Rock

Dorset’s take on the Mediterranean

Mudeford feels like one of England’s best-kept secrets, the sort of place visitors from abroad might never imagine exists here. Golden sand and sparkling water give it an almost Mediterranean feel, while Hengistbury Head adds beautiful coastal walks and wide-open views. Our perfect day is simple: arrive early, wander along the headland, let the children play on the beach, then stop at one of the relaxed cafes for lunch or an ice-cream. My tip is to take the little ferry across the harbour – it turns an already lovely day out into a proper seaside adventure.
Priti Singer

Lancashire’s Forest of Bowland

The Forest of Bowland covers a staggering 312 square miles of moorland, forests and valleys, dotted with the occasional village. It may be one of the best places for peace and quiet in England, and is also a Dark Skies area. It’s perfect for walkers and cyclists. I visited Gisburn forest (where I only met two other people during a five-hour hike); Barley village, which attracts lots of walkers who climb Pendle Hill; and, for spectacular scenery, a trip through the Trough of Bowland is a must. For town life, I’d recommend Skipton, a 35-minute drive away, which has it all with a castle, canal and plentiful shops and restaurants. It’s also the southern gateway to the Yorkshire Dales.
Cat

Crabbing and clean beaches in Suffolk

Walberswick is popular with walkers and birders, and young families who come here to relax and go swimming on the clean beach or crabbing in the creek. A brilliant way to arrive at the town is on the rowing-boat ferry (March to November) across the River Blyth from Southwold. It’s been in the same family for five generations. We had great seafood at heritage pubs like the Anchor and the Bell. Across the water, there’s a lot of wonderful fish shops and the famous Harbour Inn.
David Innes-Wilkin

In search of the Lundy Bunny, Devon

Lundy, off the north Devon coast, offers a hidden adventure for all ages by following the treasure trail of 27 Lundy letterboxes spread over the island. Some are wooden boxes, some metal, but they are all hidden. There’s a set of clues to follow, and stamps collected including the elusive Lundy Bunny. My two preteen boys and I loved our exploration of this remote granite island, binoculars and compass in hand, identifying letterboxes, birds and wildlife during our magical trip there.
Carol Godsmark

A spectacular rail trip in County Antrim

No trip I’ve made as an adult has matched the buzz of my annual childhood day trip from Derry to Portrush. The Troubles were at their peak but Portrush was still largely unscathed and had a totally different atmosphere to Derry. The journey was completed by train from Coleraine, and what a train journey it is. The train hogs the coast the whole way and we would be beside ourselves when the big dipper of Barry’s Amusements came into view. We would spend the morning on the beach, fish and chips for lunch and a few hours in Barry’s before heading home. Tuscany may be beautiful but do they sell sticks of rock?
Eve Kearney

An arty town in Shropshire

Foxholes campsite sits on a hill above the arty west Shropshire town of Bishop’s Castle. The views across the Shropshire hills are splendid, and a 10-minute walk through fields leads you past a stone Buddha into the town stretched along a medieval high street. Visit the House on Crutches museum to get a feel for Shropshire rural life history, and be sure to check out its two brilliant pubs: the Three Tuns is probably Britain’s oldest licensed brewery, having started in 1642, while the Six Bells provides an unpretentious family-friendly welcome. For us, though, the highlight was the Chai Shop and its charismatic owner Tahira. She serves delicious Indian snacks like bhajis and dal as well as traditional Indian sweets.
Matt Lunt

Camping in south Wales

We’re by no means an experienced camping family, but we pitched up on Rhydywernen Farm near Brecon after the last August bank holiday and were able to feed goats that were as happy and hoppy as it gets. Before falling asleep to the whisper of a nearby stream and mini-waterfalls, we spent time stargazing as there was no light pollution – it felt we were somehow closer to the stars. A cool stream helped soothe us after a day of hiking on Pen y Fan, the tallest peak in Britain south of Cadair Idris in Eryri (Snowdonia). We had only just bought a tent that summer and then we fell in love with Wales, so we keep coming back for more.
Izabela

Northumberland’s atmospheric border town

Berwick-upon-Tweed is one of those places that feels more dramatic than its size suggests. I have visited twice, and I loved simply walking around, camera in hand. Its slightly strange sense of being a border town seems to permeate everything. Stand beside the River Tweed and you can see three bridges together: the old Berwick Bridge, the elegant Royal Tweed Bridge and the great Victorian railway viaduct of the Royal Border Bridge. Add the Elizabethan walls, the North Sea and castle ruins, and Berwick feels perpetually poised between countries, centuries and land and sea. It makes a wonderfully atmospheric short break.
Susanna Callaghan

The natural wonders of the Wirral

The Wirral and its country park, south-west of Liverpool, is a brilliant under-the-radar place for a UK summer holiday, full of walks and beaches. Birkenhead Park is 57 hectares (140 acres) of meadows, fields, gardens, woodland, lakes and structures – we had picnics and family treasure hunts last summer. Opened in 1847, it inspired the 19th-century US landscape architect Frederick Law Olmsted in his design of New York’s Central Park, so close your eyes and imagine you are in the Big Apple! Since 1995, it has been listed as a Grade I landscape by English Heritage. With its paths, fossil-hunting areas, bike trails and dramatic sunsets, Wirral country park helped us entertain our teenagers. Thurstaston beach and Port Sunlight village are great options too.
Nicoletta

Winning tip: Caribbean vibes on the Isle of Mull, Inner Hebrides

David Balfour’s Bay is a remote and breathtaking sandy bay with clear turquoise waters and pristine white sands in a stunning setting – the tidal island of Erraid, just off south-west Mull. The play of bright sunshine on crystal clear water and waves is dazzling – it’s a literally brilliant place to visit. Throw in a few palm trees and, on a clear day, you could imagine you were in Barbados – and the sea temperature can reach a pleasant 18C in August and September. To reach the bay, walk from lovely Knockvologan beach at low tide. This scenic walk can be extended to explore the north side of Erraid, where there are magnificent views of the Sound of Iona. Just be careful of tides so you don’t get caught there – a swim back is invigorating – as I found out after an overlong afternoon snooze when some lapping waves woke me up.
Peter

MATCHBOX 20 frontman Rob Thomas accidentally smashed his bandmate in the head with a metal microphone stand in a nasty gig incident.

Footage of the moment shows a pumped up Rob swinging the stand around, totally in the zone, without realising his guitarist Paul Doucette is stood dangerously close behind him.

As he swings it a final time before releasing it, it clips his pal in the back of the head, forcing him to leave the stage.

Rob, 54, then tells the Illinois crowd: “Every night I’m over here and I’m throwing this god damn thing around… oh I went, it nailed him, yeah we nailed him hard.

“My best friend in the world and I think I almost killed him and I feel really bad about this.”

Paul, 53, returned to the stage with a smile on his face and a glass of wine in his hand.

He said: “How many times have I told you not to throw that f**king thing? I knew it was only a matter of time.”

The veteran rock band have been together since the mid-90s but have only put out two albums since 2002, the latest being Where the Light Goes in 2023.

They are best known for emotional ballads like Push, 3AM and Bent — their first number one hit.

Frontman Rob is perhaps best-known for his 1999 single, Smooth, with Carlos Santana which became the second best-selling record of all time.

His debut solo album topped the Billboard chart in 2005, led by the hit single Lonely No More.

The singer, who is a dad-of-one, has been married to his wife Marisol since 1999, bucking the lothario stereotype attached to rock frontmen.

SHARON Osbourne has accused a huge rock star of ‘giving Kelly drugs’ when she was a teen – and branded her a ‘a dry old c***’.

The former X Factor, 73, opened up about what happened during a recent live Q&A screening event for If These Walls Could Rock at the Landmark Sunset Theatre in Los Angeles over the weekend.

While appearing on stage as a special guest on Saturday 15 August ahead of a screener, the TV star alleged that Courtney Love, 62, gave her daughter drugs.

Courtney has previously denied giving drugs to any teenagers, after Sharon accused her in the past.

Back in 2007, Sharon alleged that Courtney was the first person to give Jack OxyContin.

One of the guests in the audience captured what Sharon said on camera as the host asked her: “Oh you know who gave it to her? You don’t have to say, but you know.”

TAVERN TRIBUTE

Sharon Osbourne pours a pint behind bar in late Ozzy’s hometown

CRAZY PAIN

Sharon Osbourne’s first year without Ozzy has been an ’emotional nuclear bomb’

Sharon replied: “Yeah, Courtney Love.”

The presenter replied: “Well now you have said it, I want to hear this story! You tell me what happened.”

Sharon replied: “I will say no more, but, she’s a c*** anyway.

“A boring old c***. A dry, old c***.”

The Instagram user captioned the post: “Sharon Osbourne was telling a story about someone allegedly giving Kelly drugs when she was a young teenager… and then she dropped the name.

“I guess this is the greatest ad ever to go see If These Walls Could Rock.”

The Sun have contacted Courtney’s representative for comment.

Sharon has previously blamed Courtney for her son Jack’s addiction to prescription drug OxyContin.

She said back in 2007: “I will never have time for Courtney Love. She was the first person to give my son Jack the prescription drug OxyContin.

“There’s not a shadow of doubt in my mind about that. My dislike towards her is very personal.”

Courtney denied the accusation and said: “I never did that. I would never give drugs to a teenager.

“F**k you Sharon – as if I would ever give drugs to a teenager.”

HER reality star romance with Joey Essex failed to flourish — but Love Island’s Jessy Potts is now smitten with the son of a controversial Real Housewife.

The villa beauty, 27, is dating Innis Jenkins, 26, whose mum multimillionaire mum Diana, 52, appeared in the Beverly Hills version of the franchise.

Jessy has shared a number of loved-up pics with Innis from their holiday in Sorrento, Italy, without sharing his name.

She also posed with a beaming smile beside Innis and Diana on the businesswoman’s Instagram account, before it was swiftly deleted overnight.

The Sun has contacted a rep for Jessy for comment.

Entrepreneur Diana, who is worth an estimated $300m, made headlines for the wrong reasons earlier this year when she was wrongly linked to a shocking story in the late actress Hayden Panettierre‘s memoir, This Is Me: A Reckoning.

The troubled Nashville star, who was found unresponsive at a residence in  in South Carolina from a suspected overdose aged 36, described how a British socialite put her in a bed with a naked British singer-songwriter in his 30s when she was 18. She also discussed the incident on Jay Shetty’s hit On Purpose podcast in May.

Reading the passage on the podcast, Hayden said: “She physically put me in the bed next to this undressed man who was very famous… My hair stood on end, and I became ferocious. I was like, ‘This is not happening.’

“I had nowhere to hide. I bolted, and I hid wherever I could think of to hide on a boat. There was no jumping off and swimming away… and I realised that there was nobody who was going to be empathetic to my situation, that this was nothing new to them.”

Though Hayden didn’t name the socialite, rumours began spreading online that it was Diana, leading the Real Housewife to vehemently deny any involvement.

In a statement to TMZ, her rep said: “Diana has had to deal with false online rumors before, and sadly this is just another example of that.

“So let me be 100 per cent clear about this: It most certainly is not Diana, and anyone who claims it is her will be sued.”

Diana’s connection to Hayden goes back at least 16 years when the Sarajevo-born businesswoman released a coffee table book called Room 23 that featured provocative and intimate shots depicting Beverly Hills life and featured an array of stars including Lindsay Lohan and George Clooney.

