proves

LEE Andrews’ lies, mistruths and mystery disappearance have captivated the nation following his flash wedding to Katie Price in January.

Accusations of fraud, gaslighting and emotional abuse have been levelled at him by ex-partners in recent months, all of who fell under his smooth-talking spell and promises of a happy future and financial riches.

Back in March, I became the first newspaper journalist to interview Lee following his emergence as Katie’s new man.

I held out little hope of it taking place when my initial request via WhatsApp was met with weeks of silence.

But then, out of the blue, Lee replied that he was keen to chat and to quash the ‘lies’ that had been spread about him.

I believe he was either that confident in his powers of persuasion that he could brazenly talk himself out of the numerous question marks around his lavish lifestyle and career, or that he viewed me as a useful idiot who could be hoodwinked into washing his tarnished reputation — perhaps a combination of the two.

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We set a date to talk the following week, but when the time came Lee revealed he was struggling with illness and would need to reschedule.

The interview was then postponed twice more with Lee still under the weather and, at this stage, it felt like I was being strung along, destined for the same fate as the Good Morning Britain producers who tried to land him for a TV interview months later.

To my surprise, he eventually made it onto the Zoom call on Friday, March 26, speaking from inside a Dubai branch of Caffé Nero.

Tanned and with salt and pepper stubble, he wore a baseball cap and T-shirt and sounded like someone coping with the last remnants of a cold.

I found him to be amiable, relaxed and open to being grilled on subjects that I thought would make him uneasy.

Off the bat I asked if he was a fantasist and compulsive liar, which he dismissed with a chuckle, telling me the claims were “comical and spin”.

For over an hour we went through everything from his dodgy CV, which he claimed was the result of errors from an unnamed personal assistant, his desire to start a family with Katie and plans for a lavish second wedding, his ability to speak multiple languages (with some muddling examples) as well as serious allegations from his ex-partners, which Lee likened to “barking dogs”.

There was also lots of business talk, full of wordy jargon that I can only assume was designed to impress and baffle someone not au fait with the workings of a cutting edge tech firm.

At the end of it all, we thanked each other and said our goodbyes.

The following day, the story ran in the paper with the humorous tag line: “I don’t really like liars myself. I do everything with honesty (just don’t look too closely at his CV).”

It was perfectly befitting of the ridiculousness of the story at the time, before even more ludicrous claims came to light including Lee’s attempt to buy Chelsea Football Club and boasts about being an international arms dealer.

But I expected Lee might not see it the same way I did and the next day I was proved right when he messaged me to say: “I don’t appreciate the pictures your edit team have used or the way the article has been written.”

I politely explained that we had a duty to examine the various claims against him, that a light touch of light humour was to be expected and that there was no malice in the framing.

His follow up surprised me.

Rather than pushing back, or at least further pleading his innocence on the accusations about his wealth and past relationships, Lee reiterated that his biggest issue was with his looks.

He simply said: “I don’t like the photo at all.”

The photos in question were a selection of unedited grabs from the Zoom call, a fair reflection on Lee through the course of the interview.

What struck me at the time, and even more so now in light of his disappearance and ghosting of wife Katie, is how his visual portrayal seemingly mattered more than any harm caused to others by his actions.

It’s no secret, Lee is fixated on his appearance; his numerous photoshopped pics have gone viral time and again.

The pictures we used took that editing power away from him and the reality appeared to hurt.

In other videos on social media he can be heard referencing his looks, from his hair to his chiselled body, and commenting about filters — or the lack thereof — to ‘prove’ he’s not fake.

He also took great pains to portray himself as a wealthy businessman with links to Kim Kardashian and Elon Musk, years after his sustainable vehicle company was quietly dissolved, which he continues to insist isn’t the case.

Further interactions between us saw him insist others simply couldn’t understand the workings of his complex world.

