Legend

IRON Maiden rocker Bruce Dickinson says he took up fencing to help him fend off sex-hungry groupies. 

The heavy metal star, 67, turned to the sword-fighting sport to keep a clear mind — but ended up as one of Britain’s best competitors. 

Run to the Hills singer Bruce — worth about £100million – was at one point ranked No7 in the UK and an outside contender for the Olympics. 

He tried fencing as a teenager and then took it up as a hobby in 1983 to distract himself from the temptations of sex, booze and drugs after finding fame. 

He spent months training with Team GB and represented a semi-pro club.  

Asked why he picked up the blade, he told Classic Rock mag: “I was busy sh*****g everything that moved and none of it was healthy.  

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“I remember something that (The Who guitarist) Pete Townshend once said about groupies — ‘The moment you realise you can click your finger and manipulate people into having sex with you, that’s the moment you’re going down the slippery slope’. 

“You can’t believe women are throwing themselves at you. You think, ‘Well this is nice’. And it is. It’s f*****g great. But there’s a dark side to this.  

“Where do you stop? When does it become a prop, like alcohol or cocaine?

“So that’s when I started doing extracurricular activities like fencing.  

“I was thinking, ‘I’ve got to do something to keep my brain clean’.”  

Bruce, also a qualified pilot who flies Iron Maiden’s private 747 on tour, still takes part in fencing competitions for his age group.  

The band has sold more than 130million albums since forming in London in 1975. 

ROCK legend Jon Bon Jovi is the next big name star to join CBeebies Bedtime Story slot.

And he uses his stint to share a loving message about his new granddaughter.

Jon has gushed about his new family role since his son Jake Bongiovi and wife Millie Bobby Brown adopted a baby girl.

The Bon Jovi singer said: “Some of my favourite things in life are music and being a grandad – or as I like to say,‘papa’ – and going on adventures.

“When my grandchildren are a little older, I can’t wait to take them on amazing adventures.

“Music has played a part in all of my kids’ childhoods and I’m looking forward to watching my children become parents and seeing our grandchildren become part of our lives.

Read more on Jon Bon Jovi

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 “It’s not about what I’m going to teach my grandchildren, but what they’re going to teach me!”

The TV storytelling gig has welcomed everyone from Harry Styles to Idris Elba to the bedtime armchair.

Jon has chosen to read his friend Paul McCartney’s book Hey Grandude! tomorrow night (Friday 7 November) at 6.50pm on CBeebies and BBC iPlayer.

He added: “I picked Hey Grandude! because it’s written by the great Paul McCartney, singer, songwriter, storyteller.

“He’s someone I’ve always admired and looked up to, not just for his music but for his parenting and grandparenting skills. He’s a dear friend and someone we all admire.”

Jon will also feature in an episode of the CBeebies Parenting Helpline podcast, out November 27 on the CBeebies Parenting website and BBC Sounds.

He will pose a question about when (and when not) to give parenting advice to your own children.

Michelle Gayle played Hattie Tavernier in the BBC One soap and also had a pop career – and, unbelievably, she hardly seems to have changed more than 30 years later

EastEnders’ Michelle Gayle appears to have defied the ageing process, looking as youthful as ever despite her stint on the BBC One soap being more than three decades ago. The London-born actress, now 54 years old, was part of the groundbreaking Tavernier family – the first Black family to join the soap.

Her character, Hattie, was a waitress and then Ian Beale’s PA at his catering company, The Meal Machine. She was a hit with EastEnders viewers, navigating through intense storylines involving miscarriage and sexual harassment – famously kneeing Ian in the groin. She also frequently clashed with Cindy, Ian’s wife, who was jealous of their close working relationship.

But the star left Albert Square in 1993 to pursue a music career, enjoying seven top 40 singles on the UK Singles Chart, including hits like Sweetness, Looking Up and Do You Know. She also released two top 40 albums before parting ways with her record company in 1997.