At the time of her involvement, Hayden was 20 and riding high in superhero drama Heroes.

Hayden wrote of their friendship in her book, stating: “It was a weird friendship for sure, but as I stretched into my newfound adulthood, I had to see which relationships suited me, on my own terms. At that moment, Diana seemed like she could give me everything I needed.”

Innis grew up in LA and attended a posh private school. He is said to be an entrepreneur but keeps a low profile publicly with no posts on his own social media page.

He has made cameo appearances in the Real Housewives of Beverly Hills over the years but was very much a background figure.

His dad is Brit banker Roger Jenkins, who divorced Diana in 2011.

In the early noughties he was said to be the highest paid banker in London, coining in a reported £40m a year.

He was dragged to the Old Bailey in 2019 for a high-profile fraud case dating back to the 2008 financial crisis and his involvement in Barclays’ emergency £11bn capital raise to avoid being nationalised.

Roger was one of three men acquitted in 2020. He is now reportedly worth close to $100m.

Before dating Jessy, Innis had a relationship with Ava Dash, the daughter of Roc-A-Fella Records co-founder Damon Dash.

Jessy appeared in the Love Island villa in series 11 as a bombshell. She hit it off with Towie star Joey Essex, who had started the series as one of the original villa boys, turning his head away from ex-girlfriend Grace Jackson who was also in the villa.

The pair narrowly missed the series final, and their relationship was short-lived in the outside world.

Opening up on Love Island All Stars, Jessy said: “It only lasted about a couple of months afterwards. It was just, we’re definitely different people, so when you leave here and it’s like, ‘Oh, s***!’

“He’d done TV before, so he already had a lot of people who had opinions about him anyway. And it just wasn’t, it wasn’t for me.”

Sitting in the heart of the city and surrounded by museums and bars, the Hard Rock Hotel Madrid manages to be entertaining enough on its own

Music is the lifeblood of the soul, I firmly believe everyone needs to listen to music to stay alive. But there’s people who love music (human beings, birds) and there’s people who love music (Radiohead fans). I always thought the Hard Rock Hotel catered exclusively to the latter group, until I made a trip to their Madrid location in July.

In fact, the Hard Rock Hotel is a haven for anyone who has been to a live gig all the way up to those people who camp outside Wembley Stadium, just so they can feel what it’s like to be squished against a barrier for hours with the force of a thousand fans.

Located in Madrid’s Atocha neighbourhood and a few minutes walk from the station that shares its name, it’s also just a 20 minute drive from the airport. This makes it an absolute sweet spot for exploring the city – that’s as soon as you’re done with the inside.

Room

Madrid is hot, but Madrid in July may as well be located on the surface of an exploding star. However, the air conditioning in this hotel is next level – and it’s the first thing I noticed as I walked in to their lobby. That was seconds before my eyes clocked the museum of artefacts in the lobby.

A gorgeous Menina sculpture statue covered in song lyrics from Spanish popstar Rosalia sits on one side of the entrance, with a giant bull greeting on the other. The lobby is a cornucopia of musical artefacts alongside the art, with guitars and pics from famous rockstars and little explainers for those less in the know.

It’s difficult to have so much stuff everywhere and not feel too kitsch, but while it certainly straddles that line, it feels more exciting than it does over-the-top. A wonderful touch I enjoyed was that all the staff have their favourite artist on their name tags. While checking in, I had a lovely chat with a guy about the new Madonna album – it was Pride season, after all, and Confessions II is this summer’s gay album.

One thing that struck me was how friendly and helpful all the staff were here. This is my favourite thing about the hotel: I never felt like a burden, even as I asked questions about how to get somewhere or if I needed toothpaste brought up to the room.

I stayed in a double-bed room overlooking the lobby. The beds are dreamy – I was clocking in 30,000+ Garmin steps (if you know, you know) and resting my head on a cloud and my body on another, bigger cloud, really helped me keep the party going. Despite music pumping from individual rooms and a Pride party on the Saturday afternoon, I could at most feel a murmur and a vibration.

The rooms aren’t huge, which while not unfamiliar to a city centre hotel, may be an issue for those bringing suitcases of clothes. I brought a backpack and fairly easily expanded into the clothes storage space.

However, this was mitigated by some lovely touches – the soundbar makes getting ready an absolute delight and if you don’t have any playlists, they provide you with one. The rain shower was, also, desperately needed after walking about in 40 degree heat. The cherry on top is the ring light mirror too – you best believe I did a photoshoot.

Amenities

The hotel boasts a restaurant and bar in the lobby area, as well as a rooftop bar and a pool with access to a bar and food. I dined at the Sessions restaurant on one Friday night.

Its definite plus point is a huge menu, meaning even the most fussy eaters will have something to eat, from patatas bravas to croquettes to onion rings and ribs. I would say this is fairly standard fare – if you’ve eaten in a Hard Rock Cafe, you’ve eaten the food here. But good for those in a pinch.

However, I cannot recommend enough going to the rooftop bar at sunset. The city sets alight with golden hour glow – sipping on a gorgeous cocktail as Madrid reveals its beauty to me is something I will never forget.

The pool, meanwhile, is good for jumping in to cool down, but is not the biggest I’ve ever seen. The real stars of the pool area are the bookable cabanas, making it ideal for decompressing, reading a book and hoping the hangover doesn’t kill you off.

Location

The location is an absolute highlight, with the Museo Nacional Centro de Arte Reina Sofía, the Museo Nacional del Prado and the Museo Nacional Thyssen-Bornemisza all within walking distance.

It’s also on the edge of the huge El Retiro Park, with so much inside (including a botanical garden) that it would take several days to explore. On the edges of this I found a smaller, free version of the Reina Sofia too, proving art is foundational to a Madrid experience.

Sol station is a 20 minute walk from the hotel – I arrived during Pride, so while I didn’t get to experience the area’s restaurants, this was the epicentre of the entertainment, with live singers on a huge stage and hundreds of people dancing.

And no trip to Spain is complete without some churros – a 29 minute walk from the hotel is the famous Chocolatería San Ginés, which has existed since 1894. Here you can get affordable churros in chocolate so good I’m surprised Arthur Slugworth didn’t go in to steal the recipe. It’s so good in fact Madrid’s police officers are often spotted in there.

Is it worth the trip?

It’s hard not to recommend the Hard Rock Hotel. Not only is the location one of the best in the city, the hotel is just so exciting to stay in. Couple that with comfy beds you can sink into, the minor issues were outweighed by the force of its riff. If you like fun, you’ll like the Hard Rock Hotel.

A YOUNG rock bassist in Australia has revealed he only months to live after being diagnosed with colorectal cancer.

Jordan Brunoli, 29, is the bass guitarist for Brisbane-based band Bugs and last year was told he had colorectal cancer.

The rocker gave a devastating update that after trying all kinds of medical interventions he was told in June that his prognosis was terminal, with him having between three to four months to live.

“I have spent over a year now trying different chemotherapy drugs, backed by an amazing oncologist and treatment team,” Jordan wrote on the band’s Instagram. 

“Unfortunately I have a mutation that causes rapid growth of tumours, and none of the treatments have been able to stop the cancer from spreading. I am now entering the final chapter of my life after being told in June I had a prognosis of 3-4 months.”

Jordan vowed to live his life to the fullest and thanked his bandmates, Connor Brooker and Brock Weston and the wider Bugs team for rallying around him to record their latest album, Head Noise.

SAVING LIVES

Bowel cancer tests up 50% as NHS chiefs praise Dame Deborah James’ campaign

WES STREETING

New improved NHS bowel cancer test is quick & simple – but impact is HUGE

“I’m forever grateful for the support from Con, Brock and our OG Bugs team who have banded together to indulge my wish, to release our album and play some shows before I go,” he wrote.

“Head Noise means so much to me. I can’t wait for you to hear the whole album.

“We’ve worked on it for the last 2 years, through the good and the bad. We kept recording when I was recovering from surgery, sick from chemo, even when I had neuropathy so bad I couldn’t feel the guitar I was playing.”

He added: “My focus has always been on enjoying the music and sharing it with others.

“Playing, recording and touring around Australia with Bugs has been the opportunity of a lifetime. I just wanna say, if there were a few final shows coming up, you can bet your ass I’ll be playing them.”

Jordan concluded: “Thank you everyone, and watch me enjoy the f**k out of the rest of my life.”

The bassist revealed his cancer diagnosis last year and explained it was at stage 4 because it had spread to his liver and lymph nodes.

Jordan had surgery to remove part of his bowel and got a permanent stoma before beginning chemotherapy.

Bugs launched a fundraiser at the time to help pay his medical bills and to cover his living costs while he couldn’t work.

The musician used his platform to raise awareness about bowel cancer and its rise amongst people under 50.

Australia close Day Three of the first Test against Bangladesh on 161-4, trailing the record-chasing tourists by 67.

Spinner Mehidy Hasan Miraz took the key wicket of Steve Smith to reduce Australia to 161-4 after the third day of the first Test in Darwin and move Bangladesh closer to a historic win.

At the close on Saturday, Australia trailed the visitors by 67 runs in their second innings, with Cameron Green on 43 and Alex Carey on 19.

After being dismissed for 426 shortly after lunch, Bangladesh seamer Hasan Mahmud stunned Australia when he claimed both openers cheaply.

Hasan, who took a career-best 6-55 in the first innings, bowled Jake Weatherald (0) and Travis Head (17) in identical fashion, both chopping on to their stumps.

On a good batting strip, Marnus Labuschagne and Smith initially steadied the ship.

Labuschagne, who has been out of form and seen his place in the team increasingly come into question, eased to 31 before playing over the top of a straight ball from left-arm spinner Taijul Islam and being bowled.

Smith, so often Australia’s saviour, batted sensibly but with the score on 122 he got a leading edge to off-spinner Mehidy and chipped it straight back to the bowler.

“The way we showed character and the way we played for the last two or three days was outstanding,” visiting captain Najmul Hossain Shanto told Fox Sports.

“We are taking it session by session, focusing on the process and not the outcome.”

Earlier, Mehidy did the damage with the bat, scoring a valuable half-century in Bangladesh’s first innings.

After Bangladesh were well beaten by a Cricket Australia XI in their only warm-up match, including being bowled out for 54 in the second innings, many expected this Test to be an easy Australia victory.

But the unfancied visitors bowled the hosts out for 198 on the first day and then showed great dedication with the bat to keep the home side in the field for 138 overs.

Mehidy shielded the lower order brilliantly in the morning session to frustrate a tiring Australian attack.

When he was finally dismissed for 65 by Josh Hazlewood shortly after lunch, he had helped put his team into a strong position halfway through the match.

Bangladesh are attempting to win a Test in Australia for the first time, at the third attempt.

Mehidy shines for Bangladesh to frustrate Australia

After Bangladesh resumed the day on 351-6, fast bowler Hazlewood took two wickets in the first hour to give the hosts hope of wrapping up the tail relatively quickly.

But Mehidy’s outstanding batting allowed Bangladesh to defy the Australian bowlers on a typically hot and humid Darwin morning.

They were helped by some poor Australian catching, including an almost inexplicable miss by Smith, who got under a mistimed pull from Taskin Ahmed in the deep but dropped the simplest of chances.

