rock

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.

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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.

Sad news for Bad Company fans.

Paul Rodgers, one of the original members of the English rock supergroup, announced Tuesday that he will miss the Rock & Roll Hall of Fame induction ceremony Saturday where Bad Company will be honored as part of the 2025 class.

“My hope was to be at the Rock & Rock Hall of Fame Induction Ceremony and to perform for the fans, but at this time I have to prioritize my health,” Rodgers wrote in a statement posted to Bad Company’s Instagram page. The singer had planned to reunite with former bandmate and drummer Simon Kirke on stage to perform a couple songs at the ceremony.

While Rodgers did not elaborate on his health in the statement, in 2023 he told CBS News that he had suffered two major strokes in 2016 and 2019, as well as 11 minor strokes, which had temporarily stripped him of his ability to speak.

“I have no problem singing, it’s the stress of everything else,” Rodgers’ statement continued. “Simon along with some outstanding musicians will be stepping in for me — guaranteed to rock.”

Best known for hits such as “Can’t Get Enough,” “Feel Like Makin’ Love,” “Ready for Love” and, of course, “Bad Company,” the hard rock group formed in London in 1973. In addition to Rodgers and Kirke, who had played together in the rock band Free, Bad Company’s original members included guitarist Mick Ralphs and bassist Boz Burrell.

The band initially disbanded in 1982 but over the years reunited to record or tour, though not always with the same lineup. Rodgers and Kirke are Bad Company’s only surviving original members — Burrell died in 2006, followed by Ralphs this June.

In addition to Bad Company, the 2025 Rock & Roll Hall of Fame inductees include Chubby Checker, Joe Cocker, Cyndi Lauper, OutKast, Soundgarden and the White Stripes in the performer category. Additional inductees Salt-N-Pepa, Warren Zevon, Thom Bell, Nicky Hopkins and Carol Kaye will all be honored either for musical influence or excellence, while Lenny Waronker is the recipient of the Ahmet Ertegun Award for lifetime achievement.

A COUPLE from a huge rock band have SPLIT after 22 years of marriage and historic “sexual misconduct” allegations.

The two members of a Canadian indie group have decided to call time on the relationship after over two decades together.

The couple in question are Arcade Fire‘s Win Butler and Regine Chassagne, who wed in 2003.

The pair announced their shock split on the band’s official Instagram page.

The statement read: “After a long and loving marriage, Win & Regine have decided to separate. They continue to love, admire and support each other as they co-parent their son.”

They added that their “bond as creative soulmates will endure, as will Arcade Fire. The band send their love and look forward to seeing you all on tour soon.”

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Their split comes three years after Win was hit with misconduct claims from three women and a gender fluid individual.

The allegations included the sending of unsolicited explicit messages, coercive control, emotional abuse and physical assault.

Win responded to the allegations in 2022, admitting to having had relations with all of the claimants, however, he insisted each was consensual.

In a statement given to Pitchfork, he said, “While these relationships were all consensual, I am very sorry to anyone who I have hurt with my behaviour.

“As I look to the future, I am continuing to learn from my mistakes and working hard to become a better person, someone my son can be proud of. […]

“I’m sorry I wasn’t more aware and tuned in to the effect I have on people – I f**ked up, and while not an excuse, I will continue to look forward and heal what can be healed, and learn from past experiences.”

The band’s avant-garde sound has always been an acquired taste, though they have conquered the mainstream, headlining festivals such as Glastonbury and scoring three number one albums in the US.

It comes after Arcade Fire were recently slammed when they appeared on US TV show, Saturday Night Live.

The band performed two tracks from their forthcoming sixth album, Pink Elephant, in what was their second appearance on the show this series.

However, musically, their performance on May 10, left many viewers cold.

Others weren’t comfortable with the band getting such a prominent television gig after the troubling claims.

One person wrote on X, “If different people accusing you of sexual misconduct is not enough to prevent you being on this show twice in one season, how many people is?”

Another said, “Arcade Fire landing on SNL in the big 2025 is wild. Who the hell did Win Butler pay?”

Cameron Crowe’s charming new memoir is an elegy for a lost time and place, when rock ‘n’ roll culture was still a secret handshake and the music press wasn’t just another publicity tentacle for giant corporations to shill their product (excepting the fine writers at the Los Angeles Times, of course). In fact, the “music press” as a concept is vestigial at best now, the internet having snuffed it out, but when Crowe was writing his features in the 1970s, primarily for Rolling Stone, only a handful of print publications allowed fans to glean any insight about the musicians they admired or to even see photos of them.

Crowe was one of those fans. He spent his adolescence in Palm Springs, a town with “a thousand swimming pools and the constant hum of air conditioners,” in a basement apartment near the freeway. A loner and a nerd raised by a former Army commanding officer and a strong-willed, whip-smart mother who had firm ideas about how young Cameron should conduct himself. Any humiliations Crowe might have suffered as an uncertain teen were for his mother merely speed bumps on the journey to self-actualization, ideally as a lawyer. She had a wealth of Dale Carnegie-esque aphorisms to pump up her young charge, such as “put on your magic shoes,” or “Mind is in every cell of the body. Thoughts are everything.”

“She hated rock and roll,” Crowe writes. “Rock was inelegant, and worse, obsessed with base issues like sex and drugs.”

(Avid Reader Press / Simon & Schuster)

As we have seen in the 2000 film “Almost Famous,” Crowe’s autobiographical account of his early years, young Cameron cared little about sex or drugs, music being his only lodestar. When his family relocated to San Diego, Crowe found himself in a conservative town with virtually no outlets for music except the local sports arena, where he witnessed his first big-time rock show accompanied by his mom: a post-comeback Elvis, knee deep in Vegas schmaltz, bounding onstage “in a glittering white jumpsuit …. striking karate poses.” A week later, mom and son witnessed Eric Clapton, full of fire with his band Derek and the Dominos. “I understand your music,” Alice Crowe finally conceded. “It’s better than ours.”

San Diego had little pockets of cultural insurrection that Crowe sought out like a moth to flame. When his sister Cindy nabbed a job with the local underground paper called the Door, Crowe wedged his way in, not because he had any interest in radical politics: his hero Lester Bangs, the iconoclastic rock critic whom he had read in Rolling Stone and Creem, had contributed work there.

As he does so often in this book, Crowe pulls the reader in with his keenly observant eye that would serve him so well in his second career as a filmmaker. The Door’s editor Bill Maguire “had a healthy girth, an open shirt with a silver pendant, and rippling brown hair. The kind of character Richard Harris used to play, most of the time with a goblet in his hand.” Maguire and his staff are hippie idealists, wary of sullying their political mission with trivialities like record reviews. But Crowe talks Maguire into letting him weigh in on a James Taylor record, and Crowe’s career is launched. He is 14.

Cameron Crowe, who started his music journalism career as a teen, pulls the reader in with his keenly observant eye that would serve him so well in his second career as a filmmaker.

(Neal Preston)

Crowe would encounter no such resistance as he worked his way into Rolling Stone, whose owner Jann Wenner gladly accepted record company advertising to keep his counterculture publication afloat. Crowe had found his professional home, filing long, admiring features with some of the era’s most important acts.

Crowe’s Dec. 6, 1973, cover story on the Allman Brothers was meant to atone for an earlier profile on the band written for the magazine by Grover Lewis, a brutally honest and often unsavory portrait. Crowe’s do-over feature, in contrast, is anodyne and respectful; the band is even given room to refute some of the facts Lewis included in his story.

Far more interesting is the stuff Crowe left out of that piece that he has now put into his memoir. To wit: Shortly after their perfectly lovely afternoon together, Gregg Allman, clearly in a drug-induced psychotic state, calls Crowe to his hotel room and demands that Crowe physically hand over the tapes of their interview, or else face legal consequences. “How do I know you aren’t with the FBI?” Allman asked Crowe. “You’ve been talking to everybody. Taking notes with your eyes.” It’s hard to imagine Crowe’s mentor Bangs not leading with that scene.

Crowe was covering rock music at a time when publicists had not become the human guardrails they are today, insulating their clients from anything that doesn’t celebrate them. There were no record company representatives present when Crowe sat in the lobby of an El Torito restaurant in Mission Hills with Kris Kristofferson, whose wife Rita Coolidge was waiting for the singer with her family in the bar (underage Crowe wasn’t allowed inside). Or when Crowe went long with David Bowie, interviewing him on and off for a year and a half while Bowie was making his 1976 album “Station to Station.”

Camped out with his wife Angie in a Beverly Hills mansion on North Doheny Drive, Bowie is affable and candid, despite subsisting on a diet of red peppers, milk and cocaine. “Over the months, I became acclimated to the normality within his insulated lifestyle,” Crowe writes. “Oh, sometimes there might be a hexagon drawn on the curtains in his bedroom or a bottle of urine on the windowsill.” While showing Crowe the indoor swimming pool, Bowie remarks that the only problem with the house “is that Satan lives in that swimming pool.”