Optics are king with Lee and it seems he’s willing to let real feelings fall by the wayside as long as he is presented as the handsome, wealthy success story he’s so desperate to be — a mindset that could have heartbreaking consequences for Katie.

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“The datacom growth outlook remains robust, with the total market forecast once again

The Zion Phelps story is going to be told over and over at Loyola High to show students what can happen when someone discovers potential and decides to take a chance to bring it out.

In his first year running track after bragging during the football season that he was the fastest student at Loyola, Phelps proved on Thursday he’s also the fastest 100-meter runner in the Mission League by winning in a school-record time of 10.49 seconds at the Mission League finals at Sherman Oaks Notre Dame.

“I’m beyond grateful,” he said after embracing Loyola coach Sharaud Moore.

A junior defensive back, Phelps let Moore bring out his track talent, and now he has options in track and football.

Loyola’s Ejam Johannes offers the “shoosh” sign after anchoring the winning 4×100 relay team. He also won the Mission League 400 and 200 titles.

(Craig Weston)

Another Loyola athlete stepping forward in preparation for next weekend’s Southern Section Division 1 prelims was Ejam Yohannes. He ran anchor leg for the 4×100-meter relay team that beat Notre Dame for the first time in three years with a time of 40.75. At the finish, he put a finger over his lips and gave a “shoosh” sign. He also won the 400 meters in 47.05 and the 200 meters in 20.85, the fourth-best wind legal time in the state this year.

Notre Dame’s JJ Harel qualified in three events — going 6 feet, 10 inches in the high jump, 22-5¼ in the long jump and also qualifying in the triple jump.

The strangest moment of the day came in the Mission League 100 girls’ final. Nalia Keyes of Chaminade and Maya Rios of Bishop Alemany tied for first place, each finishing with a time of 12.46.

“It’s weird,” Rios said of her first ever race tie.

In the Marmonte League final, Demare Dezeurn of Westlake ran the 100 meters in 10.39 seconds to outduel Jaden Griffin of Newbury Park (10.50) and Kingston Celifie of Calabasas (10.56). Dezeurn played football for Palisades in the fall after transferring from Bishop Alemany last season.

Baseball

Sylmar 10, Kennedy 0: Rickee Luevano hit a grand slam for Sylmar.

Westlake 10, Newbury Park 3: Dylan Lee homered and Holden Backus had two hits and three RBIs.

Bishop Amat 3, La Serna 2: Ray Castro threw six innings and also had an RBI single.

Temecula Valley 3, Vista Murrieta 1: Grayson Martin gave up one hit and struck out seven in six innings.

Oaks Christian 17, Calabasas 8: Ryan Sheffer hit two home runs and finished with four RBIs.

Softball

Garden Grove Pacifica 4, Cypress 1: Jenna Valladares had an RBI triple and Shay Kletke threw a complete game.

Sherman Oaks Notre Dame 16, Louisville 0: Jackie Morales had three hits and six RBIs.

Harvard-Westlake 14, Chaminade 11: It was a wild Mission League game that ended on a walk-off grand slam by Kale’a Tindal in the bottom of the ninth inning. Chaminade scored five runs in the seventh to tie the score 9-9. Both teams scored runs in the eighth to make it 10-10. Chaminade took an 11-10 lead in the top of the ninth on an RBI single by Siena Greenlinger. Tindal finished with four hits and four RBIs. Dylan Fischer had a home run, two doubles, a single and four RBIs.

Murrieta Mesa 8, Great Oak 0: Tatum Wolff threw six innings, striking out 10 and walking none. She also hit a home run.

By early 1963, the Station Hotel in London had become an epicenter of the burgeoning British blues scene. On a blustery, snowy night that February, the Rolling Stones’ classic early lineup took the stage for one of the first times, dazzling the audience with ferocious renditions of blues standards like Muddy Waters’ “I Want to Be Loved” and Jimmy Reed’s “Bright Lights, Big City.”