Two balls later, Mehidy miscued a pull shot only for a diving Head to spill a more difficult chance.

After defying the Australians for more than an hour in the final session on Friday, Hasan lasted just four overs of the first session on Saturday before being trapped leg before by Hazlewood, adding one run to his overnight score of 13.

Taijul Islam made a breezy 17 before becoming Hazlewood’s 299th wicket in Tests when he guided a ball straight to Cameron Green at gully.

With Mehidy shielding Taskin, Bangladesh pushed the lead past 200 and kept the Australian bowlers toiling for another two hours.

Hazlewood, the pick of the attack with 6-89, reached 300 wickets in Tests when he had Mehidy caught behind by Alex Carey to leave Bangladesh 418-9.

He got his 301st when Number 11 Ebadot Hossain fell the same way for seven.

ROCK legend Rod Stewart has undergone heart surgery and cancelled all upcoming tour dates.

The Maggie May singer had recently pulled out of two gigs in a week as fears grew over his health.

Stewart, 81, has undergone a coronary stent procedure that was a success, his representative has said.

They added: “Doctors are pleased with his recovery, and Rod is doing very well and has returned to his normal daily activities.

“On the advice of his doctors, he will take the next four weeks to recuperate and regain full fitness before returning to the stage.

“Unfortunately, this means he will be unable to continue his current tour dates.”

HEALTH FEARS

Rod Stewart sparks concern as he pulls out of second concert in a week

GRANDPA ROD

Rod Stewart, 81, is a grandfather for sixth time as daughter welcomes 2nd child

Stewart canceled his Tuesday night performance at Rocket Arena in Cleveland shortly after postponing his Sunday concert in Cincinnati at Riverbend Music Center.

He also cancelled a few dates earlier this year, including two in Las Vegas and one in San Diego.

Rod was scheduled to appear through September 3 in North America, including his six-night residency at The Colosseum at Caesars Palace in Las Vegas and a few dates in Mexico.

In the statement the singer said: “I’m already feeling better and very much on the mend. I want to thank the doctors, nurses and everyone who has taken such wonderful care of me.

“I’m deeply disappointed to miss these shows and sorry to let my fans down, but I look forward to getting back on stage and having a good time with you all again soon.”

Back in June the hitmaker was forced to pull out of a gig in California, due to a respiratory infection that later triggered a bout of laryngitis.

Just a week later, Rod stopped midway through his Utah concert and was seen using an oxygen tank onstage after nearly passing out.

The surgery comes just days after he became a grandfather for the sixth time – with his daughter Ruby welcoming her second child with fiance Jake Kalick.

Ruby posted adorable pictures of her older son Otis meeting his sibling for the very first time to social media.

Rod has eight children in total with five different women.

More to follow… For the latest news on this story keep checking back at The Sun Online

Thesun.co.uk is your go-to destination for the best celebrity news, real-life stories, jaw-dropping pictures and must-see video.

Like us on Facebook at www.facebook.com/thesun and follow us on TikTok @TheSun.

Nylah Moore has been a standout flag football and girls’ basketball player at Eagle Rock High. Now comes the arrival of her freshman sister, Cinzia, which means fans in the bleachers might want to start designing and creating signs to wave each time one or the other scores a touchdown or makes a basket. It will be great exercise for the arms considering how many times the two figure to come through this season.

Nylah, who is 5-foot-11, is Eagle Rock’s versatile quarterback and scoring guard. She helped Eagle Rock to a 20-2 record last season, passing for 51 touchdowns as a junior. The basketball team went 10-0 in the Northern League. She averaged 15 points.

With the Moore sisters, Eagle Rock deserves the favorite’s role to win the City Section Open Division flag football title and compete with Birmingham and Westchester for an Open Division girls’ basketball title. Cinzia, who is 5-9, also excels in both sports.

Their mother, Christine Moore, was principal of the year at Luther Burbank Middle School in 2023 for Region 16. Coaches remember her bringing a young Nylah to sporting events years ago. Her biggest challenge will be finding time to watch her two daughters perform in two sports in her new job serving as region director for the Eagle Rock/Highland Park Network.

Eagle Rock’s rise in flag football is no surprise. The school has been able to attract multisport athletes with speed and versatility. Basketball is where this season a surprise could happen. Coach Julie Wilkins has her biggest team ever after the arrival of 5-10 Marlborough transfer Amelie Cash. She also has a 6-1 player. Since Wilkins coaches both flag football and girls’ basketball, she’s always looking for “volunteers” to play both sports (wink, wink).

That’s how the successful teams in flag football have emerged — getting players from softball, soccer, track and field, and volleyball to join the sport. And it’s working.

Monroe had 20 players come out last season. This year, at least 36 have been practicing. Coach Jose Ruiz always asks Leo Hernandez, the track and field and cross country coach, for recommendations on his athletes as potential flag football players. Now that middle schools feeding Monroe have flag football programs, the numbers are expected to continue to rise.

Emmy-nominated composer Bear McCreary has taken a reverse road to symphonic rock. Prog rockers have traditionally integrated symphonic elements; other rock bands have done orchestral versions of their songs. McCreary began creating television and film scores, discovered his inner metalhead, and has since bridged those worlds with his “Singularity” project. It all adds up to a different take on that time-honored formula.

The second of the two albums, “The Singularity: Ekleipsis,” is out Friday and features contributions from guitarist Steve Vai, Coheed and Cambria frontman Claudio Sanchez, Fall Out Boy frontman Patrick Stump and McCreary’s younger brother Brendan, who sings on half the tracks. The multifaceted album feels like “I am Bear, hear me roar.”

“I love that quote,” he says, laughing, during his two-hour interview with The Times. “I want to put that on the posters. I feel like ‘The Singularity’ is a temper tantrum of a record from someone who had been writing music for other people for 20 years, then all these ideas exploded out.” Two years after the release of the first “Singularity” album, “Ekleipsis” feels more focused and personal to him.

From Anthrax dinners to sessions with Slash, Stewart Copeland and Bulgarian choirs, McCreary’s restless curiosity drives genre-bending songs that wrestle with identity, diaspora and the world listeners are trying to survive.

(Allen J. Schaben / Los Angeles Times)

The first “Singularity” double album — which featured guests like Serj Tankian, Corey Taylor, Rufus Wainwright and Joe Satriani — tied into a graphic novel about a man who repeatedly experiences loss and death at the hands of a villainous character in his every life across their multiverse. This leads to a major revelation at the end. Although McCreary says that “Ekleipsis” is not disconnected from that universe, it is not strictly tied to a narrative.

“I wasn’t setting out to write a concept album again,” McCreary admits, “but there’s something immediate in all the lyrics. Half of them are specifically talking about the world that we all find ourselves living in and trying to overcome in some way.”

McCreary’s sonic diversity continues with “Ekleipsis.” Gojira frontman Joe Duplantier collaborated with the McCreary brothers and the Mystery of the Bulgarian Voices choir on “Black Box” to create a work of dissonant majesty. The composer improvised his way through the initial stages of “Pray for a Storm,” his high-energy collaboration with famed drummer Stewart Copeland.

“Let’s all go into your studio with nothing,” McCreary recalls telling the irrepressible percussionist. “I’m not even going to bring an idea. We’ll plug in our instruments, set the mics up and play. I want to capture your ideas and your energy, then shape it into a song based on the pieces that I get.”

McCreary sees new endeavors as a learning experience. He meets his collaborators in the way they like to work. He was awed while writing with Guns N’ Roses bassist Duff McKagan and Red Hot Chili Peppers drummer Chad Smith on the anthemic “Cool Kids.”

“Those guys are true songsmiths,” the composer declares. “I think they’re unrecognized as songwriters. They wrote for Ozzy Osbourne. They’re focused on hammering down a riff until it works. We walked into a studio with a riff that Duff had written and walked out with this song that we brought Slash onto. We got that band experience [with them].”

McCreary is best known for scoring series like “Battlestar Galactica,” “The Walking Dead” and “The Lord of the Rings: The Rings of Power,” along with movies such as “Godzilla: King of the Monsters” and the “God of War” video game franchise. He gained entry into metal through a dinner with Anthrax guitarist and “Battlestar” fan Scott Ian two decades ago.

“‘I know you. You’re a guy who loves Sepultura,’” Ian told him, invoking a musical link for the composer. Intrigued, McCreary listened to Sepultura’s folk-infused Brazilian death metal and loved it. His metal journey began.

Ever since, McCreary has been itching to dive into that arena. He has an important collaborator in that quest.

“My brother’s my secret weapon when it comes to rock,” McCreary says. “His body of [rock] knowledge makes up for mine. Our emphasis is in a different place. He is a fantastic producer because he’s got a really good radar for when things are useless, when a part of a song isn’t pulling its weight. It’s a very good influence to have someone like that. He’s got a great lyrical sense and an incredible voice.”

McCreary says Brendan is often the driving force of their lyrical efforts, and “sometimes we co-write with other people. Claudio Sanchez wrote all the lyrics on ‘Sweet Misery.’ It just depends.”

The younger McCreary was the propelling wordsmith on “One Fine Day.” “It’s about our experience as being in the Armenian diaspora and exploring what that means to us,” McCreary elaborates. “All the songs are very personal, which is another thing that sets this record apart from the last record. Many of them were personal, but I also had a weird song about an automaton that fell in love.”

Mentored at USC by Elmer Bernstein, McCreary now leaps from “God of War” themes to a Higgs boson rock musical and a roaring Singularity tour that hits L.A. on Sept. 17.

(Allen J. Schaben / Los Angeles Times)

Before he jammed with rock icons, McCreary was mentored by the late, iconic Elmer Bernstein for nearly the last decade of his life. The burgeoning young composer organized Bernstein’s music archives, sat in on recording sessions and audited his senior-level classes for three years while studying at the Thornton School of Music at USC. McCreary says that Bernstein “really set me on the path that I am now on, not because I learned how to orchestrate or how to write music from him. But he showed me the life that I could envision myself having when I was 15 or 16, that crucial time when you’re really setting the rudder for where you’re going to go in life.”

That rudder has steered him to many shores. McCreary has been co-writing the musical “Particle Fever” with Zoe Sarnak (“Galileo).” Pulitzer Prize finalist and Tony winner David Henry Hwang (“M. Butterfly)” wrote the book, and Tony nominee Leigh Silverman (“Suffs”) is its director. It is based on the documentary of the same name about the discovery of the Higgs boson — the “God particle” — at the Large Hadron Collider in CERN. It will debut at the La Jolla Playhouse in February 2027.

“It is a really kick-ass, earnest rock musical about a really ambitious discovery,” McCreary says. “My hope is that it actually has some of the swagger and fun that people found in ‘Hamilton,’ which also was a very dry subject that you learned about in eighth grade.”

The 47-year-old composer exudes an infectiously upbeat energy. He loves challenges and says he learned that charisma and charm are valuable assets to get in the door to prove one’s talents.

“I’m wired to be very positive and collaborative,” he concedes. “But I got so oppressively excited in my 20s that I started annoying people. My lesson was walk it back.”

His creative energy continues unabated. He’s even scored shorts for filmmakers he met through Twitter. (“I’m down to work.”) He has been blogging about his musical life for 20 years for a core group of followers. (“In hindsight, if Jerry Goldsmith had done that in the ‘80s, my God, my life would be different.”)