Michelle stepped out at a charity ball last year, looking super-glamorous as she sported a black satin dress paired with a chic black bag, red lipstick and gold earrings, posing against a beautiful floral backdrop.

Previously, Michelle had set X, formerly Twitter, buzzing with her age-defying photos, prompting comments such as: “I’ve literally just had to google how old you are……as you look about 20! ! You look amazing! ! X,” and, “There is no way you’re in the 50+ bracket! ! My goodness.”

She went on to appear on stage at Mighty Hoopla 2024 at London’s Brockwell Park, singing a few of her biggest hits.

After EastEnders, Michelle made a return to television, making guest appearances on Doctors and Holby City, before landing a role in Channel 5’s short-lived soap Family Affairs in 2005. She’s also been a familiar face on various reality TV shows, such as ITV’s Reborn In The USA, where she competed against 80s popstars Sonia and Tony Hadley, and Channel 4’s The Games.

In 2007, she became a guest panellist for ITV’s Loose Women and ventured into writing in 2011, releasing her debut novel titled Pride and Premiership.

In 2019, she went on to play the role of Hermione Granger in the West End production of the play Harry Potter and the Cursed Child. At the time, Michelle revealed the hardest part of her job was her unusual working hours, saying: “My ‘weekend’ is Monday and Tuesday and all my friends outside of the show are working.”

She was married to ex-professional footballer Mark Bright for 13 years, and they have a son, Isaiah, together. Michelle also has another son, Luke.

ON Christmas Eve, 1956, a 15-year-old boy heads due south on a five-hour Greyhound Bus journey from his home in Hibbing, Minnesota.

Arriving in the state capital, Saint Paul, he meets up with two summer camp friends and they go to a shop on Fort Road called Terlinde Music.

Styling themselves as The Jokers, the fledgling trio record a rowdy, rudimentary 36-second rendition of R&B party hit Let The Good Times Roll and a handful of other covers.

The boy, with his chubby cheeks and hint of a rock and roller’s quiff, leads the way on vocals and piano.

Already enthralled by popular sounds of the day from Elvis Presley to Little Richard and the rest, he is now in proud possession of a DIY acetate — his first precious recording.

His name is Robert Allen Zimmerman, Bobby to his family and friends.

LEGEND GONE

Bob Dylan bandmate dies aged 83 after blues musician backed star to go electric

DULCIE PEARCE

Bob Dylan’s story is brought to life in star-studded A Complete Unknown

Less than seven years later, on October 26, 1963, as Bob Dylan, he takes to the stage in the manner of his folk hero Woody Guthrie, now adopting an altogether more lean and hungry look.

Acoustic guitar and harmonica are his only props as he holds an audience at New York City’s prestigious Carnegie Hall in the palms of his hands.

He performs his rallying cries that resonate to this day — Blowin’ In The Wind, The Times They Are A-Changin’, A Hard Rain’s A-Gonna Fall.

He calls out the perpetrators of race-motivated killings with The Lonesome Death Of Hattie Carroll and Only A Pawn In Their Game.

He dwells on matters of the heart by singing Don’t Think Twice, It’s All Right and Boots Of Spanish Leather.

His 1956 schoolboy shindig and the Carnegie Hall concert, presented in full for the first time, bookend the latest instalment in Dylan’s endlessly captivating Bootleg Series.

Titled Through The Open Window, it showcases an artist in a hurry as he sets out on his epic career.

“I did everything fast,” he wrote in his memoir, Chronicles Vol.1, about his rapid transformation. “Thought fast, ate fast, talked fast and walked fast. I even sang my songs fast.”

But, as he continued: “I needed to slow my mind down if I was going to be a composer with anything to say.”

Among the myriad ways he achieved his stated aim, and then some, was by heading to the quiet surroundings of New York Public Library and avidly scouring newspapers on microfilm from the mid-1800s such as the Chicago Tribune and Memphis Daily Eagle, “intrigued by the language and the rhetoric of the times”.

He’d fallen under the spell of country music’s first superstar Hank Williams — “the sound of his voice went through me like an electric rod”.