Such weird scenes inside this once-mysterious world have been totally effaced, now that every musician can curate his own image on social media. Reading “The Uncool,” which touches on Crowe’s Hollywood career without delving too deep into it, reminds us of what has been lost, the myths and mystique that fueled our rock star fantasies and gave the music an aura of magic.

Weingarten is the author of “Thirsty: William Mulholland, California Water, and the Real Chinatown.”

John Carpenter has this one recurring nightmare.

“I’m in a huge, massive town I don’t really know,” he says, “and I’m looking for the movie district. And inevitably all the theaters are closed down. They’re all closed down. That’s what the dream is.”

I’m visiting Carpenter at his longtime production house in Hollywood on one of L.A.’s unjustly sunny October afternoons. A vintage “Halloween” pinball machine and a life-size Nosferatu hover near his easy chair. I tell him I don’t think Freud would have too much trouble interpreting that particular dream.

“No, I know,” he says, laughing. “I don’t have too much trouble with that either.”

Nonetheless, it truly haunts him — “and it has haunted me over the years for many dreams in a row,” he continues. “I’m either with family or a group, and I go off to do something and I get completely lost. [Freud] wouldn’t have too much trouble figuring that out either. I mean, none of this is very mysterious.”

Carpenter is a gruff but approachable 77 these days, his career as a film director receding in the rearview. The last feature he made was 2010’s “The Ward.” His unofficial retirement was partly chosen, partly imposed by a capricious industry. The great movie poster artist Drew Struzan died two days before I visited — Carpenter says he never met Struzan but loved his work, especially his striking painting for the director’s icy 1982 creature movie “The Thing” — and I note how that whole enterprise of selling a movie with a piece of handmade art is a lost one.

“The whole movie business that I knew, that I grew up with, is gone,” he replies. “All gone.”

John Carpenter with John Mulaney, appearing as a part of “Everybody’s in L.A.” at the Sunset Gower Studios in May 2024.

(Adam Rose / Netflix)

It hasn’t, thankfully, made him want to escape from L.A. He still lives here with his wife, Sandy King, who runs the graphic novel imprint Storm King Comics, which Carpenter contributes to. He gamely appeared on John Mulaney’s “Everybody’s in L.A.” series on Netflix and, earlier this year, the Los Angeles Film Critics Assn. gave him a Career Achievement Award — a belated lovefest for a veteran who was sidelined after “The Thing” flopped, cast out into indie darkness and was never personally nominated for an Oscar.

The thing that does keep Carpenter busy these days (other than watching Warriors basketball and playing videogames) is the thing that might have an even bigger cultural footprint than his movies: his music. With his adult son Cody and godson, Daniel Davies, Carpenter is once again performing live concerts of his film scores and instrumental albums in a run at downtown’s Belasco this weekend and next.

The synthy, hypnotic scores that became his signature in films like “Halloween” and “Escape from New York” not only outnumber his output as a director — he’s scored movies for several other filmmakers and recently made a handshake deal in public to score Bong Joon Ho’s next feature — but their influence and popularity are much more evident in 2025 than the style of his image-making.

From “Stranger Things” to “F1,” Carpenter’s minimalist palette of retro electronica combined with the groove-based, trancelike ethos of his music (which now includes four “Lost Themes” records) is the coin of the realm so many modern artists are chasing.

Very few composers today are trying to sound like John Williams; many of them want to sound like John Carpenter. The Kentucky-raised skeptic with the long white hair doesn’t believe me when I express this.

“Well, see, I must be stupid,” he says, “because I don’t get it.”

“The true evil in the world comes from people,” says Carpenter. “I know that nature’s pretty rough, but not like men.

(Jason Armond / Los Angeles Times)

Carpenter is quick to put himself down. He always says that he scored his own films because he was the only composer he could afford, and that he only used synths because they were cheap and he couldn’t properly write music for an orchestra. When I tell him that Daniel Wyman, the instrumentalist who helped program and execute the “Halloween” score in 1978, praised Carpenter’s innate knowledge of the “circle of fifths” and secondary dominants — bedrocks of Western musical theory that allowed Carpenter’s scores to keep the tension cooking — he huffs.

“I have no idea what he’s talking about,” Carpenter says, halfway between self-deprecation and something more rascally. “It all comes, probably, from the years I spent in our front room with my father and listening to classical music. I’m sure I’m just digging this s— out.”

Whether by osmosis or genetics or possibly black magic, Carpenter clearly absorbed his powers from his father, Dr. Howard Carpenter, a classically trained violinist and composer. Classical music filled the childhood home in Bowling Green and for young John it was all about “Bach, Bach and Bach. He’s my favorite. I just can’t get enough of Johann there.”

It makes sense. Bach’s music has a circular spell quality and the pipe organ, resounding with reverb in gargantuan cathedrals, was the original synthesizer.

“He’s the Rock of Ages of music,” says Carpenter, who particularly loves the fugue nicknamed “St. Anne” and the Toccata and Fugue in D Minor. “Everybody would go back to Mozart or Beethoven. They are astonishing — Beethoven is especially astonishing — but they’re not my style. I don’t feel it like I do with Bach. I immediately got him.”

Carpenter was also a film score freak since Day 1. He cites the early electronic music in 1956’s “Forbidden Planet” and claims Bernard Herrmann and Dimitri Tiomkin as his two all-time favorites. Just listen, he says, to the way Tiomkin’s music transitions from the westerny fanfare under the Winchester Pictures logo to the swirling, menacing orchestral storm that accompanies “The Thing From Another World” title card in that 1951 sci-fi picture that Carpenter remixed as “The Thing.”

“The music is so weird, I cannot follow it,” he says. “But I love it.”

Yet Carpenter feels more personally indebted to rock ‘n’ roll: the Beatles, the Stones, the Doors. He wanted to be a rock star ever since he grew his hair long and bought a guitar in high school. He sang and performed R&B and psychedelic rock for sororities on the Western Kentucky campus as well as on a tour of the U.S. Army bases in Germany. He formed the rock trio Coupe de Villes with his buddies at USC and they made an album and played wrap parties.

He also kept soaking up contemporary influences, listening to Warren Zevon’s “Werewolves of London” while location scouting for “Halloween.” Peter Fonda later introduced Carpenter to Zevon and he wanted the director to adapt the song into a film that never happened (starring Fonda as the werewolf, but “this time he gets the girl,” Carpenter recalls). In the ’80s he blasted Metallica with his two boys and he still loves Devo.

It’s incredibly rare for a film director to score their own films, rarer still for one to spend decades on stage as a performing musician. The requisite personalities would seem diametrical.

“My dad was a performing musician, so it was just part of the family,” Carpenter says. However, until 2016, when Carpenter first toured with his music, he was consumed with stage fright. “I had an incident when I was in a play in high school,” he says. “I went up and I forgot my lines. Shame descended upon me and I had a tough time. I was scared all the time.”

The director credits his touring drummer, Scott Seiver, for helping him beat it.

“Your adrenaline carries you to another planet when that thing starts,” he sighs with pleasure. “You hear a wall of screaming people. It’s a big time.”

He pushes back against the idea that directors “hide behind the camera.”

“The pressure, that’s the biggest thing,” Carpenter says. “You put yourself under pressure from the studio, you’re carrying all this money, crew, you want to be on time.”

He remembers seeing some haggard making-of footage of himself in post-production on “Ghost of Mars” in 2001 and thinking: Oh my God, this guy is in trouble. “I had to stop,” he says. “I can’t do this to myself anymore. I can’t take this kind of stress — it’ll kill you, as it has so many other directors. The music came along and it’s from God. It’s a blessing.”

John Carpenter is grateful but he doesn’t believe in God. He believes that, when we die, “we just disperse — our energy disperses, and we return to what we were. We’re all stardust up there and the darkness created us, in a sense. So that’s what we have to make peace with. I point up to the infinite, the space between stars. But things stop when you die. Your heart stops, brain — everything stops. You get cold. Your energy dissipates and it just… ends. The End.”

This is not exactly a peaceful thought for him.

“I mean, I don’t want to die,” he adds. “I’m not looking forward to that. But what can you do? I can’t control it. But that’s what I believe and I’m alone in it. I can’t put that on anybody else. Everybody has their own beliefs, their own gods, their own afterlife.”

He describes himself as a “long-term optimist but a short-term pessimist.”

“I have hope,” he says, “put it that way.” Yet he looks around and sees a lot of evil.

“The true evil in the world comes from people,” says Carpenter, who has long used cinematic allegories to skewer capitalist pigs and bloodthirsty governments. “I know that nature’s pretty rough, but not like men. You see pictures of lions taking down their prey and you see the face of the prey and you say: ‘Oh, man.’ Humans do things like that and enjoy it. Or they do things like that for power or pleasure. Humans are evil but they’re capable of massive good — and they’re capable of the greatest art form we have: music.”

The greatest?