Multi-instrumentalist Brian Jones, the band’s founder and leader, synchronized guitars with Keith Richards, who favored a distinctive slashing and stinging style. Drummer Charlie Watts, the group’s newest member, a jazz aficionado and an accomplished percussionist, propelled the music forward with a rock-solid beat.

Anchoring the rhythm section with him was bassist Bill Wyman, who was recruited more for his spare VOX AC30 amp that the guitarists could plug into than for his musical skills. The stoic bassist proved a strong and innovative player. Together, he and Watts would go on to form one of rock’s most decorated rhythm sections.

Ian Stewart’s energetic boogie-woogie piano style rounded out the sound. Months later, manager Andrew Loog Oldham kicked him out of the band for being “ugly,” although Stewart continued to record, tour and serve as the band’s road manager until his death in 1985.

This April 8, 1964, file photo shows the Rolling Stones during a rehearsal. The members, from left, are Brian Jones, guitar; Bill Wyman, bass; Charlie Watts, drums; Mick Jagger, vocals; and Keith Richards, guitar.

(Associated Press)

Fronting the group was Mick Jagger. Channeling the music like a crazed shaman, Jagger shimmied and sashayed, owning the stage like few lead singers have before or since. By the end of the night, the Stones had the crowd in a frenzy. Although only 30 people had made it to the gig because of the treacherous weather conditions, the hotel’s booker had seen enough: He offered the Stones a regular gig.

“The Rolling Stones had caught fire. The music they were playing and the way they played it struck a chord with a young crowd starved for something different, something their own… It was soul-stirring, loud and uncompromising,” writes Bob Spitz in “The Rolling Stones: The Biography,” his magisterial work that charts the 60-year journey of “the greatest rock and roll band in the world.”

Spitz, the author of strong biographies on the Beatles and Led Zeppelin, as well as Ronald Reagan and Julia Child, captures the drama, trauma and betrayals that have kept the Stones in the public’s consciousness for more than six decades. It’s all here: The Stones’ evolution from a blues cover band to artistic rival of the Beatles; the musical peaks — “Aftermath,” “Let It Bleed” and “Exile on Main Street” as well as misfires like “Dirty Work”; Keith’s descent into a debilitating heroin addiction that nearly destroyed him and the band; the death of the ‘60s at the ill-fated Altamont free concert; Marianne Faithfull, Anita Pallenberg, Bianca Jagger, Jerry Hall and other lovers, partners and muses; the breakups, makeups and crackups; and perhaps most important, the unbreakable bond between Jagger and Richards at the center of it all.

Although Spitz unearths little new information, he excels at presenting the Stones in glorious Technicolor. Spitz homes in on the telling details and anecdotes that give the band’s story a deep richness and poignancy.

Take “Satisfaction,” the Stones’ 1965 classic and first U.S. chart topper. The oft-told story is that Richards woke up in the middle of the night, grabbed the guitar that was next to his bed, and recorded the iconic riff and the phrase “I can’t get no … satisfaction” on a cassette recorder in his Clearwater, Fla., hotel room before falling back asleep. But as Spitz notes, the song initially went nowhere in the studio. That is until Stewart purchased a fuzz box for Richards a few days later, which gave the tune a raunchier sound that perfectly matched Jagger’s lyrics of frustration and alienation. A classic was born.

Piercing the Stones mythology

Spitz’s deep reporting often pierces the mythology surrounding the band. Contrary to the popular belief of many fans, for instance, Jones bears much of the responsibility for the rift with his bandmates and his tragic demise.

The most musically adventurous member of the group — he plays sitar on “Paint It Black” and dulcimer on “Lady Jane” — Jones wasn’t a songwriter. That stoked his jealousies and insecurities, along with frontman Jagger stealing the spotlight from him. A monster of a man, Jones impregnated multiple teenage girls and physically and emotionally abused several women, including Pallenberg. Perhaps that’s why she left him for Richards. Over time, Jones made fewer contributions in the studio and onstage, becoming a catatonic drug casualty. The Stones fired Jones in June 1969 but would have been justified doing so a couple years earlier. He drowned in his pool less than a month later.