Dylan affirmed that without hearing the “raw intensity” of songs by German anti-fascist poet-playwright Kurt Weill, most notably Pirate Jenny, he might not have written songs like The Lonesome Death Of Hattie Carroll.

Then there was Mississippi Delta bluesman Robert Johnson, who Dylan likened to “the scorched earth”. “There’s nothing clownish about him or his lyrics,” he said. “I wanted to be like that, too.”

‘Did everything fast’

We’ll hear more later about the man considered to be his primary early influence, Woody Guthrie, the “Dust Bowl Balladeer” who wielded a guitar emblazoned with the slogan “This machine kills fascists”.

And about leading Greenwich Village folkie Dave Van Ronk, known as the “Mayor Of MacDougal Street”, who had Dylan’s back from the moment he first saw him sing.

On two occasions in recent years, I’ve had the privilege of talking to Joan Baez, the unofficial “Queen” to Dylan’s “King” of the American folk scene in the early Sixties.

She championed him as he made his way, frequently bringing him on stage, their duets on his compositions like With God On Our Side revealing rare chemistry.

They also became lovers as Bob’s relationship with Suze Rotolo, the girl on the cover of the Freewheelin’ album, crumbled.

“He was a phenomenon,” Baez told me in typically forthright fashion. “I guess somebody said, ‘There’s this guy you gotta hear, he’s writing these incredible songs.’

“And he was. His talent was so constant that I was in awe.”

A leading figure in the civil rights movement, who marched with Martin Luther King, Baez added: “It was a piece of good luck that his music came along when it did. The songs said the things I wanted to say.”

But she finished that reflection by saying, tellingly: “And then he moved on.”

For Dylan, now 84, has forever been a restless soul, “moving on” to numerous incarnations — rock star, country singer, Born Again evangelist, Sinatra-style crooner, old-time bluesman, you name it.

In the closing paragraph of Chronicles, he admitted: “The folk music scene had been like a paradise that I had to leave, like Adam had to leave the garden.”

But it is that initial whirlwind period, 1956 to 1963, centred on bohemian Greenwich Village and the coffee shops where young performers got their breaks which forms Volume 18 of the Bootleg Series.

Through The Open Window is available in various formats including an eight-CD, 139-track version, and has been painstakingly pieced together by co-producers Sean Wilentz and Steve Berkowitz.

And it is from Wilentz, professor of American history at Princeton University and author of the liner notes accompanying this labour of love, that I have gleaned illuminating insights.

I can’t think of too many modern artists of his stature, if any, who developed that rapidly

Sean Wilentz

He begins with the arc of Dylan’s development, first as a performer, then as a songwriter, during his early years.

Wilentz says: “He came to Greenwich Village in 1961 with infinite ambition and mediocre skills. By the end of that year, he had learned how to enter a song, make it his own, and put it over, brilliantly.

“By the end of 1962, he had written songs that became immortal, above all Blowin’ In The Wind and A Hard Rain’s A-Gonna Fall.

“By the time of the Carnegie Hall concert in 1963, the capstone to Through The Open Window, his songwriting had reached the level we can recognise, that would eventually lead to the Nobel Prize.

“And his performance style, for the thousands in that hall, was mesmeric. I can’t think of too many modern artists of his stature, if any, who developed that rapidly.”

One of the show’s striking aspects is the lively, often comical, between-song banter. (Yes, Dylan did talk effusively to his audiences back then. Not so much these days.)

In order to assemble Through The Open Window, Wilentz and Berkowitz had “more than 100 hours of material to draw on, maybe two or even three hundred”.

Their chief aim was to find a way to best illuminate “Bob Dylan’s development, mainly in Greenwich Village, as a performer and songwriter”.

But, adds Wilentz: “Several factors came into play — historical significance, rarity, immediacy and, of course, quality of performance.

‘Good taste in R&B’

“We hope, above all, that the collection succeeds at capturing the many overlapping levels — personal, artistic, political and more.”