McCreary started as a high school keyboardist, then found the accordion in college, an instrument that gave him greater stage motion and which he later used to great effect in his music for the “Outlander” series. He loves to headbang while playing the hurdy-gurdy, an instrument he picked up in 2010 and later employed in the “Black Sails” show and “God of War: Ragnarok” video game. He learned guitar to play rhythm during his 2025 shows.

Those riffs will be on display at the Wacken Open Air festival on Friday and during McCreary’s eight-date September “Singularity” tour of the West Coast that hits L.A. on Sept. 17. McCreary has performed his symphonic scores in Europe and America with orchestras, but now he also loves to rock out (loud).

A big secret of the ambitious McCreary’s success harks back to lessons of simplicity that Bernstein taught him.

“The giant theme that I wrote for ‘God of War’ can be played with one finger on a piano,” McCreary reveals. “That is the thing that it boils down to, and that is what I listen for in music. Most of the time it means there’s a melody in there that sticks with you, and it doesn’t matter how well it is produced or how epic it is or how loud it is. A good song is a good song is a good song, and it really doesn’t matter how good a band performs. If the song is good, it will connect with people.”

GEMMA Atkinson has shown off her washboard abs in a thong bikini after her fiancé Gorka Marquez made a cheeky joke about her job.

The soap actress left fans’ jaws on the floor as she soaked up the sun on holiday.

She cut an incredibly toned figure as she posed up in a mismatched bikini.

In one snap posted to Instagram, Gemma smiled at the camera, flashing her bum in tiny, red, tie-side bottoms.

She went make-up-free in the pictures, looking happier than ever to be spending time with her family.

Gemma wore a plunging black bikini top and matching sunglasses as she threw up a peace sign.

Read more on Gemma Atkinson

FAN MAIL

Gemma Atkinson asked why she’s famous – and Gorka says ‘for getting her t**s out!”

HARD PASS

Gemma Atkinson reveals soap bosses who’ve begged her to return & why she said no

The former Hollyoaks star and model sizzled in the slew of photos, which showed off her light-hearted side.

She looked fresh out the water with her damp locks clinging to her back.

The mum-of-two captioned the post: “Vitamin D, time on a beach & family = Bliss!”

Fans could not get over Gemma’s sexy snaps and they took to the comments to share their thoughts.

“Looking incredible! Absolute body goals,” wrote one fan.

Another fan said: “Wow Gem looking absolutely gorgeous.”

Strictly pro Diane Buswell penned: “Stun,” followed by a red heart and fire emoji.

Meanwhile, another fan wrote: “Your figure is incredible! You look amazing and so happy.”

Gorka also commented the heart eyes emoji under Gemma’s post after he made a daring joke on their podcast Lost In Translation.

Gemma, 41, was asked by a fan: “What is Gemma Atkinson famous for?”

Ex-Strictly Come Dancing professional Gorka, 35, couldn’t resist jumping in with: “Flashing her t*ts. Actually no, sorry, actress…”

Laughing, Gemma replied: “I’ve done every soap you can imagine, my darling.

“I run a business and I was FHM’s Sexiest Woman back in the day. Your dad will know.”

Luke Littler’s World Matchplay title defence continued with a straightforward 16-7 quarter-final win over Josh Rock in Blackpool.

Rock initially kept pace with the world number one as the players traded breaks to reach 5-5.

But after 19-year-old Littler reeled off five legs in a row, there proved to be no way back for Rock as the defending champion, in dazzling form, cruised into the semi-finals.

After throwing 17 180s with a scoring average of 109.57, Littler said: “At the minute, everything’s going to plan.”

The teenager added: “I feel good. I can afford to miss a few doubles because the scoring’s there.

“Once again another brilliant performance, but fair play to Josh, he put up a good fight.”

Littler will play unseeded Dirk van Duijvenbode of the Netherlands in Saturday’s semi-final.

Earlier on Thursday evening, tournament outsider Van Duijvenbode survived a late surge by Gary Anderson to reach his first Matchplay semi-final.

Anderson, the 2018 World Matchplay champion, threatened to close an eight-leg deficit with a fine late display including a 154 checkout, but Van Duijvenbode held on for a 16-13 win.

Reflecting on his second-round tie-break win over Michael van Gerwen, Van Duijvenbode had said that shaking “like a little child crying for his mum” allowed his compatriot back into match after leading 8-4.

After leading 8-4 again on Thursday, Van Duijvenbode dropped two consecutive legs but then stormed into a 14-6 lead by winning the next six without reply.

However, it would be a further nine legs until Van Duijvenbode won the tie as a resurgent Anderson pushed him hard.

A CONTROVERSIAL US rock star has cancelled his European tour after revealing he’s “wildly sick”.

Singer Ryan Adams, 51, also shared that he is selling all of his prized possessions after falling on hard times

Announcing the news that the star had pulled out of his tour dates, his promoter posted: “Due to circumstances beyond our control, the upcoming Ryan Adams European Tour has been cancelled.

“We apologize to all those who bought tickets and were excited for these shows.

“Refunds will be processed automatically and if you have any questions please contact your point of purchase.

“Ryan is doing ok and working hard to finish the new album trilogy. New music on the way.”

CALLED OFF

Huge US rock star cancels headline London and Paris shows after family emergency

staying strong

Rock star, 45, chokes back tears as he makes stage return amid cancer battle

Ryan re-posted the statement and wrote: “Tough times. Been sick. Fall tour cancelled.”

Shortly before he revealed that his tour was cancelled, Ryan also shared a post on Instagram where he revealed he was selling his belongings, as he was “broke”.

The singer announced he was putting guitars, studio equipment, and a Cadillac up for sale, among other things,

The emotional statement read: “I’m broke and sick and tired and defeated but my heart is blasting with hope and love and riff optimism and I appreciate anybody who can give these treasured things a new life.

“I’m proud that I did this. That I remain transparent. This business is vile and full of snakes.

“But I’m proud to call it and man up to this. I’ll keep making records as long as I can afford to.

“Now I’m going to go sit in the sunlight with my cats and cry because I need to and I’m not sure how many more times I can hit this wall. When is it enough?”

Ryan has released 30 albums and sold millions of records worldwide.

But despite his fame, he has often hit the headlines for the wrong reasons.

In 2019, seven women came forward, including his ex wife, actress Mandy Moore, with accusations of inappropriate behaviour from him.

At first he denied the allegations, however, the following year he issued a statement where he apologised.

Jennifer Finch, bassist for the influential Los Angeles rock band L7, has died. She was 59.

Finch died of “an aggressive form of brain cancer,” according to a statement from the band.

“We are shattered by the loss of our beloved bandmate, sister and friend Jennifer Finch, whose fierce spirit, humor and boundless creativity helped shape L7 and changed all of our lives forever,” the group said in its statement. “Jennifer was a true original who lived entirely on her own terms, and the impact she made on music, art and everyone lucky enough to know her cannot be measured. We love her beyond words and will carry her with us always. Rest in power our dear friend.”

Finch was receiving ongoing treatment for brain cancer, and just last week backed out of the band’s planned final tour. The group said those dates were “planned along with Jennifer when all four of us were in good health and spirits,” and Finch had asked the band to continue the shows while she sought treatment.

Finch, raised in Los Angeles, was an outspoken and ambitious fixture of ‘90s rock. She briefly performed in a band with Courtney Love pre-Hole and Babes In Toyland’s Kat Bjelland, and once dated Dave Grohl. But she came to prominence in L7, a foundational act in the alt-rock scene of the ‘90s.

Formed in 1985 by guitarists and singers Suzi Gardner and Donita Sparks, drummer Dee Plakas and Finch, they made a fast impact on L.A.’s punk scene, which was growing out of the hyper-masculine hardcore era of the ‘80s. Alongside Hole and Sleater-Kinney, L7 helped usher in the riot grrl wave of confrontational, female-led rock acts onto charts and festival bills.

“Rock ‘n’ roll was invented and became popular because of its rebellious nature,” Finch told the Times in 1993. “But the world has seen every form of rebellion–from throwing TVs out the windows to heroin abuse to just the guy in the leather jacket with greased-back hair–and the rebel image is becoming tired and burnt out. So (the press) is finding new interest in women who (rebel), creating a whole new aspect.”

“The unfortunate thing is that journalists are trying to create a genre out of gender, which trivializes it,” she added. “That’s extremely ignorant, because it bypasses the uniqueness between the groups.”

Bolstered by Finch’s ferocious basslines, hit single “Pretend We’re Dead” received significant airplay on alternative rock stations and became the group’s signature song, along with the biting anti-war anthem “Wargasm.” Finch wrote several songs across the group’s catalog, including the scabrous single “Everglade.” L7 went on hiatus in 2001, but reunited in 2014.

Finch was a talented photographer, whose intimate shots of SoCal bands lent an air of tragic grit to an ascendant punk and rock scene. “The irony is not lost on me when I’m driving from my house just blocks from where I grew up, and I’m heading to the L.A. Weekly to publish pictures of us as kids hanging out and shooting up, 20 years ago,” she told L.A. Weekly in 2006.” It feels weird but strangely hopeful. That was a totally unique time and it defined who we are, so then maybe it’s not a bad thing to be nostalgic about.”

Beyond L7, her song with OtherStarpeople, “Then There’s None,” appeared on the beloved “Office Space” soundtrack, and founded the punk band The Shocker in 2002. She acted in John Waters’ dark comedy “Serial Mom” as a member of the fictional band Camel Lips.

L7’s last album, “Scatter the Rats,” was released in 2019, and its final tour, “The Last Hurrah,” is booked to kick off in San Diego on Oct. 6.

L7 and Finch’s family opened a GoFundMe to support her medical care, saying “We love her, and we want her to feel the full strength of the community that has loved and supported her for so many years.” Information on surviving family was not immediately available.

Lauren Bennett, the British singer who told millennials to “put yo’ hands up” in LMFAO’s megahit “Party Rock Anthem,” and a member of pop group G.R.L., has died. She was 37.

G.R.L. members Emmalyn Estrada, Natasha Slayton and Paula van Oppen announced Bennett’s death on Monday via social media.

“It is with great sadness that we share the passing of our beloved Lauren,” G.R.L.’s statement read.

“Our hearts are broken, and we cannot begin to express how much she meant to us. We will forever cherish the love, laughter, and countless memories she gave us. Her beautiful spirit touched so many lives, and she will be deeply missed and forever loved. Rest peacefully, sweet Lauren. You will always be in our hearts.”

Bennett’s cause of death has not been revealed.

The British singer first splashed onto the music scene when she appeared on the U.K. “X Factor” in 2006. She was eliminated before the live show round of the series, but the following year she was recruited to join Paradiso Girls, a group launched by Pussycat Dolls founder Robin Antin. In 2009, they dropped “Patron Tequila,” featuring Lil Jon and Eve. The group disbanded in 2010 and their debut album was never released.

In 2011, Bennett joined forces with electronic dance duo LMFAO on “Party Rock Anthem.” The track spent six weeks topping Billboard’s Hot 100 chart and became wildly popular globally. Billboard ranked the megahit second on their official “Top Hot 100 Songs of the Decade” list for the 2010s, behind Mark Ronson and Bruno Mars’ “Uptown Funk.”