“You don’t have to talk about it. You just sit and listen to it. It’s not my favorite,” he clarifies, alluding to his first love, cinema — “but it’s the one that transcends centuries.”

Music has always been kinder to him than the movie business. That business recently reared its ugly head when A24 tossed his completed score for “Death of a Unicorn.” (At least he owns the rights and will be putting it out sometime soon.) In addition to the high he gets from playing live, he is currently working on a heavy metal concept album complete with dialogue. It’s called “Cathedral” and he’ll be playing some of it at the Belasco.

It’s essentially a movie in music form, based on a dream Carpenter had. Though not one he finds scary. What scares Carpenter, it seems, is not being in control.

That happened to him in the movie world, it’s happening more and more as what he calls the “frailties of age” mount and it happens in that nightmare about getting lost in a big city and not finding any theaters.

“But I can’t do anything about it,” he says. “What can I do? See, the only thing I can do is what I can control: music. And watching basketball.”

Sam Rivers, the founding bassist of the band Limp Bizkit, has died at age 48, the band announced Saturday.

“Today we lost our brother. Our bandmate. Our heartbeat,” the band wrote in an Instagram post. “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.”

The post did not cite a cause of death.

Formed in Jacksonville, Fla., Limp Bizkit and lead singer Fred Durst rose to prominence in the late ’90s and early 2000s with its mix of rock and hip-hop.

Rivers also sang backup vocals for the band, which topped radio charts with songs including “Break Stuff,” “Nookie,” “Re-Arranged” and “My Way.”

“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,” the band wrote in the post. “We shared so many moments — wild ones, quiet ones, beautiful ones — and every one of them meant more because Sam was there.”

The tribute was signed by Durst, along with band members Wes Borland, John Otto and DJ Lethal.

“He was a once-in-a-lifetime kind of human. A true legend of legends. And his spirit will live forever in every groove, every stage, every memory,” it said. “We love you, Sam. We’ll carry you with us, always. Rest easy, brother. Your music never ends.”

In a comment on the post, Leor Dimant — also known as DJ Lethal — asked people to “please respect the family’s privacy at this moment.” He added that fans can “give Sam his flowers” by playing his bass lines all day.

“Rest in power my brother,” Dimant wrote. “You will live on through your music and the lives you helped save with your music, charity work and friendships.”

The KnuckleHeadz may just be the thing to save America’s youth. They’re categorized too neatly as a punk band from Whittier, but they’re actually a movement: Southern California’s most raucous self-help program and hardcore band. The members are built like dockworkers and dressed like a deleted scene from “The Warriors”: black-and-green leather vests with a spiky-haired skull back patch. They are also the driving force behind the Punk Rock Fight Club, a Southern California-based organization dedicated to improving young men’s lives through fitness and structure. The rules are as strict as they are simple, and in this topsy-turvy world, truly radical: no hard drugs, no crime, no racists, no abusers. Respect yourself, your brothers and your community.

The KnuckleHeadz achieved a moment of internet fame after hosting a completely unsanctioned show in an unsuspecting McDonald’s for a hundred people. The viral clip of the show is the convenient entry point, but it sells short what the gentlemen have built. Onstage, the KnuckleHeadz are all sweat and spectacle: profanity-laced breakdowns, fans crowd surfing on boogie boards riding a human tide, and the green-and-black army in the pit pulling strangers upright. The absurdity of a fast-food slam pit, bodies and burgers briefly airborne — suggests anarchy. Look closer and you see choreography: Men catching falls, clearing space and enforcing a code. Punk has always promised salvation by noise. The KnuckleHeadz add a footnote: Salvation requires reps, rules and someone mean enough to care. Offstage, they run an infrastructure for staying alive.

The KnuckleHeadz in Whittier

(Dick Slaughter)

Founded in June 2021 by frontman Thomas Telles of Whittier, better known as Knucklehead Tom, and with the help of guitarist and tattooer Steven Arceo, aka Saus, of El Monte, the Punk Rock Fight Club (PRFC) has grown in a few years to six chapters and more than 200 members across Southern California. What started as a tight circle around a band hardened into a movement: discipline for kids who never got it, structure for men who need it, and a community without substance abuse . Prospects earn their way through mornings, sweat and commitment before they’re trusted with the skull back patch. The rules read like a brick wall and function like a doorway.

“I started the club because I wanted to do good in the scene,” Knucklehead Tom said “I wanted to create a tribe where we all supported each other, a family for people from all walks of life, especially those who came from broken homes. I wanted people to know they have somewhere to go and a family they can count on.”

Knucklehead Tom of The KnuckleHeadz puts his mic in to the crowd while performing with the band from Whittier.

(Dick Slaughter)

I first ran into the KnuckleHeadz and a few club members by accident three years ago in a London train station en route to the Rebellion Punk Rock Music Festival in Blackpool, a yearly event featuring more than 300 veteran and emerging bands. They were impossible to miss — part wolf pack, part brotherhood, pure energy. That year the KnuckleHeadz struck a chord with me, not just through their all-in, no-holds-barred performances, but also through their message, their obvious love for one another and their mission to better their community. Since then, I have taken a hard look inside both the band and the club; I visited their gym and attended many of their shows. I have met and talked with families and those the KnuckleHeadz and the club have helped. They have indeed, in many cases, worked miracles. But the guys don’t call them miracles. They call it Tuesday.

“Since we founded Punk Rock Fight Club, we paved way for what we knew was the movement and lifestyle many people in our scene needed,” Arceo said. “We’ve changed so many lives and with that our lives changed as well. We made a family built on brotherhood, loyalty with the camaraderie that can only be achieved through martial arts and punk rock. That’s something many of us grew up without. So to be able to bring this into the world is worth every sacrifice. We’re going on five years strong and will keep going till the day we die.”

The band’s ascent mirrors the spread of the club: a steady climb from underground slots to punk’s biggest stages. They earned a place on the final NOFX show and graduated from Rebellion’s side stage to the festival’s main stage. They’ve organized benefits for causes that don’t trend and for people who can’t afford to be causes. The Punk Rock Museum in Las Vegas recently added a piece of PRFC memorabilia, one of the club’s cuts — a leather vest with the skull back patch — to its collection, a true museum piece that still smells faintly of sweat. Next, KnuckleHeadz prepare for a U.S. run with punk legends GBH, the sort of tour that turns rumor into résumé.

Saus, co-founder of the KnuckleHeadz, wearing the band’s signature vest.

The Whittier dojo, KnuckleHead Martial Arts, is where the KnuckleHeadz code gets practical. It’s where guys run martial arts drills and where the mats serve double duty as community center flooring. During the band’s “F Cancer” benefit for 17-year-old Cesar “Little Cesar” Lopez II, the driveway became an impromptu slam pit. Inside, kids tumbled on the mats while guitars shook the walls. Families brought food, local businesses donated services, and more than $6,000 went toward treatments. In the carnival-like atmosphere outside, Little Cesar grinned and hyped the pit from the sideline, proving that joy, like violence, can be contagious.

One member, Bernard Schindler, 55, of La Mirada, came in after a life of ricochets: rehab, prison, relapse, repeat. The club gave him a schedule first and a future second, and now with the support of the club, he’s been clean and sober for more than two years.

Saus performing with the KnuckleHeadz during a Punk Rock Fight Club benefit show outside the KnuckleHeadz gym in Whittier.

(Dick Slaughter)

“Tom and the Punk Rock Fight Club completely turned my life around,” Schindler said. “It gave me purpose, discipline and a new family of brothers that push me to be better. I went from being a broken down drug addict to the healthiest I’ve ever been mentally, physically and emotionally in the 55 years I’ve been alive.”

Since getting involved with the KnuckleHeadz nearly three years ago, Schindler says he’s gotten closer to his family, including his three sons and his girlfriend, in addition to staying sober. “I can honestly say that I couldn’t have done it without Tom and our God-given club, the Punk Rock Fight Club,” he said.

The bassist known as Knucklehead Randy performs while riding on the shoulders of a fellow club member at a benefit show in Whittier.

(Dick Slaughter)

The PRFC trophy case is full of medals and awards, sure, but the real accomplishments are much quieter and miraculous. There are pay stubs where rap sheets used to be, text threads that start with the question “You good?” at 3:17 a.m., and apartment keys handed over when a kid can’t go home.

Hip-hop synth-punk artist N8NOFACE, now a fixture on lineups from the annual L.A. festival Cruel World tours with Limp Bizkit and Corey Feldman, calls Tom “my brother” and credits that code with keeping him aligned. “I was getting clean, and I’ve always believed that if you follow the right people, it helps you stay on your path,” N8 says. “Tom was about health, about not getting all messed up, about being a fighter and a warrior and taking care of your body first. To find that in punk was very different.”

When asked about his hopes for the future of the band, Tom says, “I just want to keep having fun. We love doing it and are grateful for all the love and support.“ The band is currently playing shows across SoCal with gutter punk legends GBH, including a show Friday at the Ventura Music Hall.