Though noting Dylan’s inspirations, Woody, Elvis and the rest, Wilentz draws my attention to “a bit of free verse” written by Bob in 1962 called My Life In A Stolen Moment, which suggests nothing was off limits.

“Open up yer eyes an’ ears an’ yer influenced/an’ there’s nothing you can do about it.”

This is our cue to take a deep dive into the mix of unheard home recordings, coffeehouse and nightclub shows as well as studio outtakes from Dylan’s first three albums for Columbia Records — his self-titled debut, The Freewheelin’ Bob Dylan and The Times They Are A-Changin’.

Of the first track, that primitive take on Let The Good Times Roll, Wilentz says: “Dylan and the other two were obviously enthusiastic, and they had good taste in doo-wop and R&B.

“But if you listen closely, you can hear Dylan, on piano, calling things to order and pushing things along, the catalyst, the guy we know from other accounts who was willing to take more risks onstage.”

I ask Wilentz what he considers the most significant previously unreleased discoveries and he replies: “Most obviously Liverpool Gal from 1963, as it’s a song even the most obsessive Dylan aficionados have known existed but had never heard.

“He only recorded it once, at a friend’s party, and it’s stayed locked away on that tape until now.

Dylan was producing so much strong material that some of it was inevitably laid aside

Sean Wilentz

“While not Dylan at his peak, it’s a fine song. It’s significant lyrically, not least as testimony to his stay in London at the end of 1962 and the start of 1963. That stay had a profound effect on his songwriting, and one gets a glimpse of it here.”

Also included is near mythical Dylan song The Ballad Of The Gliding Swan, which he performed as “Bobby” in BBC drama Madhouse On Castle Street during his trip to Britain.

The only copy of the play set in a boarding house was junked by the Beeb in 1968 but this 63-second audio fragment survives.

Of even earlier recordings, Wilentz says: “I’m drawn to Ramblin’ Round.

“Although known (in his own words) as a Woody Guthrie jukebox, Dylan has never released a recording of himself performing a Guthrie song.

“Here he is, in an outtake from his first studio album, handling a Guthrie classic, and with a depth of feeling that shows why his earliest admirers found him so compelling.”

Wilentz considers other treasures: “There’s an entire 20-minute live set from Gerdes Folk City from April, 1962, concluding with Dylan’s first public performance of Blowin’ In The Wind.

“Then there are two tracks of singular historic importance, the first known recordings, both in informal settings, of two masterpieces, The Lonesome Death Of Hattie Carroll and The Times They Are A-Changin’.”

If these versions shed fresh light on classics, let’s not forget the great Dylan songs that didn’t make it on to his albums, so great was the speed he was moving.

Does Wilentz find it staggering that songs like Let Me Die In My Footsteps and Lay Down Your Weary Tune were discarded?

“Yes and no,” he answers. “Yes, because these are powerful songs that were left largely unknown for years.

“No, because Dylan was producing so much strong material that some of it was inevitably laid aside.

‘Literary genius’

“Sometimes intervening factors kicked in. Take the four songs that, for business and censorship reasons, got cut from Freewheelin’ and replaced with four others.

“The album was actually better in its altered form, including songs like Girl From The North Country.

“But that’s how Let Me Die In My Footsteps was lost, along with a lesser-known song I love that we’re happy to include, Gamblin’ Willie’s Dead Man’s Hand, as well as an amazing performance of Rocks And Gravel.”

So, we’ve heard about songs but who were the key figures surrounding Dylan during his formative years?

Wilentz says: “Among the folk singers, Van Ronk most of all, and Mike Seeger, about whom he writes with a kind of awe in Chronicles.

“There was the crowd around Woody Guthrie, including Pete Seeger (‘Mike Seeger’s older brother,’ he calls him at one point) and Ramblin’ Jack Elliott.”

He singles out producer John Hammond, “for signing him to Columbia Records and affirming his talent.