In 2012, she and Antin teamed up again, forming pop group G.R.L. (Girls Rock Life) with founding members including Bennett, Estrada, Slayton, van Oppen and Simone Battle. The group debuted on the “Smurfs 2” soundtrack with “Vacation” in July 2013 and, in early 2014, they were featured on Pitbull’s “Wild Wild Love.” In the summer of 2014, they dropped “Ugly Heart,” the lead single of their self-titled EP, but in September, founding member Battle died by suicide. G.R.L. split up the following year. By 2016, the group reformed as a trio with Bennett, Slayton and new member Jazzy Mejia.

Bennett welcomed her daughter, Harlow, with partner and “Footloose” star Kenny Wormald in 2019. Wormald often shared photos of Bennett on his Instagram with loving captions.

Longtime friend and music producer Josh Stevens, who co-wrote and engineered LMFAO’s sophomore album “Sorry for Party Rocking,” posted a tribute to Bennett on Monday, writing, “My friend [Lauren Bennett] we will deeply miss you. I was lucky enough to witness you change the world! We traveled the globe party rocking from night clubs to stadiums, a wild and crazy time. A true legend!

“Later on in life our children had the same birthday, I remember us texting each other while you were in labor and my wife was in labor on the same day, same time, both in the hospital. We were laughing and it somewhat seemed calming to know to each was going thru this at the same time.

“We will very much miss you.”

SINGER Lauren Bennett, who featured on the global smash hit Party Rock Anthem, has died aged 37.

The beloved Brit, formerly a member of American girl group G.R.L, was remembered as a “beautiful spirit” who “touched so many lives” by her old bandmates.

In a joint statement, they wrote: “It is with great sadness that we share the passing of our beloved Lauren.

“Our hearts are broken, and we cannot begin to express how much she meant to us.

“We will forever cherish the love, laughter, and countless memories she gave us.

“Her beautiful spirit touched so many lives, and she will be deeply missed and forever loved.”

“Rest peacefully, sweet Lauren. You will always be in our hearts. Your GRLS, Em, Tash, and P.”

Lauren shot to stardom as a member of The Paradiso Girls in 2007.

The group, a European spin-off of the Pussycat Dolls, disbanded in 2010 after their singles flopped in the charts.

But Lauren would go on to force a successful solo career, featuring on a remix of will.i.am’s I Got It from My Mama and later collaborating with CeeLo Green on Love Gun.

The highlight of her career came in 2011, when she featured on LMFAO’s worldwide No1 hit Party Rock Anthem, cementing herself as the next up-and-coming star.

More to follow… For the latest news on this story keep checking back at The Sun Online

Thesun.co.uk is your go-to destination for the best celebrity news, real-life stories, jaw-dropping pictures and must-see video.

Like us on Facebook at www.facebook.com/thesun and follow us on TikTok @TheSun.

Donny Hathaway had already been expounding on the splendors and indignities of American life by the time he got to the Troubadour in West Hollywood in the last week of August 1971.

A classically trained pianist with a declamatory voice shaped by his years in the church, Hathaway closed Side 1 of his 1970 debut with an original called “Tryin’ Times” — “Maybe folks wouldn’t have to suffer,” he sang, “if there was more love for your brother” — and finished the LP with a stately rendition of Nina Simone’s “To Be Young, Gifted and Black.” Months after the album was released, he dropped a joy bomb of a holiday single, “This Christmas,” that unapologetically made space for a Black experience in the yuletide-industrial complex.

Donny Hathaway performs at Mister Kelly’s in Chicago in 1971.

(Val Mazzenga / Chicago Tribune / Tribune News Service via Getty Images)

Yet Hathaway captured something indelibly American during his week of shows at the Troubadour, which were recorded (along with a later gig at New York’s Bitter End) for the singer’s classic “Live” album that came out in February 1972. On an LP full of spine-tingling performances, the undeniable high point is Hathaway’s take on Carole King’s “You’ve Got a Friend” — a clear-eyed if optimistic portrait of resilience and cultural exchange.

King — who’d made her name in the 1960s as half of a prolific Brill Building songwriting duo with her husband, Gerry Goffin — wrote “You’ve Got a Friend” after leaving Goffin and moving to Los Angeles with her two young daughters. Here she remade herself as a low-key singer-songwriter dispensing wise yet unflashy tunes about love, home and family — part of a gentle resetting of pop’s mood after the turmoil of the previous decade.

Cut like the rest of the album at A&M Studios on La Brea Avenue, “You’ve Got a Friend” helped drive King’s 1971 “Tapestry” LP to sales of more than 10 million copies and to a boatload of trophies (including album, record and song of the year) at the Grammy Awards; the singer’s pal James Taylor, whom she’d performed with for the first time in late 1970 at the Troubadour, topped Billboard’s Hot 100 with his own cover of “Friend” featuring background vocals by Joni Mitchell.

On the advice of Atlantic Records’ Jerry Wexler, Hathaway also recorded “Friend” as a studio duet with Roberta Flack, a fellow Howard University alum; their take sat in the Top 20 of Billboard’s R&B chart as Hathaway began his run at the Troubadour — popular enough that the audience on “Live” erupts at the sound of Hathaway’s opening organ lick.

Carole King at A&M Studios in Los Angeles in 1970.

(Jim McCrary / Redferns via Getty Images)

Indeed, the crowd is really the thing in this live version of “You’ve Got a Friend.” Hathaway and his band — including guitarist Phil Upchurch, bassist Willie Weeks and 16-year-old Fred White (soon to be of Earth, Wind & Fire) on drums — are cooking, to be clear; the groove is funky and viscous, and Hathaway’s vocal is gorgeous, not least in his nimble ad-libs.

But it’s his interplay with the few hundred folks in the room that elevates the recording to a deeply moving piece of art.

For King (and Taylor), the song’s promise of unflagging support is an intimate one-to-one matter; their renditions use homey acoustic arrangements to create a picture of two people exchanging confidences. In Hathaway’s hands, “Friend” is about community: Before he even asks them to, the audience takes over for him on lead vocals in the song’s chorus, a congregation in all but name.

Given the proximity to the civil rights movement, it’s impossible to hear Hathaway’s “You’ve Got a Friend” as disconnected from the struggles of Black people. At the Troubadour (as in his and Flack’s duet), he nixes the song’s second verse to arrive more quickly at the bridge, in which he describes a cold world filled with those who’d “hurt you and try to desert you” — even “take your soul if you let them.”

As Emily J. Lordi notes in her 2016 book about “Donny Hathaway Live,” the crowd lays back during the bridge before rejoining Hathaway for the song’s second chorus; the decision, somehow spontaneous and collective at once, is an expert bit of record-making on the part of an audience that, according to legend, hadn’t been told the concert was being taped.

“From this perspective,” Lordi writes of Hathaway’s fans — some number of whom had surely availed themselves of the Troubadour’s bar, as she points out — “they are not stealing the show so much as they are holding him up, ensuring he won’t sing the duet alone.” Together, performer and audience are turning back (not that they necessarily had a choice) to the ugly truths that singer-songwriter music sometimes sought to move past.

In this way, Hathaway’s “Friend” becomes a reinvention of a reinvention — an act of moral imagination about as American as it gets.

This wasn’t the only instance of a Black soul singer interpreting a tune King had written as a single mom newly arrived in L.A.: In May 1972, the Isley Brothers released a sultry cover of “It’s Too Late”; a month after that, Aretha Franklin’s live “Amazing Grace” album mashed up “You’ve Got a Friend” with “Precious Lord, Take My Hand,” completing the gospel-ification that Hathaway had begun in a bastion of white rock culture temporarily remade as an African American church.

Yet in Hathaway’s “Friend” you can hear the whole story American music tells about identity and belonging (and about commercial ambition).

“This might be a record here,” Hathaway tells the crowd near the end of the song, and so it was — a document of adaptation, a testament to borrowing, a bulwark against pretty fictions.

THERE’s a beach in one of Europe’s most up-and-coming holiday destinations that makes you feel like you’re in the Caribbean or Thailand.

Montenegro is on everyone’s radar this year as a holiday destination, thanks to new British Airways and Jet2 flights.

And one of the big spots to visit in Montenegro is the seaside town of Budva, one of the original tourist resorts.

Yet most tourists may not realise it has a lesser-popular beach away from the crowds – if you know where to look.

The main beach of the town is Mogren I beach, which can only be reached by a winding footpath through the cliffs.

However, most tourists stop there, not knowing that the local-loved beach is hidden around the corner.

GOING COASTAL

English region nicknamed ‘Cotswolds by the coast’ with beautiful villages

STAYCAY SECRET

One of England’s best Blue Flag beaches that is ‘like visiting the Maldives’

Mogren II beach is even harder to get through, via rickety iron bridge through a rock tunnel.

Yet it is worth the walk. I was greeted by bright blue waters not unlike some of the ones I had recently seen in Krabi, as well as quiet stretches of coastline.

I was there at 8am in the morning and not only did I skip the crowds, but I will enjoyed the already-soaring 29C temperatures.

While not sand – its actually very tiny white pebbles – I still felt like I had been transported somewhere much more tropical.

You can even rent sunloungers for the day which range from £10-£20 a day which includes two sunbeds and an umbrella.

And right behind these is Mogren Beach Bar, serving everything from cocktails to food, either meals or snacks to be taken to your lounger.

Prefer a shady beach? Visit after 3pm as the cliffs then hide most of the sunshine.

Other tourists agreed, with one on Tripadvisor calling it the “one of the best beaches in Europe“.

Another wrote: “One of the beautiful beaches I ever visited.”

To get to Budva, you can fly from the UK with British Airways, easyJet or Jet2 to Tivat, with it another 30 minutes by bus or car.

Here are some other things you can do in Montenegro this summer.

When David Jacks published a biography of Peter Asher in 2022, the veteran record producer and manager expressed surprise that anyone would have deemed his life worthy of the treatment. Four years later, he’s no less baffled to have become the subject of a new documentary, “Peter Asher: Everywhere Man,” directed by the filmmakers Dan Geller and Dayna Goldfine.

“It just seemed to me,” he says, “that I wouldn’t be that fascinating.”

The movie, in theaters now, argues otherwise: A child actor alongside his two younger sisters, the bespectacled Asher became an unlikely pop star during the British invasion as half of the duo Peter & Gordon, whose debut single, “A World Without Love” — written by Paul McCartney — hit No. 1 on Billboard’s Hot 100 in 1964. (McCartney offered the song to Asher while the Beatle was dating Asher’s sister Jane.) In 1968, the Beatles made Asher head of A&R at Apple Records, where he signed James Taylor; the two soon moved to Los Angeles and turned Taylor into music’s biggest heartthrob folkie.

Asher went on to shepherd Linda Ronstadt to stardom and to produce records by Diana Ross, Cher, Bonnie Raitt, Randy Newman, Neil Diamond and 10,000 Maniacs, among many others. And at 82 he’s still at it: Last year he produced Barbra Streisand’s latest duets album — they’re due to start work on a new Streisand solo LP, he says — and he’ll perform a show of his own July 19 at the Grammy Museum. Asher, who broke his leg in a recent fall, spoke about it all the other morning at his home in Malibu, where he walked into the kitchen using a cane before sitting down at a table set with pastries and several of the day’s newspapers.