“With the club, I want to keep changing lives. It makes me happy to know that my son Nieko has an army of goodhearted uncles if anything were to happen to me. The righteous men in this club make me so proud.”

That’s the trick. That’s the point. In the noise between those truths, a lot of young men hear something they’ve never believed before: a future they’re allowed to keep.

Slaughter is a photographer and writer who has covered music and culture for countless outlets, including the OC Weekly and L.A. Times. He is a founding member of In Spite Magazine.

BBC Breakfast presenters Charlie Stayt and Naga Munchetty paid tribute to a late rock star on the show following news of his death

BBC Breakfast launched Friday’s programme (17 October) with heartbreaking news about a beloved rock legend’s passing, as the show delivered a touching tribute.

Charlie Stayt and Naga Munchetty returned to screens with another jam-packed edition of BBC Breakfast, packed with various interviews, news bulletins, and weather forecasts.

Just moments into Friday’s broadcast, Charlie and Naga revealed the tragic news of KISS guitarist Ace Frehley’s death, who died aged 74 on 16 October.

The musician, whose real name was Paul Daniel Frehley, was famous for his Spaceman character and served as a founding member of the American group, along with singer and guitarist Paul Stanley, bassist Gene Simmons, and drummer Peter Criss.

“Tributes have been paid to one of the founding members of the band KISS. Paul ‘Ace’ Frehley, who has died at the age of 74,” Charlie revealed on BBC Breakfast.

A compilation featuring multiple clips of Ace was subsequently shown, whilst Charlie added: “He was known for guitar solos and he wore the Spaceman outfit from the band’s formation in 1973 until he left the band in 1982.

“He later rejoined in the late 1990s. His bandmates Gene Simmons and Paul Stanley called him ‘an essential and irreplaceable rock soldier’.”

Ace’s passing was confirmed on Thursday evening through a statement issued by his family. He leaves behind his wife, Jeanette, and his daughter, Monique, reports the Express.

“We are completely devastated and heartbroken. In his last moments, we were fortunate enough to have been able to surround him with loving, caring, peaceful words, thoughts, prayers, and intentions as he left this earth,” the statement read.

The family continued: “We cherish all of his finest memories, his laughter, and celebrate his strengths and kindness that he bestowed upon others. The magnitude of his passing is of epic proportions and beyond comprehension.

“Reflecting on all of his incredible life achievements, Ace’s memory will continue to live on forever!”

Meanwhile, Ace’s bandmates Paul and Gene issued a joint statement, which read: “We are devastated by the passing of Ace Frehley.

“He was an essential and irreplaceable rock soldier during some of the most formative foundational chapters of the band and its history. He is and will always be a part of KISS’s legacy.”

BBC Breakfast airs at 6am daily on BBC One.

Ace Frehley, who played lead guitar as a founding member of the face-painted, blood-spitting, fire-breathing hard-rock band Kiss, died Thursday in Morristown, N.J. He was 74.

His death was announced by his family, which said he’d recently suffered a fall. “In his last moments, we were fortunate enough to have been able to surround him with loving, caring, peaceful words, thoughts, prayers and intentions as he left this earth,” the family said in a statement.

In his alter ego as the Spaceman, Frehley played with the original incarnation of Kiss for less than a decade, from 1973 — when he formed the group in New York with Paul Stanley, Gene Simmons and Peter Criss — until 1982, when he quit not long after Criss left. Yet he was instrumental to the creation of the band’s stomping and glittery sound as heard in songs like “Detroit Rock City,” “Rock and Roll All Nite,” “Strutter” and “I Was Made for Lovin’ You.” In the late ’70s, those hits — along with Kiss’ over-the-top live show — made the group an inescapable pop-cultural presence seen in comic books and on lunch boxes; today the group is widely viewed as an early pioneer of rock ’n’ roll merchandising.

A member of the Rock & Roll Hall of Fame, Frehley rejoined Kiss in 1996 for a highly successful reunion, then left again in 2002 to return to the solo career he’d started in the early ’80s. In 2023, Kiss completed what Simmons and Stanley called a farewell tour with a hometown show at New York’s Madison Square Garden.

This obituary will be updated.

Lacking confidence as a 14-year-old freshman, Melion Busano entered high school with one thought in mind.

“Just get the four years over with,” he said.

In September 2022, while getting 30 minutes to try out for the basketball team at Eagle Rock High, his confidence was shaken even more.

“They said if we send you a text, you made the team. I never got that text,” he said. “I was in denial. ‘Maybe they forgot me.’ After the third or fourth week, I was [thinking], ‘Maybe they didn’t send that text.’”

Rejection left him adrift, but then came the moment that changed his life. While carrying around a camera for film class, the JV football coach, Vince Vergara, noticed him, pulled him aside and asked, “Hey, do you want to play football?”

He joined the JV team as a sophomore. His mother had refused to let him play football years ago after seeing the 2015 film, “Concussion.” This time, she told him, “Be careful.”

He started from scratch.

“I had to learn on the fly,” he said. “I didn’t know what type of run plays or nothing. Never played youth football, never played flag.”

Last season as a junior, he made varsity and had 211 yards rushing and two touchdowns. This season, as a much improved 5-foot-10, 195-pound senior, he’s become so valuable that coach Andy Moran said he’s the best running back in the City Section, having rushed for 824 yards and 13 touchdowns going into the Northern League title decider against Franklin on Friday.

“He doesn’t go down and everybody has prepared to stop him and hasn’t,” Moran said.

He had 143 yards rushing against Granada Hills Kennedy, 108 yards against Monrovia, 146 yards against Bell, 141 yards against Marquez and 107 yards against L.A. Marshall.

His father was a Marine for 20 years and came here as a teenager from Belize. His mother is from the Philippines.

“Sadly I have not gone to either but would love to go,” he said.

His first name stands for “My Lion.”

“You’re a lion, so you’re fierce,” his father tells him.

With renewed confidence, Busano has discovered a love for football and a belief he can keep getting better with experience.

He even tried out for basketball again and made the team, then decided to focus on football.

His father told him, “Try again, work harder, make yourself a better person.”

It’s all part of the high school experience — experimenting, exploring and dealing with the positives and negatives that happen to everyone in their teenage years. His younger brother also made the football team.

“Now I’m kicking myself why didn’t I do this my freshman year,” Busano said. “Now I appreciate the little things, about discipline, always do your job, don’t do someone else’s job. It’s helped me grow up as a person. I was very ignorant and blind walking into this. I felt I probably won’t be the worst player but probably second string, but I came onto the field and started. It was, ‘Wow.’”

Soon he hopes to visit Belize or Manila to learn more about his parents’ home countries.

“My dad says my grandma has a house where you can wake up and look out the window and the beach is right there,” he said. “I want to visit both.”

He’s a 17-year-old seeing a whole different world and a whole different future with the help of his football experiences.

Ros Wynne-Jones visits a French retreat once revered by royalty and now loved by Hollywood legends. In 1660, King Louis XIV and his mum Anne of Austria made a pilgrimage to the Notre Dame de Grâces church here, to thank the Virgin Mary for Louis’ miraculous birth

Ros Wynne-Jones writes the Real Britain column every Friday in the Daily Mirror campaigning against government cuts and standing up for ordinary people.

Every place has a story, but Cotignac, a village hidden deep in the Provencal countryside in the South of France, is a place with more stories than most. From kings battling infertility to religious apparitions and Hollywood stars, from French crooners to Pink Floyd, this softly painted village at the foot of a huge limestone cliff, has seen it all.

In 1660, King Louis XIV and his mum Anne of Austria made a pilgrimage to the Notre Dame de Grâces church here, to thank the Virgin Mary for Louis’ miraculous birth. As the only place in the world where all three members of the Holy Family have appeared in visions, Cotignac is a major site for Catholic pilgrimage – with around 150,000 pilgrims a year.

But for decades, the village has also been a magnet for Hollywood royalty and musical legends. George and Amal Clooney, live close by – near enough for George to have a preferred baker in the village from which he collects his breakfast bread and croissants, according to one resident.

OPINION

Milo Boyd

READ MORE: Beautiful seaside town named ‘best for Brits’ with no tourists and amazing views

And another villager, Brad Pitt, is allegedly in dispute with ex-wife Angelina Jolie over their neighbouring vineyard.

Joe Dassin, one of the most famous French singer-songwriters, recorded nearby at Studio Miraval – before building his house in the village a few years later and dying at 41 of a heart attack. Which is where our hotel, Lou Calen, enters the story. When Chateau Miraval opened a studio that rose to fame after recording Pink Floyd’s The Wall, a nearby 16-room hotel-restaurant found itself ideally located to wine, dine and accommodate recording artists from all over the world.

Opening it in 1971, Huguette Caren named the hotel, Lou Calen – meaning the Oil Lamp – and her cooking and hospitality soon attracted names from Dassin to Brigitte Bardot, Pink Floyd, The Cure and even Yvonne De Gaulle, wife of Charles.