“But most important of all there was Suze Rotolo, who was a whole lot more, to Dylan and the rest of the world, than the girl on the cover of The Freewheelin’ Bob Dylan.”

Finally, I ask Wilentz why the singer felt uncomfortable at being labelled king of the folk movement, “the voice of a generation” if you like.

“People misread Dylan from all sides,” he argues. “Never a protest singer in the mould of Guthrie or Seeger, even though he worshipped Guthrie and admired the left-wing old guard by the time he turned up.

“But Dylan wasn’t one of them, though he sympathised, in a humane way, with victims of injustice.”

Dylan’s work springs from a matrix that is emotional, filtered through his literary genius

Sean Wilentz

Wilentz believes the recent biopic A Complete Unknown, with Timothee Chalamet making a decent fist of portraying the young Dylan, “is a little misleading”.

He says: “It wasn’t Dylan’s ‘going electric’ that pissed off the old guard and their younger equivalent as much as his moving beyond left-wing political pieties.

“Hence the song My Back Pages, from 1964: ‘Ah but I was so much older then/I’m younger than that now.’”

Wilentz concludes: “Dylan’s work springs from a matrix that is emotional, filtered through his literary genius.

“It was impossible for someone like him, living through those two years (1962-63), not to respond to the politics in an artistic way.

“How, if you were Bob Dylan, could you not respond to the civil rights struggle, the killing of Medgar Evers (Only A Pawn In Their Game) or Hattie Carroll, as well as the spectre of nuclear annihilation?

“Dylan had a lot to say, but he was never going to be the voice of anyone but himself.”

Maybe he’d already explained himself on Don’t Think Twice, It’s Alright:

“When your rooster crows at the break of dawn

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Look out your window and I’ll be gone.”

BOB DYLAN

Through The Open Window
The Bootleg Series Vol.18

★★★★★

Hollyoaks fans were left floored at a cameo in the soap’s Brookside crossover episode

Hollyoaks delivered a spectacular crossover episode with Brookside, leaving viewers spotting a truly remarkable cameo appearance.

E4 broadcast a special one-off Brookside episode on October 22, marking the legendary soap’s return to television after a 22-year absence to commemorate Hollyoaks‘ milestone 30th anniversary.

Soap enthusiasts were delighted with a nostalgic journey as iconic characters made their comeback to Brookside Close, featuring Ricky Tomlinson, Sue Johnston, Paul Usher, Philip Olivier, Suzanne Collins, Michael Starke, Louis Emerick and John McArdle.

Both cherished Channel 4 series were the brainchild of Grange Hill genius Sir Philip Redmond, with Brookside later serving as inspiration for the Chester-based Hollyoaks.

In a masterstroke, Sir Philip himself appeared in the Channel 4 drama on Wednesday, reports the Manchester Evening News.

The scene unfolded when Mick Johnson (Louis Emerick) made his return to Brookside Close following a lift from Chester courtesy of Thomas Sweeney, better known as Sinbad, portrayed by Michael Starke.

Whilst taxi driver Sinbad reconnected with former neighbours Nikki Shadwick (Suzanne Collins) and Tinhead (Philip Olivier), an enigmatic figure strolled down the street.

Nikki questioned Sinbad: “Is that your fare?”, to which he swiftly replied: “I think so, yeah.”

Sir Philip then enquired: “You going to Chester, mate?”, prompting Sinbad to ask: “You’re not from around here, are you?”.

In a touching tribute to bygone days, Sir Philip responded: “Used to be, but you know. Do you know the Dog In The Pond pub?”. “There’s been a big to-do there today”, Sinbad chimed in as Sir Philip, cheekily replied: “Story of my life, mate. From one drama to another.”

Fans of Hollyoaks and Brookside were quick to express their delight at seeing the soap’s creator, Sir Philip, make an appearance on screen.

One fan took to X to share their thoughts, writing: “Had to watch the #Hollyoaks #Brookside mashup. Phil Redmond’s cameo is genius especially the “… one drama to another” line. I join the call to bring back #Brookie!”.