What unites the jobs of musician, producer, executive, manager? What’s the through line?
Love of music and admiration for the people who do it. They’re very different jobs, and I came at them from very different perspectives. Record production was something I set out to do once I understood what a record producer did. Hire musicians much better than yourself and tell them what to do? That’s a cool job — how do I get in on that racket? Whereas I never had any ambitions to be a manager. It’s just that when James and I decided to go out on our own and try to put a career together, we didn’t know who we trusted to do it, so I kind of went, I’ll do it.

What’d you discover about the job of management?
The ingredients are common sense, not being a crook and having a great client.

Which is the hardest of those three?
The last one. I got to induct the first managers inducted into the Rock & Roll Hall of Fame: Brian Epstein and Andrew Loog Oldham — the Beatles and the Stones. That’s the hard part. The only thing that would tempt me back into management would be lightning striking for a third time — to see James, to see Linda, then to see somebody comparably brilliant, which I occasionally do. But usually they have a manager already.

What’s the last new act that knocked you out?
Ed Sheeran.

Was that just because he looks like he could be your grandson?
That certainly crossed my mind.

As a producer, your records helped define the sound of rock in the ’70s.
The so-called California sound.

Then the zeitgeist shifted.
One became aware of that. Pop music got very electronic, which I loved.

Was there a place for you in that style?
I didn’t consciously try to make records in that style because I don’t think I could have — not as well as they were being made anyway.

What’s a record from the early ’80s that made you think that?
“Sweet Dreams (Are Made of This).” I couldn’t do that.

Back to the ’70s: The doc is filled with pictures of James looking —
Like a movie star. With the cover of “JT,” I finally went all the way and said, “We’re doing the the glamour shot.” Then we did “Flag,” which everyone hated.

With the maritime flag. A truly perverse album cover.
I loved it. James loved it. Everyone thought we were crazy.

How crucial do you think James’ good looks were to his whole proposition?
I don’t know.

Oh, come on.
I really don’t. I mean, how would you gauge that? There’s probably girls who fell in love with him without listening to the record.

I think you just gauged it.
If he was ugly, would he be as big a star? Probably not.

(Evan Mulling / For The Times)

Same applies to Linda, right?
When I first saw Linda, it was stages of realization. Someone said to me, “You’ve got to go down and see this girl at the Bitter End.” I walk in and she’s singing so well — unspeakably good. Then she looks incredibly great — barefoot, short-shorts. Oh, my God, my heart. Then you meet her, and it turns out she’s a remarkably brilliant woman — extremely well read. You just kind of go, “All these things together — how can it be?” It’s the same thing talking about the Beatles: If you cast it like the Spice Girls, you still couldn’t have gotten four to fit together so perfectly.

Did you like the Spice Girls?
Terrific. “Tell me what you want / What you really, really want” — it’s a smash. And yet none of them are particularly good singers, which is kind of the point.

I went to an event not long ago where Paul McCartney played his new album for a small group of fans. It was fascinating to see the spell McCartney casts over people.
He’s had to get used to it — to admit to himself that he can’t meet people who aren’t amazed that they’re meeting him. Even as someone who’s known him off and on for a long time, you still get the wave of: Holy s—.

You’re still amazed to be around him?
Of course. I get it less — I’m ready for it. But you can’t pretend he’s not Paul McCartney. And he’s gotta live with that his whole life.

You grew up a member of the upper crust, I think it’s fair to say.
I don’t think we were that crusty. But upper, probably, yes.

I wondered how that situated you to live and work among artistic types.
If anything, the upper crust have more time to be artistic — less preoccupied with getting a job and making a living. But my parents worked incredibly hard — we weren’t upper crust in the sense of inherited wealth. My father was a doctor, my mother was a professor of music. But I never struggled, to be honest. I had a comfortable allowance, and then I went to school and worked hard. Everyone talks about sharing a flat with a million people, living on borrowed sandwiches — I skipped that phase.

Did that shape you in any meaningful way?
I don’t know. But I think when people do struggle, it becomes a meaningful part of their lives to get away from it. With someone like James, the struggle was a struggle with drugs. Now he says the worst thing about drugs is they’re a complete waste of time — you waste time doing nothing except looking for drugs. And I think that made him anxious to succeed and to be taken seriously.

I’m sure you saw the New York Times’ list of the 30 greatest living American songwriters.
You knew it was gonna be silly. Randy Newman, for God’s sake — you just cannot not include him.

No Neil Diamond either.
Insane.

And no Billy Joel.
[Shrugs].

How’s your health?
High blood pressure, high cholesterol, need to work out more — old man stuff. Other than that and a broken leg, great.

You’re OK with the cane?
It’s a considerable upgrade from the wheelchair. I like the cane — it’s kind of elegant.

What seems scarier: the body going or the mind going?
The mind going. And it is, slightly. I had a stroke, and bits of my brain aren’t quite working right. But compared to other people I know, I’m fine.

We’re at a moment when a lot of foundational rock ’n’ roll figures —
Are dying. It’s all the rage.

What’s it feel like to see your friends and colleagues go?
Better them than me.

Couple more for you: You managed Courtney Love for a spell.
I met her here in Malibu. I also managed Pamela Anderson for a while because she was a neighbor and asked me to help.

What, you put a shingle out?
“Manager for hire.” I’m trying to remember how I first met Courtney — I think Merck Mercuriadis was talking to her about publishing and Kurt stuff. I liked her. Very smart. I like smart women.

She’s easy to work with? Hard to work with?
Impossible to work with.

What’s James Taylor’s best album?
“JT,” maybe.

What’s Linda Ronstadt’s best album?
“Heart Like a Wheel.” With Linda, it’s unfair because they’re so radically different. How do you compare that to a mariachi record and then to Nelson Riddle?

Working with Riddle on those albums must have been a thrill.
He told us all these incredible stories about Frank Sinatra, who he didn’t like although he admired him enormously. It was John David Souther who originally suggested Nelson. Linda had tried doing the album a different way — did some versions with Jerry Wexler and it didn’t work out. So we had a meeting with Nelson: Would he consider doing a couple of arrangements for us? He went, “No.” We said, “What?” He said, “I’ll do an album, though.”

“A World Without Love” was one of eight songs to top the chart in 1964 with “love” in the title. What’s that say about pop music in the mid-’60s?
Same thing it says about pop music of all time: It’s either “I love you” or “She loves you” or “Why don’t you love me?” Weird Al pointed out to me that when you’re looking for a parody of a song, any song that has “love” in the title, substitute “lunch” and it’s funny. “A World Without Lunch” — I mean, who would want to live in such a place?

In early June, hundreds of fans dressed to the nines were in attendance at a rock star’s sold-out show at New York’s Beacon Theatre. There was lace everywhere and leather too. Chains dangled from belt loops and wrists. Some attendees arrived with dyed crimson hair, others with orange or pink.

Sheer black outfits that looked pulled from the pages of a gothic romance novel were draped on bodies. If “The Rocky Horror Picture Show” had collided with a modern concert, it might have looked something like this.

Then a man took the stage. Was it Lestat de Lioncourt, the immortal vampire-cum-rock star, or was it actor Sam Reid?

Moments earlier, attendees had watched the first episode of AMC’s “The Vampire Lestat,” the rebranded third season of “Interview With the Vampire” that premiered earlier this month. This season adapts Anne Rice’s novel of the same name, which is told from the perspective of Lestat, played by Reid, and transforms him into a touring musician.

Now Reid, dressed in black with his chest partially exposed beneath an open jacket revealing a scar, stepped on stage and into the role of Lestat in front of the audience. As he moved across the stage, phones shot into the air. Fans screamed. People sang along to a slew of songs, and for a moment, the line between actor and character seemed to disappear.

At first glance, the assignment to turn Lestat into a rock star seemed straightforward. The vampire at the center of Rice’s beloved novels has flirted with music before. In 2002’s “Queen of the Damned,” he emerged as a leather-clad nu-metal frontman capable of commanding massive crowds. But bringing Lestat into the present introduced a different challenge. Rock music no longer occupies the same place in popular culture. Fame is fragmented. Audiences are skeptical of celebrity. Social media can build a star overnight and tear them down just as quickly.

Yet “The Vampire Lestat” asks viewers to believe something as audacious as a centuries-old vampire still being able to captivate people, launch a music career and inspire a movement. Reid thinks part of what drives the character is something surprisingly modern.

“Nobody cares that I exist, nobody cares that I’m not relevant,” Reid said of Lestat’s mindset entering the season. “It’s really fun to see him struggle with that and see him try to find his place in the world and not immediately get world domination.”

Making that fantasy feel believable required far more than putting Lestat in leather and handing him a microphone. To pull it off, the show’s creative team had to build a rock star from the ground up, crafting a visual identity, creating music that could stand on its own outside the series, and transforming Reid into a performer capable of owning a crowd rather than simply acting in front of one.

Sam Reid’s Lestat de Lioncourt crowd-surfs in “The Vampire Lestat.”

(Sophie Giraud / AMC)

“Dropping Lestat down into 2025 and making the decision for him to play rock ‘n’ roll was a really great dramatic switch because while there are many great rock bands that are alive and kicking right now, their hold of the cultural landscape is quite small,” showrunner Rolin Jones said. “You couldn’t think of a worse way to get your message out than going to be a rock star right now.”

That challenge became the foundation of the season.

Step 1: Making the music

A polished aesthetic, marketing and, in Lestat’s case, book buzz can only take a musician so far. It’s the music that had to make diehard fans believe he’s an artistic genius, or at least a star in the making.

That challenge landed with composer Daniel Hart long before a single script was finished. In an unusual twist, many of the songs that would eventually appear throughout the season were written before the writers’ room fully mapped out the story.

“There were so many unknowns when we started,” Hart said. To find a way in, Hart and Jones started with their familiar reference point: David Bowie.

“We settled, I think sort of obviously, on David Bowie as the launch pad for our Lestat,” Hart said. “The way that Bowie was so mercurial, and he was a chameleon. He reinvented himself throughout his career.”

Hart also looked to artists as varied as Kurt Cobain and Chappell Roan, while drawing inspiration from classical music, blues and the old-world sound Lestat would have absorbed over his long life. One early writers’ room exercise even involved breaking down the influences embedded within “Long Face,” the Bowie-coded first single released from Lestat’s fictional album.

“‘Long Face’ feels like a Bowie rip-off to Daniel Molloy [played by Eric Bogosian], and so then Lestat breaks the song down for him and goes into all the other influences that are in there,” Hart said. “ ‘Long Face,’ you could say, was in some way influenced by Bach, and then [he] talked about Willie Dixon, and how the blues had influenced Lestat when he was around the … 1920s and ‘30s.”

“He’s been alive for 250 years,” Hart continued. “He’s seen and heard a lot of music.”

The creative team never set out to replicate the hard-rock sound that defined “Queen of the Damned.” If anything, Jones felt trying to outdo that soundtrack would have been a losing battle.

In “The Vampire Lestat,” Sam Reid sings every song himself, including “Long Face,” “Butterscotch Bitch,” “Your Biggest Fan,” “All Fall Down” and “Black Licorice.”

(Sophie Giraud / AMC)

“I mean, that soundtrack is deservedly very famous,” Jones said. “And I think if we decided to out-Korn Korn, we were going to be in trouble.”

Instead, their Lestat was a musician still searching for his voice. Jones says the season begins in a more performative glam-rock space before gradually evolving into something more personal.