In 2001, the hotel closed, abandoned with its ghosts for two decades, until a Canadian entrepreneur decided to resurrect it. Graham Porter had spent summers in Cotignac as a student living with a Danish family who spent their holidays here.

He bought a home in the village in the early 2000s, but time spent there during the Covid pandemic convinced him to buy the hotel – and share his passion for pastis and petanque with guests from all over the world.

Porter saw the opportunity to rebuild not just a hotel but a luxe fairytale – a place of quiet eco-luxury where the routes between rooms are overrun with wildflowers, and no view or bedroom is the same. The sound of petanque boules echoes across the hillside, and guests are greeted with a cloudy glass of pastis on arrival.

This may be a wellness destination for well-heeled travellers, but it is far from pious – the hotel even has its own microbrewery with a wide range of beers from cold IPAs to dark porters named after La Tuf – the high cliffs that surround the village.

At the heart of it all remains food as good as that which once attracted the famous recording artists.

Hidden in the olive and lavender-scented grounds is the Secret Garden, an extraordinary restaurant by forward-looking chef Benoit Witz – one of the first in the world to have earned a coveted Green Michelin Star. The Michelin Guide notes the dishes created by Witz – who once trained with top chef Alain Ducasse – are “100 per cent authentic”.

In Witz’s kitchen, not one single stalk or flower is wasted, and seasonal ingredients are king. This, after all, is Provence Vert – Green Provence. The rosé wine comes from the neat rows of vines on the neighbouring hillsides, from vineyards with names like Carpe Diem, and the grapes of Miraval now harvested in the disputed Pitt-Jolie vineyard. Only seconds away, the House of Mirabeau offers wine and gin tasting.

Cheeses come from a tiny footprint of local farms and vegetables from the hotel’s own market garden where edible flowers and goats somehow co-exist.

All can be explored on foot or via electric bikes available at Lou Calen.

Places with so much history need a historian, and ours comes in the form of an American guide John Peck, who leads us up the hot, winding routes into La Tuf to tell us the stories of the place.

The cliff is inset with a giant wooden olive press once used by the entire village to make oil, and inlaid with paths that lead past former troglodyte dwellings, where villagers once hid from the invading Saracens.

We see where local craftsman Jean de la Baume once saw a vision of the Virgin Mary and where Saint Joseph is said to have appeared to Gaspard Ricard, a thirsty shepherd tending his sheep on Mount Bessillon.

At the village’s ancient, magical spring, pointed out to Gaspard by Saint Joseph, John shakes out his “pocket museum” onto a stone wall. It is an extraordinary collection of findings that tell Cotignac’s history better than any guidebook.

There is a Napolean-era greatcoat button, flattened and heavily worn Roman coins, a gladiator’s strigil – or arm-scraper that once removed oil, and even a coin bearing a swastika – a reminder that during World War II Lou Calen was an orphanage for children who had lost their parents in the Nazi occupation.

As we walk past the well-stocked modern art gallery, Centre d’Art la Falaise, a Frenchman from central casting or perhaps the Napoleonic-era, cycles past in a beret.

The next day we tour the wild-flower filled gardens with a local herbalist, Vera Schutz, who tells us the names of the different plants and their ancient uses.

We get a tour of the Jardin Secret kitchen gardens in the quiet of Sunday morning, and even meet Monsieur Witz, who is teaching his friend’s children how to shell broad beans. In our room, a portrait of singer Joe Dassin looks down on us from between windows that perfectly frame views of the village, terracotta roofs dotted between the green.

A line from one of his songs – “elle m’a dit d’allez siffler la haut sur la colline” or “she told me to go whistle up there on the hill” – is inscribed on the wall. There are no screens or televisions at Lou Calen, so we play Dassin’s love songs, “Les Champs-Elysees” and “Et Si Tu N’Existais Pas”, through the wireless speaker.

France’s Mediterranean beaches are just an hour away, but who needs them? Instead of TVs and iPads, guests are instead encouraged to mingle on long tables, play petanque, enjoy the local jazz “manouche”, swim in the bright blue of either the family or adult swimming pools, or to rest and recuperate at a peaceful spa in the round turret of the old pigeon loft.

The food is just as good at the bistro where smiling staff battle smoking barbeques in the afternoon heat to deliver tasty seared swordfish and grilled lamb.

All that is missing is Hugette Caren herself, the founder and spirit who once drew the recording artists from the surrounding countryside with her cooking, the way the magical spring drew visitors to Cotignac. She still lives in the village and is known to visit the bars and restaurants. When you visit you might see her there, like an apparition – pastis in hand.

In 2025 Lou Calen, the oil lamp that Hugette lit back in 1971, is still shining brightly.

GET THERE

Fly from airports across the UK to Nice or Marseille; rail to Aix-en-Provence or Avignon.

BOOK IT

Rooms at the Lou Calen hotel in Cotignac, Provence, South of France, start at around £175 a night.

loucalen.com

MORE INFO

france.fr/en/destination/provence

After 15 years, four records and a buzz-making barrage of shows, tours and festivals, the moody, multifaceted music of north London’s Wolf Alice is huge in the U.K., thanks to uniquely seductive soundscapes, visceral live shows and a relentless hunger for experimentation that melds rock, shoegaze and alternative pop.

With their latest studio album, “The Clearing,” the members are primed for the next level of success in the U.S., and it comes via songs that reflect their growth as individuals and as a collective.

Consisting of lead singer Ellie Rowsell, guitarist Joff Oddie, bassist Theo Ellis and drummer Joel Amey, Wolf Alice provides both feminine and masculine perspectives on life that feel resonant and real, with sonic approaches that can go from raging one moment to restrained the next. They’ve honed their sound even as they’ve continued to experiment with it. The result is exciting for them and for fans, now more than ever.

“This tour has been incredible. It’s definitely been the busiest and had the biggest shows we’ve ever played in America,” Ellis tells The Times via Zoom, noting that the band’s upcoming Wiltern date in Los Angeles on Oct. 13 is almost sold out.

Wolf Alice’s connection to Los Angeles is especially significant at this phase of its career. “The Clearing” was recorded here with famed producer Greg Kurstin (Adele, Miley Cyrus), who brought his pop sensibilities to the project, even as he encouraged the band to follow its own eclectic instincts, dipping into synthy, dancy elements and balladry with bite.

“We’ve had a different producer every album, so every experience has been quite different,” says drummer Amey, who joins our Zoom later. “He was just a very calm and positive force in the studio that made all of us feel very comfortable, to be able to be the best versions of ourselves … And it did come at a time where maybe even the four of us were second-guessing ourselves. We’d been in this headspace for a while about how we wanted to treat the sonics of the record. You can get stuck in that cycle … But he was so positive that he could help us get there, and he did.”

As Taylor Swift’s latest record brings scrutiny to the construction and thematics of pop music and its presentation, Wolf Alice’s seductive sway and wistful grit feels comparatively effortless, even if it’s just as accessible.

Buzz in the U.S. started after a killer set at Coachella 2016, but we caught Wolf Alice the following year at Dave Grohl’s Cal Jam in 2017. Its emotive alt-rock melodies and charisma more than held its own next to headliners including fellow-Brit Liam Gallagher and the Foo Fighters themselves (who the band has also toured with). The material, largely off its first and second albums, “My Love Is Cool” and “Visions of a Life,” respectively, offered a compelling blend of sharp riffage and dreamy textures, which reminded us of everyone from Smashing Pumpkins to Cocteau Twins at the time. Standout tracks we noted included the dissonant “Yuk Foo” and the sassy hit “Don’t Delete the Kisses.”

After another shimmering genre-blending release, 2021’s “Blue Weekend,” and now “The Clearing,” it’s almost a decade later, and the band is even harder to codify. The members are also bonafide touring and festival vets.

“In the U.K., festival culture is, like, a whole thing. The U.S. is kind of getting more like that too,” Amey says. “But European and U.K. festival culture is a rite of passage for a teenager … it’s ingrained. If you’re starting a band, you’re thinking about festivals at some point. So we love playing them. We played Glastonbury this year, and it just felt like a really wonderful way to say, ‘We’re back, here’s some new stuff,’ and also a celebration of the old stuff.”

Old or new, creative imagery has been a consistent component of Wolf Alice’s expression. Building upon the cinematic qualities of its music, its videos elevate not only its narratives but also its rock-star personas as well.

“This album explores themes of performance which I think is prevalent in the music videos and musically, in rock ’n’ roll which we also explore,” frontwoman Rowsell shares by email. “In the past Wolf Alice have shied away from performance videos so this marks a new vibe for us.”

“Bloom Baby Bloom,” which features an “All That Jazz”-style dance sequence (with choreography by L.A.’s Ryan Heffington, known for his magical movements on the Netflix cult fave “The OA” and in Sia’s “Chandelier”) brings out the drama and audacious expression of the song, especially Rowsell’s soaring vocals. It also highlights the band’s maturation and liberation as established artists at the height of their performing powers.

