. Europe remains militarily reliant on U.S. air defense, satellite capacity and intelligence.

The closure of the Strait of Hormuz, for example, has forced an uncomfortable energy reckoning with American liquefied natural gas, Russian pipelines, Middle Eastern hydrocarbons and Chinese-dominated renewable supply chains. None of the available paths to energy security run through trusted partners.

France and Germany still disagree on nearly every detail of how integration should proceed. But the political condition for autonomy, a shared European belief that Washington can no longer be trusted to share strategic decision-making, has crystallized in a way that no previous crisis produced.

The post-1945 trans-Atlantic bargain traded U.S. security guarantees for European deference on global strategy. Iraq 2003 strained that bargain. Trump’s first term cracked it, and the Iran war has broken it.

What replaces it will not be a renewed partnership. It will be a parallel relationship between two powers with sometimes overlapping interests and, increasingly, separate strategic horizons.

In 1956, Europe learned how dependent it was on Washington. In 2026, it is learning that dependence is no longer sustainable.

Eleni Lomtatidze, a student in the International Relations Program at the University of Pennsylvania and at SciencesPo Paris, contributed to this story.

The Conversation

Farah N. Jan does not work for, consult, own shares in or receive funding from any company or organization that would benefit from this article, and has disclosed no relevant affiliations beyond their academic appointment.

​Politics + Society – The Conversation

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Food

Don’t Throw Away Your Wine Bottles – Turn Them Into Practical DIY Garden Hose Guides

Watering plants can be perilous if you have delicate herbs or veggies that get trampled by your hose. Use wine bottles to create a hose-guide for your garden.

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Music

Watch Blake Shelton Honor Don Schlitz With ‘The Gambler’ at ACMs

Blake Shelton closed the 2026 ACM Awards with an emotional performance of “The Gambler” honoring legendary songwriter Don Schlitz. Continue reading…​The Boot – Country Music News, Music Videos and Songs

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Music

Watch Blake Shelton Honor Don Schlitz With ‘The Gambler’ at ACMs

Blake Shelton closed the 2026 ACM Awards with an emotional performance of “The Gambler” honoring legendary songwriter Don Schlitz. Continue reading…​Country Music News – Taste of Country

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Hip Hop

‘janet.’: Getting Up Close And Personal With Janet Jackson

Janet Jackson Janet album cover web optimised 820

Janet Jackson was a 16-year-old ingénue when she began her solo recording career at A&M Records in 1982. Though she scored a couple of Top 10 US R&B hits (the dancefloor grooves of 1982’s “Young Love” and ’84’s “Fast Girls”), it didn’t look like she would be able to emulate the phenomenal chart triumphs of her elder brother Michael, eight years her senior, whose popularity had reached new heights after the release of his blockbusting 1982 LP, Thriller. Certainly, no one expected her next move to kick-start a run of US No.1 albums that included 1985’s Control, 1987’s Janet Jackson’s Rhythm Nation 1814, and 1993’s transatlantic chart-topper, janet.

Things changed for the 19-year-old singer when she teamed up with writing and production duo Jimmy “Jam” Harris and Terry Lewis, former members of Minneapolis funk group The Time, who had helmed big US R&B hits for The SOS Band (“Just Be Good To Me”), Force MDs (“Tender Love”), Cherrelle (“I Didn’t Mean To Turn You On”), and Alexander O’Neal (“Innocent”). Though Jam and Lewis had a proven track record of delivering hits, nothing in the music industry is guaranteed, and for Janet Jackson, who was dissatisfied with her previous records, it felt like the last chance saloon, as she told this writer in 2001: “That was a point where it was like a crossroads for me in my career. If it wasn’t going to pan out, I was going to go back to school to study business law, but I thought I would try music one more time.”

This time, though, Janet desired a fresh new approach. “I wanted to do it differently than being handed a piece of music and told, ‘Here, sing this,’ which it was in the past,” she said. “I wanted to express myself, and Jimmy and Terry allowed me to do that. Jimmy and I rode around Minneapolis and we talked about my life and what I had gone through.”

These conversations became the basis for the songs they wrote together for the aptly-titled album Control. Released in January 1986, it topped both the US pop and R&B albums charts, and yielded five American R&B No.1 singles, including “What Have You Done For Me Lately.” At that point, Janet was hotter than her brother, Michael, who had yet to release a follow-up to Thriller.

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Jam and Lewis had unlocked the real Janet Jackson and helped her to realize her potential. “They allowed me to open up to them and express myself,” she said. The new music, including the astounding seven hit singles lifted from Janet Jackson’s Rhythm Nation 1814, ignited a major-label bidding war that saw Virgin Records emerge triumphant for a purported $40 million.

After a four-year gap, janet. emerged on May 18, 1993. As with her two previous albums, it was produced by the dependable Jam and Lewis. Jackson’s rationale for having them on board was simple: “They allowed me to grow, they allowed me to blossom,” she said, “and I love working with them. The relationship that we have is just great. We’re like friends and they’re like brothers to me. We’re very close and I love what we do together. There are no egos involved.” Indeed, all of the credits on janet. – both production and writing – were divided equally between the singer and her two producers.