“We thought ‘70s Bowie is where we would start, and that we would musically make a journey with him as we went deeper and deeper,” he said. “He would put his band on one tour, what a normal band would do, over four albums. The music just keeps changing. And as he gets more and more vulnerable, the songs begin to change. They get more raw. They get more exposure, and the music style evolves.”

Reid sang every song himself, including “Long Face,” “Butterscotch Bitch,” “Your Biggest Fan,” “All Fall Down” and “Black Licorice.”

“The more bombastic, the more over-the-top songs — he doesn’t seem to like them by the end of this season,” Hart said. “The more introspective songs that come later on are more in his new wheelhouse.”

That journey also shaped how Reid approached the material. While audiences will ultimately see the songs unfold within the context of the show, Reid encountered many of them before he fully understood where Lestat’s story was heading.

“I think in the beginning, he’s coming from an artificial kind of construct,” Reid says. “As the show goes on, the music becomes more personal, and he becomes less interested in actually finding love through his audience and more about finding who he is as an individual and as an artist.”

When Jones first began adapting “The Vampire Lestat,” he briefly considered making the character the sort of arena-filling superstar audiences might expect, like a Beyoncé or Taylor Swift. But the more the writers discussed it, the less interesting that version felt.

“If we were gonna start chipping away at all the armor that Lestat had, one of the great repetitive ways of a tour is you just can’t seem to break a ceiling,” Jones said. “He’s a niche star. And I think that is part of the gas that fuels this little journey.”

Hart also had the impression that Lestat would be a massive star.

“But it became more apparent that [he might] not exactly have the kind of success that he wanted and desperately felt like he needed — that was a more interesting story to tell,” he said.

Step 2: Getting the rock star look

While the audience has to believe Lestat is a rock star, they also have to believe he’s someone with the look — and worth staring at.

Lex Wood, the show’s costume designer, said that the challenge began long before cameras rolled on Season 3. Jones first floated the idea of rock star Lestat while the team filmed Season 2 in Prague in 2023, giving Wood time to begin imagining what a nearly 300-year-old vampire might wear while reinventing himself as a singer. During a production trip to Paris, she started sourcing pieces and collecting references that would eventually make their way into this season years later.

“The main aim of building costumes for Lestat was to maintain an element of the unachievable,” says show costumer designer Lex Wood. “To emphasize that Lestat is untouchable.”

(Sophie Giraud / AMC)

Being fashionable wasn’t the only goal.

“The main aim of building costumes for Lestat was to maintain an element of the unachievable,” Wood said. “To emphasize that Lestat is untouchable. Hence, building specific costume build shapes and patterns that we adapted throughout the season.”

That idea guided nearly every aspect of the wardrobe. While the first two seasons often presented Lestat through structured tailoring and muted palettes, Season 3 arrives in a much louder world.

“A big thing really was that we wanted to push more color into the season in general,” Wood said.

Wood said the choice reflected where Lestat finds himself emotionally. No longer confined to drawing rooms and period silhouettes, he’s navigating celebrity, performance and self-reinvention. Leather remains. Black remains. But so do bursts of color, softer fabrics and strange patterns.

“We wanted to break Lestat free of the suiting,” Wood said. “Though we wanted to remain true to his roots in the 18th century, we also wanted Lestat’s pieces to feel slightly otherworldly at times.”

That meant weaving in elements of garments from the 18th century and making them feel contemporary. This could look like a very specific cut of a sleeve of a shirt that nods to that time.

Wood also studied the backstage photography of Mick Rock, pulling references of Bowie, Iggy Pop and Freddie Mercury. She blended that with punk-inspired designs from Vivienne Westwood and Jean Paul Gaultier. Goth icon Siouxsie Sioux also became an influence, particularly in the use of layering, texture and attitude.

Wood said the scattered references reflect a character actively trying to figure out who he wants to be.

“He’s investigating social media himself,” she said. “As he’s discovering his presence as a rock star. He’s investigating what it means to be a rock star.”

“He’s finding his persona,” she continued. “And trying on different personas.”

That idea extends all the way down to accessories, with Lestat’s jewelry blending old and new — a custom necklace created by a U.K. silversmith recalls one worn by Mercury during Queen’s early years, while rings featuring sculpted teeth serve as subtle reminders of his vampiric nature.

“We purposefully wanted some of his wardrobe to not be recognizable to any particular brand — at other times, we wanted to celebrate high-end fashion, to explore his playfulness and unpredictable character through his clothing,” Wood said.

Even the shoes became part of the transformation. One of Wood’s earliest conversations with Reid centered on abandoning the heeled footwear that helped define earlier versions of the character. This Lestat needed something heavier for a performer who could pace a stage.

“He wanted something that felt more grounded,” Wood said. “Something he could bounce around more in.”

Wood said the redesigned footwear altered Reid’s posture and movement, helping create a version of Lestat that she noted feels more volatile and more comfortable captivating a crowd than charming one.

Step 3: Becoming the rock star

For all the work that went into the costumes, music and scripts, none of it mattered unless the watchers believed the actor tying it all together.

Reid had already spent two seasons playing Lestat through other characters’ memories and perspectives. This time around required him to carry the character’s story through his own reflections. More importantly, he had to answer a deceptively difficult question: Why would anyone follow Lestat in the first place?

“It’s not fame that he’s after,” says Reid of his character in “The Vampire Lestat.” “Fame is totally temporary for a creature that lives forever.”

(Sophie Giraud / AMC)

The surface answer might be fame. The character launches a music career, records songs and steps into the spotlight. But Reid doesn’t think that’s what drives him.

“It’s not fame that he’s after,” Reid said. “Fame is totally temporary for a creature that lives forever.”

Reid sees Lestat as someone searching for validation.

“Not for the vampire that he is, but for the human being that he was,” he said. “He’s been pretty heavily rejected. From Louis through the book, and then his mother knows exactly how to string him along, when to give him love and when to take it away. So he’s really looking for validation and going into an audience space is where he first experienced that.”

While developing the season, Reid says he became increasingly interested in the gap between the public version of Lestat and the person underneath it.

“His whole life has been performance,” Reid said. “His whole life has been a lot of adversity, and the way that he kind of climbs out of that is to build a construct that he can perform and operate in. It makes a lot of sense for him to do this rock star persona. Through this season you start to see him realize that the music and the art can allow him to access himself as opposed to it just being a performance.”

“He’s trying to discover his sound as a musician,” Reid continued. “But he’s also trying to discover who he is.”

Throughout the season, viewers see a musician struggling to connect.

“Why can’t I sell out 5,000 seats?” Jones says, describing the character’s mindset. “I used to be able to walk into a room and everyone would love me.”

For Jones, that’s ultimately what makes Lestat feel like a contemporary artist. Sure, he may be an immortal vampire, but he’s navigating the same questions that confront plenty of artists: How much of yourself to reveal? How much should one perform? Can admiration ever substitute for genuine connection?

By the time the season reaches its conclusion, Lestat is still larger than life. But he’s also a more complicated performer forced to reckon with the distance between being seen and understood. Jones said none of this would be possible without Reid in the role.

“I think his performance in Season 3 is one of the 10 greatest American TV performances of all time,” Jones says. “I’d put him right next to Carroll O’Connor, Walter White [played by Bryan Cranston] and James Gandolfini.”

“And I’d look at all of them and say, ‘You guys didn’t sing.’ ”

A LITTLE-known band were left totally gobsmacked after a rock legend turned up in the audience at one of their shows.

The Rolling Stones cover band were playing to a small crowd in a bar when the iconic musician revealed himself as a fan, dancing alone in the bar.

The mystery figure was none other than Noughties nu-metal megastar Fred Durst, frontman of Limp Bizkit.

Fellow punters couldn’t believe their eyes and quickly pulled out their phones to capture the surreal moment as the Rollin’ singer rocked out to their set.

Musician Jenny Teator, who was singing on stage shared the clip on TikTok, writing: “This was unexpected. Get it, Fredddd!! We had so much fun at @GRAYSonMAIN.”

The unlikely scene unfolded at Grays on Main, a bustling music venue and dining room in downtown Franklin, Tennessee – the town Fred now calls home.

rock of ages

Can YOU tell who this 90s rock icon is? Fans say he looks like Richard Gere!

doped up

Shaggy 2 Dope fails as he tries to dropkick Limp Bizkit’s Fred Durst on stage

The star looked almost unrecognisable with a full white beard, although he still sported the signature baseball cap fans will remember from the band’s heyday.

Other diners appeared oblivious to the famous face in their midst, continuing with their meals unaware they were in the company of rock royalty.

One viewer commented: “The people sitting there eating, completely unbothered that Fred Durst is getting down right beside them, is killllling me!”

Fred and Limp Bizkit were one of the biggest bands of the late Nineties and early Noughties, with hits including Break Stuff, My Way and Rollin’.

Their album Chocolate Starfish and the Hot Dog Flavoured Water debuted at number one on the Billboard 200 and sold over one million copies in its first week.

The singer was also linked to a string of high-profile romances, including rumoured relationships with pop stars Christina Aguilera, Britney Spears and Avril Lavigne. He has been married four times and has two children.

Despite stepping out of the spotlight in recent years, Fred, now 55, continues to record and perform with Limp Bizkit.

Limp Bizkit’s last official UK tour was last year, with the band appearing at the Reading and Leeds festivals.

Besides continuing to tour and perform with the band, Fred has made his mark as a film director with movies like The Education of Charlie Banks and The Longshots.

He also directed the film The Franatic in 2019 which starred John Travolta.

Some people are still processing “Euphoria’s” evolution away from its roots as a gritty drama that explored highly mature and dark teenage experiences to, in its final season, a fever dream-esque look at adulthood that played like a full-blown neo-noir crime thriller. But another show’s creative transformation has taken the stage now.

The third season of AMC’s adaptation of Anne Rice’s “Interview With the Vampire” brings a reset to the captivating world of bloodsuckers. While the first two seasons adapt the original 1976 novel, relying heavily on the recollection of Louis de Pointe du Lac (Jacob Anderson) as he recounts his centuries-long life and romance with Lestat de Lioncourt (Sam Reid) to a journalist, the new season shifts narrative focus and perspective over to Lestat, who transforms into a charismatic frontman of a glam-rock band to publicly set the record straight. As such, the series has been retitled “The Vampire Lestat,” which is the name of Rice’s second novel. For this week’s Guest Spot, I spoke with showrunner Rolin Jones about the show’s rebranding and Reid’s commitment to the musical challenge.

Also in this week’s Screen Gab, TV critic Robert Lloyd steers us away from the usual streaming options to recommend a man’s video journal that documents his quest to travel the world by foot, while culture critic Mary McNamara suggests a new British comedy about codependent BFFs navigating the sort of tricky development that would end most friendships.

Speaking of endings to relationships, it was announced this week that “Doctor Who” showrunner Russell T Davies is exiting the series (again) seven months after Disney+ decided not to continue its partnership with the BBC to distribute the long-running sci-fi series. BBC also announced it will not air the show’s previously announced Christmas special this year. Lloyd, a longtime Whoverse follower, is a voice of calm through it all. He shares his thoughts on why the new questions swirling around the franchise don’t necessarily have to be cause for alarm — evolution is part of the show’s essence, he reminds us. Elsewhere in current events, if you’ve been curious (… sure, that’s the right word!) about the UFC Freedom 250 live event that will unfold in an oversize cage on the White House South Lawn in celebration of Trump’s 80th birthday and the country’s 250th anniversary — and will be streamed live on Paramount+ — check out our explainer about the controversy — and lawsuit — it has sparked.