Another viewer exclaimed: “Phil Redmond cameo! #Brookside #Hollyoaks #Hollyoaks30.”

A third added: “Omg Phil Redmond making a cameo too, omg, i cannot cope! So proud to be scouse right now #hollyoaks #brookside.

“This is just too good. Mick, Sinbad, Sheila, Tinhead, Nikki, Bobby, actual Phil Redmond! #Hollyoaks #Brookside”, one fan gushed.

“Phil Redmond saying “from one drama to another”.. see what he did there! Brilliant! ! #Hollyoaks #Brookside”, another fan pointed out.

The Hollyoaks and Brookside Crossover is available to stream on Channel 4.com

SAM Rivers, bassist for rock-rap group Limp Bizkit, has died aged 48, according to an emotional statement from the band.

His fellow band members paid tribute to their “brother” on social media after he passed away on Saturday evening.

Announcing the news to fans on Instagram, the band wrote: “In Loving Memory of Our Brother, Sam Rivers. Today we lost our brother.

“Our bandmate. Our heartbeat. Sam Rivers wasn’t just our bass player — he was pure magic.

“The pulse beneath every song, the calm in the chaos, the soul in the sound.”

They added: “From the first note we ever played together, Sam brought a light and a rhythm that could never be replaced.

“His talent was effortless, his presence unforgettable, his heart enormous. We shared so many moments — wild ones, quiet ones, beautiful ones — and every one of them meant more because Sam was there.”

“He was a once-in-a-lifetime kind of human. A true legend of legends,” the statement continued.

“And his spirit will live forever in every groove, every stage, every memory.”

The band concluded: “We love you, Sam. We’ll carry you with us, always. Rest easy, brother. Your music never ends. — Fred, Wes, John & DJ Lethal.”

The 48-year-old’s cause of death is yet to be revealed.

In 2015, Rivers left the band after being diagnosed with liver disease due to excessive drinking.

He revealed that he had undergone a liver transplant before rejoining the band in 2018.

Rivers was a founding member of Limp Bizkit, having formed the band with Fred Durst and John Otto in 1994.

The band then added guitarist Wes Borland and DJ Lethal in 1996.

The group dropped six albums, including critically-acclaimed “Significant Other” and “Chocolate Starfish and the Hot Dog Flavored Water”.

Rivers has played on all six albums, four of which have been certified platinum or multi-platinum.

Limp Bizkit are best known for songs including “Behind Blue Eyes” and “Take a Look Around.”

Diane Keaton, the actress who starred in some of the biggest movies of the last half-century, including the “Godfather” and “Annie Hall,” while serving as a style trend-setter and a champion of Los Angeles’ past, has died. She was 79.

Her death was first reported by People and confirmed by The New York Times.

In an extraordinary run during the 1970s when she was dominant, her career spanned the high points of American cinema: Francis Ford Coppola’s mafia saga and several of Woody Allen’s urbane comedies, climaxing in an Oscar win for her culture-changing turn as the title character in 1977’s “Annie Hall.” Keaton’s catchphrase, “Well, la-di-dah,” became iconic.

Over her career, she received four Oscar nominations for lead actress, winning for “Annie Hall.”

Born in Southern California, Keaton achieved fame in the 1970s through her frequent collaborations with Woody Allen and Francis Ford Coppola. She appeared in three “Godfather” movies as well as eight Allen films. Her star turn as Annie Hall earned her critical raves and made her a fashion icon of the era with Annie’s fedora hats, vests, ties and baggy pants. The Times once called her look “fluttery, vulnerable, almost unbearably adorable.”

“Annie’s style was Diane’s style — very eclectic,” designer Ralph Lauren said in a 1978 story in Vogue, soon after the movie came out. “She had a style that was all her own. Annie Hall was pure Diane Keaton.”

She was often asked if she got tired of the notoriety “Annie Hall” brought her, including the magazine covers, think pieces and fashion homages.