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Though a cursory glance at janet.’s tracklisting reveals a whopping 28 cuts and seemed to indicate a sprawling sonic extravaganza that took full advantage of the CD format’s 80-minute playing time, in actual fact, there were only 12 proper songs, the rest being short interludes. The music on janet. was much more eclectic than on her previous two albums, shifting from the old-school, shuffle-beat pop-soul of “Whoops Now” to the machine-tooled New Jack Swing of “You Want This.” The guitar-led “What’ll I Do” owed a stylistic debt to rock (though the song also features R&B-style horns), while the thumping dance groove of “Funky Big Band” is peppered with old-time jazz samples.

While there are nods to the past, janet. also looks to the future with a slice of electro trance-dance called “Throb,” which features erotic moans à la Donna Summer on “Love To Love You, Baby.” Hip-hop, then the dominant currency in pop, is referenced on “New Agenda,” which features a noteworthy cameo from rap Public Enemy’s head MC, Chuck D.

Though mostly dominated by energetic dance tracks, janet. does have some moments of repose, especially toward the end of the album. “Again” – a song that appeared in the movie Poetic Justice, in which Janet Jackson appeared, alongside Tupac Shakur – is a fairly conventional R&B ballad that shows the singer’s more sensitive side. “The Body That Loves You,” meanwhile, is jazzier and more sensual, while “Any Time, Any Place” is an R&B-tinged slow jam that digs deeper into an erotic groove.

Without doubt, janet.’s centerpiece was its first single, the mesmeric groove ballad “That’s The Way Love Goes,” which won a Grammy for Best R&B Song. With its subtle, jazzy inflections and infectious chorus the song spent eight weeks at the top of the American pop charts in the summer of 1993 (it reached No.2 in the UK). The song’s success helped to propel the parent album, released in June of that year, straight to the top of the US R&B and pop albums charts. The album sales were staggering and janet. spent 106 weeks on the Billboard 200, eventually being certified sextuple-platinum by the Recording Industry Association Of America.

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While Control was an assertion of self-determination and … Rhythm Nation 1814 represented a critique of social inequity, Janet was a frank and liberating celebration of the singer’s sexuality. Coming from a member of the US’s first family of entertainment, the Jacksons, who had been brought up in the strict Jehovah’s Witness faith, Janet Jackson’s frank exploration of love and sex was shocking to some. But it was fairly tame compared to the singer’s next opus, 1997’s The Velvet Rope, which delved into even darker erotic themes. Even so, janet. represents an important milestone in Janet Jackson’s evolution, both as a person and a recording artist.

Listen to Janet Jackson’s janet. now.

​Discover more about the world’s greatest R&B artists | uDiscover Music

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Music

7 Country Stars Who Skipped the 2026 ACMs

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Blake Shelton Closes ACM Awards With Show-Stopping Tribute Performance of ‘The Gambler’

The 61st Academy of Country Music Awards came to a close with Blake Shelton delivering one of the night’s most memorable moments, honoring beloved Nashville songwriter Don Schlitz, who passed away on April 16, 2026, at age 73 following a “sudden illness.”

The tribute unfolded with an electrifying performance of Kenny Rogers’ classic “The Gambler,” the GRAMMY-winning song penned by Schlitz. As Shelton stepped onto the stage, the screen lit up with vibrant neon signs, perfectly capturing the energy of Las Vegas while setting the tone for a powerful finale.

Blake Shelton ACM Awards
Blake Shelton ACM Awards

Shelton came dressed for the moment as he took the stage and strummed his guitar, filling the entire arena with the iconic song. It was impossible for the fans and fellow artists not to get on their feet and sing along until the very last note.

Released on November 15, 1978 as the title track to Rogers’ album of the same name, the song climbed its way to the top of the country charts and also crossed over onto the pop charts.

Following rehearsals at MGM Grand Garden Arena in Las Vegas, Shelton had reflected on just how meaningful the song has been throughout his life.

“That particular song is like two legends came together and made one of the most important pieces of music in country music history…I would say it’s in the top 10, at least it’s in my top 10 of all time.”

Shelton previously recorded his own version of “The Gambler” in 2006 while working in the studio with renowned producer Bobby Braddock. Leading up to the ACM Awards, he also released a cover of the song exclusively on Amazon Music in honor of the performance.

The Oklahoma native, who is currently in the midst of his Las Vegas residency, brought the night to a memorable close with the tribute that celebrated the lasting legacy of both Schlitz and Rogers.

His residency will pick back up at The Colosseum at Caesars Palace for the final shows on May 21 and 24.

2026 ACM Awards Performance Lineup

The 61st Academy of Country Music Awards also featured performances by Avery Anna, Carter Faith, Cody Johnson, Dan + Shay, Ella Langley, Jordan Davis, Kacey Musgraves, Kane Brown, Lainey Wilson, Little Big Town, Miranda Lambert, Riley Green, The Red Clay Strays, Thomas Rhett, Tucker Wetmore, and Zach Top.

Other highlights include collaborations between Thomas Rhett and Jordan Davis and Parker McCollum and Lee Ann Womack.

Ashley McBryde, Keith Urban, Lauren Alaina, Michael Bublé, Shaboozey, The War And Treaty, and TJ Osborne were among the night’s many presenters.

Shania Twain hosted the nearly 2.5 hour event, which streamed live to a global audience in over 240 countries and territories exclusively on Prime Video. The show returned to Las Vegas and aired from the MGM Grand Garden Arena.

A complete list of winners can be found HERE

The post Blake Shelton Closes ACM Awards With Show-Stopping Tribute Performance of ‘The Gambler’ appeared first on Country Now.

​Country Now

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