Now if you’ll excuse me, I have another Matthew Rhys story to read so I can maintain my executive membership in the fan club. See you next week!

— Yvonne Villarreal

Turn on

Recommendations from the film and TV experts at The Times

@AlexanderCampbellOfficial (YouTube)

In February 2023, Alexander Campbell, then 27, set out from Sydney to walk west around the world. Currently he is somewhere around Albania, having traversed, among other places, Bangladesh, Nepal, Pakistan, Kazakhstan, Turkey and Bulgaria. He’s been documenting his progress on camera all along the way, but it wasn’t until Day 938, in Georgia, that he began posting the longer, “uneventful” videos that make his channel such a singular, meditative, even hypnotic, form of vicarious travel. Walking alone to the sound of his own footsteps, through sun, rain, sleet, snow and dark of night, over mountains and deserts, through forests and fields, he becomes a character in a peripatetic, nearly one-man show. The occasionally encountered friendly local will warn him about wolves or bears or the hunters who might mistake him for one, though he meets more dogs than people. (He calls them all “Buddy,” warily.) Titles include “I Slept in a Barn Full of Stray Dogs,” “I Got Caught in a Snowstorm With Nowhere to Sleep” and “Something Was Out There in the Forest.”) — Robert Lloyd

Jemaine Clement, left, and Nicola Walker in “Alice and Steve.”

(Lara Cornell / Hulu)

“Alice and Steve” (Hulu, Disney+)

What would you do if your ex-turned-longtime bestie slept with your 26-year-old daughter? Well, Alice (“The Split’s” Nicola Walker) 100% loses her mind. Sure, during a drunken convo at a bar, she did tell Steve (“Flight of the Conchords’” Jemaine Clement) that he could have any woman he wanted, but she most certainly wasn’t talking about Izzy (Yali Topol Margalith). Having just returned home after breaking up with her boyfriend, Izzy decides that Steve, now bunking down on the sofa, is “strangely hot” enough for a little rebound sex and then a romantic relationship. And Steve, though initially regretful and more than a little shell-shocked, decides this is what he wants too. “I really like her,” he says by way of sheepish explanation. It leaves Alice no choice but to hilariously alternate between screaming and scheming as she tries to put a stop to the proceedings even at the expense of her marriage, her career, her friendship with Steve and her self-respect.

Clement’s sad-sack charm successfully boosts the leap of faith required to keep Steve from becoming an oblivious creep, but the show belongs to Walker. Her Alice becomes a blazing embodiment of the emotional maelstrom inside every woman who is expected to somehow put on a supportive, understanding face no matter how outrageous or impossible the situation. The laughs she elicits are exhalations of shock, recognition and relief. We can’t all ditch the high road for pure, luxurious fury, but it’s mighty fun to watch someone who does. — Mary McNamara

Guest spot

A weekly chat with actors, writers, directors and more about what they’re working on — and what they’re watching

Sam Reid as Lestat De Lioncourt in “The Vampire Lestat.”

(Sophie Giraud / AMC)

If you thought posting cryptic digs about an ex on your social media accounts as a way to cope with unresolved emotions was petty, this TV vampire may have you beat. The wild new, music-infused season of “The Vampire Lestat” (formerly “Interview With the Vampire”) revolves around Lestat de Lioncourt (Reid) on an elaborate mission to tell his side of the story after his ex-lover, Louis de Pointe du Lac (Anderson) published a scandalous memoir — with the help of journalist — that detailed their turbulent romance. In his bid to control the narrative, Lestat becomes an immortal glam rocker who launches a music tour and enlists the same journalist — newly turned into a vampire — to direct and film a music documentary about his life. The result is a flamboyant seven-episode season that blends rock-opera style performances (the season will feature 20 original songs) with personal reflections from its flashy frontman. As it enters its second week of release on AMC and AMC+, creator and showrunner Rolin Jones spoke over video call recently to discuss the show’s creative pivot and more. — Y.V.

To kick off the new season, there was an immersive premiere concert event at the historic Beacon Theatre in New York City earlier this month. Was that a surreal experience? Did you feel like a music manager?

I have a hard time talking about the work — the selling of the work, all that kind of stuff. I want to finish my edit, and then I want to like disappear at the Arctic. I knew we were doing this and I knew that there were like fans from all over the world flying in for it — some who didn’t have tickets. I knew there were people who had worked on the show from Seasons 1, 2, and 3 who got on a plane, asked for a ticket, and made a pilgrimage there. I was really moved by it. It was about as good as these things can ever be. It felt really beautiful. It felt like Vampire Church. It was pretty cool. And Sam — “surprising” is not the word because I’ve worked with him for a long time — was way better than he should have been. It’s incredible.

In this TV landscape, taking a show and giving it a new title as it enters its third season is a daring move. The series moves focus to the second book in Rice’s oeuvre. And while it continues the story of these characters, at the same time, it feels like a new show. What made you nervous about carrying out that kind of creative transformation? And what was thrilling about it?

We could start with a thrilling part because the idea to be able to go to the people who worked really hard and say, “Hey, let’s rebuild it” — that’s exciting. That part’s cool. The executing part about it is where the terror begins because most worthwhile art — you can call TV art — invariably has to have risk and danger involved in it, otherwise you’re probably performing a magic trick. No offense to magicians. But you want something that when you turn off the TV, you’re not immediately forgetting. The more risk you do, in terms of form, in terms of all that, you want to be able to feel like you can pull it off because, otherwise, they [the audience] have nothing to grasp onto. [And they say,] “You just destroyed this thing we love, how dare you!” But generally speaking, everybody — from the top of the network down to the actors who are doing it — was down for it. Mostly because, if you listen to our fandom, I think they demand it. They’re out there on a limb telling everybody “it’s the greatest TV show, and blah blah blah” and you have to deliver that for them so that they can continually confidently bombard all their friends and neighbors and say, “Watch the show.” There’s nobody who didn’t give everything [to this season]. It was a real collective leap together.

Sam undergoes quite the transformation to make this rock star vampire persona believable. What struck you about how he approached embodying Lestat this season?

I gained 20 pounds in Toronto, and that’s because I kept stuffing my face with bread, and about every three or four times I would have this big sloth of butter on bread, I’d go, “Poor Sam” because I know Sam had not touched a piece of bread. Let’s start there — 0% body fat, the dimensions on the waist. The level of dedication. He was living and breathing every second about the role and about the demands of it — sing songs, and not only sing songs, but go learn to be a musician, and go train with people who have been doing it their whole life so you can fake it. I feel very confident saying this: Anybody who watches this season and Sam’s performance will feel like, at the end, they saw one of the 10 greatest performances in the history of our medium. I think he absolutely disappeared. James Gandolfini did not sing songs, Swearengen [the “Deadwood” character played by Ian McShane] did not sing songs. Mr. White [the “Breaking Bad character played by Bryan Cranston] did not sing songs. I’ll put him [Sam] up against all of them. He’s incredible.

What if he wants to go off and be a rock star now?

He could do it.

Jacob Anderson as Louis De Pointe Du Lac in Season 3 of “The Vampire Lestat.”

(Sophie Giraud / AMC)

You have a rock band posing as vampires fronted by an actual vampire who is the focus of a documentary being directed by a vampire passing as a human. And for all this to work, the band has to be good. What was the challenge of making this fictional band’s stardom believable — the charisma, the presence on stage, the discography? It’s a tall order, in addition to making a compelling TV show.

Anytime you have seen these things, following a band, there’s so many ways it can fall flat. You can do three or four of the things you need to do, and if one of them falls apart, you’re still stuck there, going, “Eh.” We all, who are working on it, love music. We’ve all been in clubs. The first thing we did was remove the stardom for budget reasons, but also for singular storytelling — he decided to do rock ’n’ roll in the year 2025. Some basic building blocks, we need songs. So with [composer and songwriter] Daniel Hart, we bring him into the [writers’] room because it’s not only writing songs, but writing the context about when and where he’s [Reid] singing them. He has to be aware of what we’re doing in the room. We also have to be able to pivot when he has pure inspiration; he can come in with something we’ve never talked about, and go “Boom!” And it’s OK, now what do we do with this song? And quite often this year we restructured episodes because the song was beating our episode. [We had to] hire actors who can play or musicians that can act — and that’s not everybody, so that shrinks that down. Make sure when you’re in the club, or whether you’re singing the song in rehearsal, let us uglify it, embrace the mistake, make it a little dirty. We have a song this year that has some of the most beautiful orchestrations, but because of where it landed in the season and what it talked about, we ended up going with the most stripped down, bare version of it. Don’t worry, you’ll get to hear these beautiful orchestrations [at some point]. [It’s also thinking about] how do you carve out the time you need to shoot it and the playback elements of it, and what sacrifices you have to make on other set pieces that you would normally put in is a lot. But everything from the beginning was with one thing in mind: Do not suck. How can we suck less? Let’s not suck. And we just kept going over and over again with that.

At the end of the first episode we see Lestat reunited with his undead mom, Gabriella, who he has, I think it’s fair to say, an oddly intimate relationship with —

Multifaceted.

And obviously the Louis-Lestat romance is far from being over. What are you interested in exploring within those two dynamics, in particular, moving forward since they’re so central to Lestat?

It becomes immediately about him going, “Let me try to explain this … I might have just repelled 80% of you.” I’m really interested in the viewers who are really off-put by it. I want to see where they’re at by the end of Episode 7, if they trust us. And see what they’re feeling. I guess [some people feel], “Oh, you’re not allowed to do this in the TV world unless you got f— dragons and s—, but all the things that you would have thought [that the network might say], “Don’t do this,” we didn’t really have a lot of those obstacles. There was a lot of trust. The thing with the Lestat character is like it’s probably harder to cuddle up to him like you could Louis. Louis is a Faustian tale; here it’s like a Faustian tale but Elton John’s at the center of it. There’s a series of questions like “Why do you keep doing this to yourself? Why do you keep get trapped into these things?” It’s like going on odyssey, or as Jacob called it, an idiocy, with a character that is exotic and eccentric and contradictory. For us going forward, as we wrote it, every time we fell into the something that felt well-made or cool on a twist or turn level, we found we were very suspicious of it, and we were trying to make alien TV as best we could. So, what do I want? It’s less about exploring those two dynamics, although they’re richly part of this fabric. It was, how can you take them on a magic carpet ride, a very difficult one? The idea is to actually have, by the end, every single person recognize that part of themselves in him. And how can you normalize him over seven episodes? How can you deliver that to an audience?

I know you’ve been super–busy, but what’s the last thing you watched that you found yourself recommending to everyone or something that you were obsessed with right now?

A TV show I’m watching, one that I’m enjoying right now, is “Widow’s Bay” [Apple TV]— that has been very enjoyable. It’s so much fun.

Matthew Rhys’ facial expressions are so good.

Oh, he’s great, and that show just really knows what it is, and is joyfully silly, and has a great atmosphere. It’s one of the most beautifully shot things I’ve seen in a while. I’m not finished yet.

OK, before I let you go, I hope we get a concert out in L.A. at some point.

Wouldn’t that be nice? Where would you put it up? Echoplex?

Maybe the Troubadour.

What about the Greek? That would be nice.

ICYMI

Must-read stories you might have missed