Similarly, “Just Two Girls,” a sweet ode to female friendship that’s a cool, ’70s soft-rock filler track on record, becomes more of a defiant anthem for feminine freedom on video.

“It’s a wonderful license of expression in which you can kind of do whatever you want,” reflects Ellis on the videos. “It’s absurdist in its nature and there are really interesting formats to explore. We’ve had some great experiences in America making them.”

The band has also had memorable moments on Amercian late-night TV, including “Jimmy Kimmel Live!” and “The Tonight Show Starring Jimmy Fallon,” turning in wild appearances that reflect its name (inspired by a book about feral children raised by wolves).

And while good old-fashioned live performance has helped its popularity grow, the band acknowledges that the music industry is different — even from when it started 15 years ago, with streaming’s domination and platforms like TikTok exposing music to new audiences. For a band driven by its own interpersonal chemistry, interactions and influences, it’s not top of mind.

“We’re not concerned with how it’s going to be distributed to people fundamentally, as we’re creatively trying to satisfy ourselves,” Ellis says. “I don’t think the mechanics of [music discovery] are affecting what we’re making in the studio or the creative process. There’s so much for a band to create nowadays, and to worry about … from our perspective, the music is what comes first and then everything else is hopefully just kind of a fun way of presenting it to the world.”

A HUGE rock band has split after a decade together – and fans are completely gutted over the news.

Irish rockers Kodaline, known for their hits such as Brother, All I Want, and Moving On, have announced that they will soon be parting ways.

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Taking to social media to share the sad news, the band, which formed in 2005, wrote: “After over a decade, it’s time to say goodbye.

“With all our love. VSMJ.”

The caption accompanied a video, which saw the band performing on stage with a voiceover that played over the top.

In the voiceover, the band members could be heard saying: “After over a decade together we’ve made the difficult decision to say goodbye to Kodaline. 

“It might come as a surprise, and it’s definitely bittersweet for us too.

“What we’ve shared has changed our lives forever. 

“From busking on the streets of Dublin to playing shows across the world, it really has been the stuff that dreams are made of.

“We want it to end on a high, so before we say goodbye, we’re heading into the studio one last time to record our fifth and final album as Kodaline. 

“We are, and always will be, forever grateful for your love and support.”

They went on: “It’s been a journey that we’ll never forget and we hope that the music stays with you long after we’re gone. 

“With all our love Vinny, Steve, Mark and Jay.”

Fans rushed to the comments to react to the heartbeaking news.

One person wrote: “Nah why you gotta ruin my week like this.”

“Please don’t,” pleaded another.

“Thank you for being there for so many of us through your songs,” added a third.

A fourth said: “Through every heartbreak and healing, your songs stayed. I’ll always love you—honestly, completely, endlessly.”

While a fifth penned: “NOOOO PLEASEEE i’ve never been to your concert wdym i’ll never have the chance to see you guys live.”

And fellow Irish musicians Jedward added: “You can never fully say goodbye to Kodaline so we’ll see ya in the year 2030 something.

“Cause your to iconic not to come back and slay once again.”

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Manchester United coach Marc Skinner was quick to shut down an obvious line of questioning around his match-winner Maya Le Tissier after the club’s Champions League debut.

“Your next question is probably ‘should she start for England’,” he said. “I am not here to answer that.”

Despite becoming one of the most consistent defenders in the Women’s Super League, making a record 71st consecutive appearance in last week’s 1-1 draw with Chelsea, central defensive anchor Le Tissier has had limited exposure at international level.

Marshalled by Le Tissier, United had the WSL’s second-best defence last season, conceding just 16 goals in 22 games.

The United captain was rewarded with a place in Sarina Wiegman’s Euro 2025 squad, but did not play a single minute in Switzerland as the Lionesses retained their European title.

Eight caps since her first call-up in November 2022 is scant reward for a player of her ability. In the WSL this season, Le Tissier tops the rankings for most clearances (34) and most touches (444).

Wiegman has said she prefers Le Tissier at right-back, despite her playing at centre-back for United.

But injuries to England captain and centre-back Leah Williamson, plus right-back Lucy Bronze, must give Le Tissier a chance of playing when Weigman’s side take on Brazil and Australia later this month, with the Dutchwoman naming her squad next week.

Skinner was not keen to get involved in the debate but he was happy to extol the virtues of the 23-year-old, who kept her nerve to convert the first-half penalty that secured victory over Norwegian side Valerenga in Leigh in their league phase opener.

“She is [at the top of her game] and has been for a long time,” he said.

“I start her for a reason. She is an incredible footballer and a driven personality. When she gets her opportunity, she will be an incredible England stalwart and someone who will give the country pride.

“She is a fantastic player. I won’t answer the other question.”

It’s showdown time in City Section girls’ flag football. Unbeaten Eagle Rock (13-0) plays at unbeaten Panorama (19-0) at 6:30 p.m. Wednesday.

Eagle Rock is a little bit of a surprise. The Eagles lost to graduation perhaps the No. 1 player in the City Section, Haylee Weatherspoon, but they are showing they are not a one-person team.

Basketball players Nyla Moore and Kyla Siao have become standouts on the football field. Moore, only a junior, is the quarterback. Siao, a shooting guard, is a top receiver and safety.

Coach Julie Wilkins said, “We don’t have an all-star like Haylee, but everyone contributes.”

Eagle Rock relies on receivers who don’t drop passes. The 5-foot-11 Moore uses her height, mobility and arm to find her receivers.

This will be the first big test for Panorama, which is aiming to be an Open Division playoff team this season.

This is a daily look at the positive happenings in high school sports. To submit any news, please email [email protected].

NOTHING brings the country together like football.

But there are some people who have more than a little insight into the game and the hype surrounding it – the WAGs.

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Belinda Coleman was also once one of them, having a front row seat to all the money, the pleasures – and pitfalls – of life as a Premier League wife.

She was the spouse of the Welsh football coach Chris Coleman – but in 2011, their 19-year relationship came to a bitter end following cheating accusations.

The divorce ended in Chris, now 55, giving Belinda just two months to leave the two bedroom flat she shared with their four kids, Sonny, Christy, Faraday and Georgie – all whilst he planned his marriage to blonde TV presenter Charlotte Jackson.

Belinda previously lifted the lid on how their dream marriage turned into a nightmare – and how his flings led to their split after 19 years together.

Belinda then said. “He’s an adulterer and I just became bored of his indiscretions.

“His affairs were into double figures. And I’d even confronted three or four of the women. I never ranted at them. I just told them they weren’t the first and they wouldn’t be the last.

“And I told him if he wanted to be with them, he should just walk out and leave us alone to get on with our lives.”

Now, over a decade later, Belinda has revealed what life is like when your millionaire marriage ends, the money disappears, and you go from the A-list lifestyle to having the bailiffs at your door.

By 1991, when she met Chris, then a player with Crystal Palace, Belinda owned a flat of her own and was managing a hotel health club.

“I’d been invited to a match by a player who’d come to the health club for physiotherapy. The first time I spoke to Chris in the lounge after the match it was so natural. I had no idea this man would change my life forever,” Belinda told The Telegraph.

Just six months later the pair tied the knot – and according to Belinda, it felt like a fairy tale.

As Chris’ career began to climb, they went from a two-bedroom rental to purchasing a small house before Chris moved to Blackburn – ”and suddenly, there was so much money”, Belinda said.

There were luxurious holidays, shopping sprees galore and private school education for their four kids.

“I decorated our lovely home in the country, called the Old Stables, with all the top-of-the-range equipment I could find.”

But with so much money coming in, there was no planning for their financial future – something Belinda looks back at now and cringes at how ”financially irresponsible” the two were.

Meet the WAGS of the England footballers

England Wags range from childhood sweethearts to recently blossoming love stories.

Katie Goodland (Harry Kane’s wife)

The fitness instructor has been married to the England captain since 2019 and joined him in Germany with their four children after he joined Bayern Munich.

Laura Celia Valk (Jude Bellingham’s girlfriend)

The stunning Dutch model, 25, has more than half a million Instagram followers and is said to be absolutely smitten with the Real Madrid star.

Rebecca Cooke (Phil Foden’s girlfriend)

Foden’s childhood sweetheart and the mother of his two kids tends to keep out of the spotlight, but is a regular at England games.

Dani Dyer (Jarrod Bowen’s girlfriend)

England’s most famous Wag, former Love Island winner and daughter of Eastenders’ Danny Dyer.

Iris Law (Trent Alexander-Arnold’s girlfriend)

Dani Dyer isn’t the only actor’s daughter dating an England star. Iris’ dad is Hollywood legend Jude Law.

Megan Davison (Jordan Pickford’s wife)

Megan has been with Pickford since he was 14 years old. The couple married in 2022 and have one son.

Olivia Naylor (John Stones’ girlfriend)

The 33-year-old former beautician has stepped back from her role after giving birth to a baby son.