Author Bob Spitz

(Elena Seibert)

Similarly, Stones lore has long romanticized the making of “Exile on Main Street” in the stifling, dingy basement of Richards’ rented Villa Nellcôte in the South of France, where the Stones had decamped to avoid British taxes. In this telling, Richards, deep in the throes of heroin addiction, somehow managed to come up with one indelible riff after another built around his signature open G tuning — taught to him by Ry Cooder — leading the band to create one of the best albums in rock history. That’s not entirely accurate, according to Spitz.

Yes, Richards came up with the licks for “Rocks Off,” “Happy” and “Tumbling Dice.” But it’s equally true that a strung-out Richards missed myriad recording sessions, invited dealers, hangers-on and other distractions to Nellcôte, and repeatedly failed to turn up to write with Jagger. Far from completing the album in the druggy haze of a French basement, the band spent six months on overdubs at Sunset Sound in Los Angeles, where Jagger contributed many of his vocals.

Beatles vs. Stones

One of the more interesting themes Spitz develops is the symbiotic relationship between the Beatles and Stones, with the Fab Four mostly overshadowing them — until they didn’t.

John Lennon and Paul McCartney wrote “I Wanna Be Your Man” and gave it to the Stones, whose 1963 rendition, with Jones on slide guitar, became the group’s first UK Top 20 hit. The Lennon-McCartney songwriting partnership inspired Jagger and Richards to begin penning their own songs. In early 1964, the Beatles came to the U.S. for the first time, making television history with their appearance on “The Ed Sullivan Show” and playing Carnegie Hall. A few months later, the Stones kicked off their inaugural American tour at the Swing Auditorium in San Bernardino. In 1967, the Beatles released “Sgt. Pepper’s Lonely Hearts Club Band,” a psychedelic masterpiece. The Stones responded with “Their Satanic Majesties Request,” a psychedelic mess.

The Rolling Stones: The Biography cover

As the Beatles began to splinter, Spitz writes, the Stones sharpened their focus. The band released “Beggars Banquet” in late 1968 and “Let It Bleed” the following year, albums every bit as innovative and visionary as “The White Album” and “Abbey Road.” For the first time, the two groups stood as equals.

When the Beatles broke up in 1970, the Stones kept rolling. With Jones replaced by virtuoso guitarist Mick Taylor — whose fluid, melodic style served as a tasty foil to Richards — they produced what many consider their finest works, “Sticky Fingers” and “Exile on Main Street.” More impressively, the band, with Taylor’s successor, Ronnie Wood, has continued to dazzle audiences with incendiary live shows, touring as recently as 2024 behind the late-career triumph “Hackney Diamonds.” The Beatles, by contrast, retired from the road in 1966 and devoted their energies to the studio.

Hundreds of books have been written about the Rolling Stones, but few sparkle quite like Spitz’s. For anyone who loves or even likes the Stones, it’s indispensable.

Like most of the band’s biographers, Spitz gives short shrift to the post-“Exile” period after 1972. He curtly dismisses 2005’s strong “A Bigger Bang” and 2016’s “Blue & Lonesome,” a back-to-basics album of blues covers, as “adequate endeavors that signaled a band living on borrowed time.” That critique is both off target and under-developed. Spitz ignores the band’s legendary live album, “Brussels Affair,” recorded in 1973, or why the band waited decades before officially releasing it.

These are small quibbles. Spitz has written a book worthy of its 704-page length; another 50 or so pages covering the later years would have made it even stronger. To quote the Rolling Stones: “I know it’s only rock ‘n roll, but I like it, like it, yes, I do.”

Marc Ballon, a former Times, Forbes and Inc. Magazine reporter, teaches an advanced writing class at USC. He lives in Fullerton.