“No, I’m not. Everything is because of ‘Annie Hall’ with Woody. He has a great ear for women’s voices. I’m so grateful to him; he really gave me an opportunity that changed my life,” she told The Times in 2012. “I’m never disappointed about people talking to me about ‘Annie Hall.’ But I will say, a lot of people don’t know ‘Annie Hall’ exists, and that’s just the way it goes — goodbye! It’s bittersweet.”

She managed to capture the cultural zeitgeist in later films. In 1987, she played a successful businesswoman who upends her life to care for a relative’s baby in “Baby Boom.” In 2003, she won acclaim in “Something’s Gotta Give” for playing a successful writer navigating with romance in her 50s.

Keaton also got Oscar nominations for “Reds” (1982), “Marvin’s Room” (1996) and “Something’s Gotta Give.”

Keaton was a patron of the L.A. arts scene and also gained note as a champion of architecture preservation, remaking grand homes across the region. In collaboration with the Los Angeles Public Library, she edited a book of tabloid photos called “Local News” that ran in the Los Angeles Herald-Express.

In a 2018 interview with The Times, she said she felt privileged to still be working.

“I know what I am by now,” she said. “I know how old I am. I know what my limitations are and what I can and can’t do. So if something appeals to me, I’m definitely going to go for it.”

Later in life, Keaton became a major voice in architecture preservation.

She grew up Santa Ana during the post World War II housing boom in the 1950s and told The Times in an interviews she loved going to open houses with her father

“My father took me to see model homes, which I thought were palaces,” Keaton said.

She began buying and fixing up landmark homes around L.A., especially those of the Spanish colonial style.

“You have to get to know a house and try to keep its integrity. I try to honor the architect,” she said. “I love to go into an empty house. You look at the house and start to feel what it might need.”

“There are so many house treasures, unsung gems, all over Los Angeles,” she said.

Explaining how she came to edit the book of L.A. tabloid photos, Keaton told The Times the L.A. city library came up to her at a swap meet.

The librarian said, ‘There’s these files in the basement of the Central Library’ — the most beautiful building. I took a look. There are books and books to be made out of those images. This is a brilliant archive.”

In recent years, Keaton had become a hit on Instagram, posting photos of architecture, fashion and more. In an interview in 2019, she said she was still very active, eager to work and try new things but was also thinking more about her mortality.

“Of course, you think about it. How can you not?” she said. “I mean, I’m 73. How long do you live? It’s really important what those years are like.”

Keaton death brought tribute across Hollywood and beyond.

“She was a very special person and an incredibly gifted actor, who made each of her roles unforgettable. Her light will continue to shine through the art she leaves behind. Godspeed,” said Nancy Sinatra.

DIEGO COSTA may be retired, but he hasn’t lost any of the fire he showed in his playing days, KICKING OUT at ex-Liverpool right-back Martin Kelly in the Chelsea vs Liverpool legends match.

The ex-Brazil and Spain forward, 37, was running onto a through ball from Eden Hazard, when Kelly came through from behind to win the ball from the physical striker, leaving him furious.

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Costa, still on the floor, decided to lash out at Kelly with his studs, planting a foot into the right-back’s upper leg.

Kelly – who only officially retired from football YESTERDAY – was left furious, and we saw a familiar scene as Costa got to his feet and squared up to the 35-year-old.

Things looked to be diffused, only for Costa to carry on playing before choosing Martin Skrtel as his next target.

The Slovakian defender challenged Costa just minutes later, with the striker still clearly unhappy, and then getting booked for squaring up to Skrtel.

And fans were left less-than-shocked on social media.

Taking to X, one wrote: “Diego Costa being aggressive in a Legends match is the most Diego Costa thing ever.”

Another said: “People don’t really change, and Diego Costa reminding us why.”

A third added: “Diego Costa will always be Diego Costa.”

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Even Eden Hazard weighed in at half-time, saying: “”This guy is still the same, you know. We just saw it.”

THIS IS A DEVELOPING STORY..

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