Read more about the Wags supporting England at Euro 2024 here

“I couldn’t be sensible about it because I couldn’t bear to think about it. There was a lot of guilt at having money when people I loved didn’t, so spending it as quickly as I could on myself and others seemed to make sense.”

Of course, there was also the pressure to look the part, which came with a hefty price tag – the scrutiny of Premier League wives and girlfriends was intense.

There were amazing times together, she explained – the fun of supporting their men at their games, the lavish getaways abroad, the luxurious parties and the fun of watching their children grow together.

But the lifestyle also came with lots of troubles to share, such as woman ”falling over” their husbands, which ”took a huge psychological and emotional toll” on Belinda.

As rumours of Chris’s infidelity became louder, with headlines everywhere, the trust between the couple crumbled.

While Belinda was trying her best to pretend everything was okay for the sake of her children, it was just a mask – and in reality, she was losing her mind.

It eventually led the mother-of-four to do things that she wasn’t proud of, including hiring a private detective and hiding a tracker in Chris’s car – something, she now thinks, created ”suffering”.

As for why the separation and then divorce meant swapping a millionaire pad for a two-bed flat, Belinda is frank.

“Despite once having millions, the money had run out. It was my fault too, of course, but suddenly I was facing financial ruin.”

Bailiffs knocking on door

But the worst was yet to come.

One day, Belinda, now 60, heard loud banging at the door – it was two men who turned out to be bailiffs.

Paralysed with fear, she didn’t dare to move, and when the two finally left, she collapsed.

Following their visit, Belinda’s car was repossessed, and then an eviction notice arrived.

Eventually managing to find a private rental she could just about afford, this was the first of 11 forced moves in ten years for Belinda and the children, Sonny, now 32, Christy 30, Faraday, 27, and Georgie, 25.

While she did eventually receive spousal and child maintenance, the money was nothing compared to her previous lavish lifestyle and Belinda felt as if she ”was depriving the children of the life they’d become accustomed to”.

On one occasion, she remembers, her card was declined at the supermarket checkout, despite calculating everything in the trolley to the penny.

Now raising four kids as a single mum, Belinda took whatever jobs she could fit around their schedule, working nights, weekends and 12-hour shifts.

“I packed boxes for a removal company, worked in a call centre and cleaned. One day in 2016, a year after our divorce was finalised, I drove through the wrought-iron gates of the Old Stables. I was there to clean the house we’d once owned.

Standing in the beautiful home, the memories of the happy times came flooding back and Belinda realised just how much her life had changed.

But she refused to feel sorry for herself. Instead, she appreciated being alive and having four wonderful kids, friends and family who loved her.

Then in 2019, during yet another forced house move, she was packing a book – and things in her life were about to change.

The sentence read: ”Sometimes the universe is just waiting for you to say yes.’’

For Belinda, it was a sign – a sign that if she truly wanted something different in her life, she needed to do something different.

This was the start of Belinda’s journey with manifestation, journaling, meditating, visualisation and expressing gratitude daily that turned her life around – as did winning a legal case.

On a whim one day, the mum-of-four wrote herself a cheque for the amount she believed was achievable from an ongoing legal dispute, placing it beside her bed and acknowledging it every day.

In the end, she ended up winning that case against the odds, and the money meant she could finally achieve the dream of owning her very own home.

”The house I bought was listed for exactly the amount I’d written on the cheque.”

Now a qualified motivational coach and NLP (neuro-linguistic processing therapy) practitioner, Belinda has written a book about her journey.

Wag to Warrior, Every Woman’s Roadmap to Overcoming Life’s Challenges and Rewriting Her Story is a book that Belinda hopes will help other women who are struggling, including other WAGs.

THE SMASHING MACHINE

(15) 123 min

★★★☆☆

3

WHEN big stars take parts that require them to alter their face with prosthetics it’s often a sign they want to be taken more seriously.

Think Steve Carell in Foxcatcher and Bradley Cooper in Maestro.

In The Smashing Machine — director Benny Safdie’s biopic of UFC heavyweight champion Mark Kerr — it’s Dwayne ‘The Rock’ Johnson’s turn to sit in the make-up artist’s chair.

Signalling a departure from the typical action hero roles he is best known for, Johnson’s nose, lips, eyebrows and hairline are transformed to play the fighter.

He’s not totally unrecognisable, though.

A professional wrestler himself, The Rock already had the fighter’s hulking physique.

Acting muscles

And he’s in familiar territory being on screen with his trademark biceps on display.

But here he proves he absolutely can flex his acting muscles too.

American amateur wrestling champion Kerr became one of the pioneers of MMA at the turn of the millennium, well before the sport became the worldwide phenomenon it is today.

We meet him as an unbeaten man, skilled at then-permitted, wincingly violent moves like eye gouges, who lives to win, and who can’t comprehend the thought of losing.

But as painkiller addiction takes hold and Kerr succumbs to his first ever defeat, he returns home a human wrecking ball, tearing his house apart in sheer frustration.

Johnson depicts this rage-fuelled tantrum with real proficiency so we can understand it as a loss of control underpinned by a deep vulnerability.

Emily Blunt, excellent as his girlfriend Dawn, can only look on as the “big man who she loves” demolishes their kitchen with his bare hands.

The real Kerr eventually acknowledged and overcame his narcotic reliance, returning from rehab to the ring.

As a sporting tale, this is in familiar triumph-over-tragedy territory, with no surprises.

While the performances are gripping, the script lacks nuance.

Is this brutal watch a knockout? No, not completely.

But will the prosthetics pay off for Johnson come awards season?

They just might.

A HOUSE OF DYNAMITE

(15) 112mins

★★★★★

3

KATHRYN BIGELOW has done it again, this time turning the camera on the nightmare we all pretend that we can ignore – a nuclear strike.

The director’s tense, claustrophobic, brilliantly staged film grips you from the very first frame.

The story is simple and terrifying – an 18-minute window between a rogue missile launch in the Pacific and its projected strike on Chicago, seen from multiple perspectives.

Every decision, every glance at a screen, every phone call carries huge weight. Uncertainty is the enemy here, and Bigelow wrings every ounce of drama from it.

The cast is flawless. Idris Elba is compelling as a President caught between disbelief and duty, while Rebecca Ferguson delivers a career best as security specialist Captain Olivia Walker.

Elsewhere, Jared Harris, Gabriel Basso, Jonah Hauer-King and Anthony Ramos bring depth as they try to hold a crumbling chain of command together.

It isn’t just a thriller, it’s a heart-stopping meditation on human fragility. If you want cinema that makes you feel the weight of the world in real time, this is the one.

LINDA MARRIC

HIM

(18) 96mins

★☆☆☆☆

3

HORROR film Him feels like it has been stitched together from a dozen better movies, without ever finding a soul of its own.

In short, this is a mess.

The story follows Cameron (Tyriq Withers), a hotshot quarterback whose bright future is thrown off course after a brutal injury.

When retired legend Isaiah (Marlon Wayans) invites him to a secluded training camp, it feels like a chance to rebuild, stronger and faster than before.

But the deeper Cameron steps into Isaiah’s world, the more unsettling it becomes.

Produced by Get Out, Us and Nope director Jordan Peele, Him’s fatal flaw is its emptiness. For long stretches, nothing happens.

Characters drift around muttering ominous nonsense, occasionally raising their eyebrows at the weirdos around them, before going right back to ignoring the obvious.

Withers and Wayans put in respectable perform-ances but the dialogue is clunky, the pacing is dead on arrival and the supposedly shocking reveal is anything but. Even the stylistic additions feel less like art and more like padding for a story that never gets to the point.

Bleak, boring and painfully pretentious, Him isn’t just a bad horror film, it’s the kind of bad movie that thinks it’s being very clever.

LINDA MARRIC

Matthew: We keep with the same formation that has failed us consistently since November. Five wins in 32 league games is the sort of form that doesn’t give you any leeway. You can change personnel but it’s the formation that needs to change. Which he’s shown he won’t. Thanks for the cup, Jimmy, but times up I’m afraid.

Graham: The message is simple now. Thelin is not good enough for AFC. Must go unfortunately.

Aldo: Thelin has to go. The tactics are terrible, a squad of supposedly creative players create no chances whatsoever. Beating a few lower division teams and a terrible Hearts, then a flukey win over Celtic on pens should not keep him in the job.

SPB: The rather bizarre Scottish Cup final gave him a stay of execution. He won’t see out the year I’m afraid. His purple patch last year – when he blew a fantastic start – is all he has achieved in his tenure. He’s not the only one who should be walking at the club.

Ally: Awful! Lazy and slow. No passion, no heart. I’m afraid the bell tolls for the Aberdeen manager. Faith in your shape has failed! Thanks for the cup, Jimmy, but fare thee well!

Denis: Board must act now. Give Leven a few games as he was up for it last year when acted as interim manager.

Neil: Can someone tell Thelin that performing the same experiment (formation) over and over again, and expecting different results, is the definition of insanity! Adapt, or go!

Andy: There’s something much more wrong at Aberdeen than managers. Changing again will solve nothing. These players need to get honest.

Sonny Curtis, a vintage rock ‘n’ roller who wrote the raw classic “I Fought the Law” and posed the enduring question “Who can turn the world on with her smile?” as the writer-crooner of the theme song to “The Mary Tyler Moore Show,” has died at 88.

Curtis, inducted into the Rock and Roll Hall of Fame as a member of The Crickets in 2012, died Friday, his wife of more than a half-century, Louise Curtis, confirmed to The Associated Press. His daughter, Sarah Curtis, wrote on his Facebook page that he had been suddenly ill.

Curtis wrote or co-wrote hundreds of songs, from Keith Whitley’s country smash “I’m No Stranger to the Rain” to the Everly Brothers’ “Walk Right Back,” a personal favorite Curtis completed while in Army basic training. Bing Crosby, Glen Campbell, Bruce Springsteen and the Grateful Dead were among other artists who covered his work.

Born during the Great Depression to cotton farmers outside of Meadow, Texas, Curtis was a childhood friend of Buddy Holly’s and an active musician in the formative years of rock, whether jamming on guitar with Holly in the mid-1950s or opening for Elvis Presley when Elvis was still a regional act. Curtis’ songwriting touch also soon emerged: Before he turned 20, he had written the hit “Someday” for Webb Pierce and “Rock Around With Ollie Vee” for Holly.

Curtis had left Holly’s group, the Crickets, before Holly became a major star. But he returned after Holly died in a plane crash in 1959 and he was featured the following year on the album “In Style with the Crickets,” which included “I Fought the Law” (dashed off in a single afternoon, according to Curtis, who would say he had no direct inspiration for the song) and the Jerry Allison collaboration “More Than I Can Say,” a hit for Bobby Vee, and later for Leo Sayer.

Meanwhile, it took until 1966 for “I Fought the Law” and its now-immortal refrain “I fought the law — and the law won” to catch on: The Texas-based Bobby Fuller Four made it a Top 10 song. Over the following decades, it was covered by dozens of artists, from punk (the Clash) to country (Johnny Cash, Nanci Griffith) to Springsteen, Tom Petty and other mainstream rock stars.

“It’s my most important copyright,” Curtis told The Tennessean in 2014.

Curtis’ other signature song was as uplifting as “I Fought the Law” was resigned. In 1970, he was writing commercial jingles when he came up with the theme for a new CBS sitcom starring Moore as a single woman hired as a TV producer in Minneapolis. He called the song “Love is All Around,” and used a smooth melody to eventually serve up lyrics as indelible as any in television history:

“Who can turn the world on with her smile? / Who can take a nothing day, and suddenly make it all seem worthwhile? / Well it’s you girl, and you should know it / With each glance and every little movement you show it.”

The song’s endurance was sealed by the images it was heard over, especially Moore’s triumphant toss of her hat as Curtis proclaims, “You’re going to make it after all.” In tribute, other artists began recording it, including Sammy Davis Jr., Joan Jett and the Blackhearts and Minnesota’s Hüsker Dü. A commercial release featuring Curtis came out in 1980 and was a modest success, peaking at No. 29 on Billboard’s country chart.

Curtis would recall being commissioned by his friend Doug Gilmore, a music industry road manager who had heard the sitcom’s developers were looking for an opening song.

“Naturally I said yes, and later that morning, he dropped off a four-page format — you know ‘Girl from the Midwest, moves to Minneapolis, gets a job in a newsroom, can’t afford her apartment etc.,’ which gave me the flavor of what it was all about,” said Curtis, who soon met with show co-creator (and later Oscar-winning filmmaker) James L. Brooks.

“[He] came into this huge empty room, no furniture apart from a phone lying on the floor, and at first, I thought he was rather cold and sort of distant, and he said ‘We’re not at the stage of picking a song yet, but I’ll listen anyway,’” Curtis recalled. “So I played the song, just me and my guitar, and next thing, he started phoning people, and the room filled up, and then he sent out for a tape recorder.”

Curtis would eventually write two versions: the first used in Season 1, the second and better known for the remaining six seasons. The original words were more tentative, opening with “How will you make it on your own?” and ending with “You might just make it after all.” By Season 2, the show was a hit and the lyrics were reworked. The producers had wanted Andy Williams to sing the theme song, but he turned it down and Curtis’ easygoing baritone was heard instead.

Curtis made a handful of solo albums, including “Sonny Curtis” and “Spectrum,” and hit the country Top 20 with the 1981 single “Good Ol’ Girls.” In later years, he continued to play with Allison and other members of the Crickets. The band released several albums, among them “The Crickets and Their Buddies,” featuring appearances by Eric Clapton, Graham Nash and Phil Everly. One of Curtis’ more notable songs was “The Real Buddy Holly Story,” a rebuke to the 1978 biopic “The Buddy Holly Story,” which starred Gary Busey.

Curtis settled in Nashville in the mid-1970s and lived there with his wife, Louise. He was inducted into the Nashville Songwriters Hall of Fame in 1991 and, as part of the Crickets, into Nashville’s Musicians Hall of Fame and Museum in 2007. Five years later, he and the Crickets were inducted into the Rock Hall, praised as “the blueprint for rock and roll bands (that) inspired thousands of kids to start up garage bands around the world.”

Italie writes for the Associated Press. Associated Press journalist Mallika Sen contributed reporting.

A third Camp Rock film has been confirmed by Disney but Demi Lovato, who shot to global fame in the leading role of Mitchie Torres, will not be a part of the cast

Demi Lovato will not return for Camp Rock 3. The pop star, 33, shot to fame when she took on the leading role of Mitchie Torres in the Disney Channel Original movie in 2008, and appeared alongside the Jonas Brothers, as well as other network stars like Alyson Stoner and Meaghan Martin.

Mitchie was an aspiring singer/songwriter desperate to attend the titular summer camp, but could only afford to do so if her mother was employed there as a chef. The film came about after the success of High School Musical, which made a star out of Zac Efron and became the network’s second-most successful franchise behind Hannah Montana. Camp Rock followed Demi’s character as she battled with camp rivalries and eventually plucked up the courage to belt out This Is Me in a grand competition.

The film spawned a sequel, titled Camp Rock 2: The Final Jam, which was released in 2010, in which Demi reprised her role. Around the same time, the singer had been starring in her own sitcom titled Sonny With A Chance, but made a swift exit from the show after just one season and the format had to be hastily retooled as she dealt with a series of personal struggles.

READ MORE: Demi Lovato marries Jordan Lutes and reveals insight into stunning ceremonyREAD MORE: Disney child stars now – Tragic deaths, ‘haunting’ pasts, and MeToo revelations

Now, a third instalment of Camp Rock has been confirmed and Kevin, Nick and Joe Jonas, will return in their roles as members of the fictional boyband Connect 3. Also making a comeback is Maria Canals-Barrera, who played Demi’s mother Connie. Fans will also recognise her for starring as Theresa, the on-screen mother of Selena Gomez on Disney Channel’s Wizards of Waverly Place.

Ayo Davis, president, Disney Branded Television, said: “Camp Rock is an important part of the Disney Channel Original Movie legacy, with unforgettable music, energetic storytelling, and characters that live in the hearts of fans to this day. Bringing it back with Kevin, Joe, Nick and Demi is such a full-circle moment, and we can’t wait to reintroduce this world to a new generation.”

According to TMZ, Demi is not part of the cast but will instead serve as an executive producer alongside the Jonas Brothers.

Joy Ride actress Sherry Cola has joined the cast in the role of Lark, and will be seen alongside by Liamani Segura, Malachi Barto, Lumi Pollack, Hudson Stone, Brooklynn Pitts, Casey Trotter and Ava Jean, all of whom will play newcomers to the camp. The plot will see Connect 3 lose their support act for an upcoming reunion tour, and they return to Camp Rock in search of an up-and-coming star to act as a replacement.

In the late 2000s, Demi, who also dated Joe Jonas for a period of time, was a mainstay on Disney Channel and was part of a cohort of young stars like Selena Gomez, Miley Cyrus, as well as twins Dylan and Cole Sprouse.. Earlier this year, Demi treated fans to a surprise Camp Rock reunion when she and the Jonas Brothers got together to sing their most famous song from the Disney movie.

The Jonas Brothers were performing for their 20th anniversary tour in New Jersey and included the song Gotta Find You form the iconic movie.

After the performance, Demi shared a video singing with Joe witht he caption: “thanks for having me @jonasbrothers”, which sent fans wild.

One person commented: “most important moment of my life”, while another added: “THIS WILL BE STUDIED AT HISTORY BOOKS”.

A third fan commented: “First we get Freakier Friday, Princess Diaries 3 is being filmed, Miley announced she wants to do something special for Hannah Montana, and now this, life is good!”, while another added: “I can’t fully explain but this was healing”.

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