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IN A new twist in the Beckham family feud, it has been revealed how Brooklyn “lay by an LA pool just metres from dad David’s hotel room”, as they avoided seeing each other in the US.

The Sun were first to reveal how the estranged father and son were staying near to each other in America earlier this week.

We revealed on Monday, how David, 51, was in LA to shoot a commercial, after spending time with middle son Romeo, 23, skiing in Canada.

On Sunday night he checked into the Beverly Hills Hotel, which wasn’t far from where son Brooklyn, 27, and his wife Nicola, 31, were spotted at Sir Elton John’s Aids Foundation Oscars viewing party.

But in a new twist that has just emerged, it has been revealed that both David and Brooklyn were “just metres from each other” on two occasions at the five-star hotel.

It came when Brooklyn was spotted at his dad’s five-star hotel on Monday morning for breakfast after Elton’s Oscars party, according to the Daily Mail.

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David, had reportedly only just left the hotel to film five miles away in Santa Monica to record an advertisement for Lays crisps.

Insiders then said, Brooklyn stayed at the hotel all day to enjoy a “chill day by the pool“, and was seen sunbathing at around 3pm. close to where his dad’s room was.

Just three hours later David arrived for dinner at the hotel’s famous Polo Lounge restaurant at 6pm.

This means there were two occasion where the estranged father and son could have seen each other.

A source told the Mail: “David was totally in the dark about where Brooklyn was and had no idea that he had just missed him, not just once, but twice.

“Brooklyn was with Elton when David arrived to check in on Sunday night, didn’t get there before David left on Monday morning and then had gone before he arrived back.

“There is absolutely no contact between Brooklyn and his parents and there hasn’t been for some time, it is desperately sad but that is how Brooklyn has chosen to live his life with Nicola.

“Brooklyn also probably had no idea that his father was staying in a room just yards away from where they were having their breakfast.”

The insider added: “David looked like he was having a great time when he was at dinner, you wonder if that would have been different if he had known he had missed his son.”

Meanwhile, a source told The Sun earlier this week: “David was in Los Angeles for a new ad campaign, but given Brooklyn’s decision to cut off his family, there was no meeting between them.

“David had just come back from a skiing trip with Romeo and friends in Canada when he flew to Los Angeles for work.

“Brooklyn would have just been miles away from him in the house he shares with Nicola.”

The Sun first revealed last year how Brooklyn had cut off his family.

In October, insiders confirmed that the eldest Beckham boy had no interest in making amends with his family.

By January, he was communicating with them through lawyers.

Days later, Brooklyn released a bombshell statement confirming the story.

He went on to make allegations against his family, including claiming fashion designer Victoria, 51, had “hijacked” his first dance with Nicola at their wedding in 2022.

As well as cutting off his famous parents, Brooklyn is no longer in contact with his brothers Romeo and Cruz, 21, and sister Harper, 14, after blocking them on social media.

An Oscars slugfest for the ages ran its course, with “Sinners” and “One Battle After Another” duking it out and tallying up wins while the low but steady hum of host Conan O’Brien’s patented brand of weirdness tied the room together. A few unnecessarily curt speech interruptions threatened the calm, but mainly, this was a smoothly run machine of a show, devoid of mishaps. Even the rare circumstance of a tie was handled expertly by live-action-short award presenter Kumail Nanjiani, never bringing to mind the immortal confusion of “Moonlight” vs. “La La Land.”

But what didn’t make it to the telecast? Here are some flavorful takeaways — small yet memorable — that stick in mind from our several reporters in the room on Sunday.

A parade of praise for Jessie Buckley

Jessie Buckley arrives on the red carpet at the 98th Annual Academy Awards.

(Myung J. Chun / Los Angeles Times)

As she strode through the lobby of the Dolby Theatre pre-show, Jessie Buckley, nominated for lead actress for her role in “Hamnet,” was fanned with praise by other attendees. Even in the restroom, she couldn’t escape the well-wishers. On her way back to the buzzing lobby, she held the train of her red and pink Chanel gown graciously saying, “Thank you, thank you.” — Brittany Levine Beckman

The pressure’s off for stars during commercial breaks

Elle Fanning and Demi Moore hug during the 98th Academy Awards.

(Robert Gauthier / Los Angeles Times)

During the telecast’s first commercial break, supporting actress nominee Elle Fanning of “Sentimental Value” took her loss in stride and leaned over her seat to chat with former “A Complete Unknown” costar Timothée Chalamet, nominated this year for “Marty Supreme,” and his partner, Kylie Jenner.

Across the aisle, “One Battle After Another’s” Leonardo DiCaprio stood up and reached over to lock fingers with Benicio Del Toro. — Yvonne Villarreal

The Oscars address inflation with a goodie box

A note from Conan O’Brien left for attendees in snack boxes.

(Jessica Gelt / Los Angeles Times)

Each year, guests at the Academy Awards are given a small cardboard box of snacks left beneath their seats to get them through the always lengthy ceremony. A note from the host is generally inside. This year’s note, signed by Conan O’Brien, read, “I hope you enjoy this Conan O’Brien ‘Moderately Happy Meal’ ™. These snacks may not look like much but in any movie theater they would run you $85.” The snacks in question were a box of Junior Mints (Times reporter Josh Rottenberg got Raisinets), a small bag of Skinny Pop and a tin bottle of water. — Jessica Gelt

Jesse Plemons won’t succumb to ‘peer pressure’

Kirsten Dunst and Jesse Plemons arrive at the 98th Academy Awards at the Dolby Theatre in Hollywood.

(Myung J. Chun / Los Angeles Times)

“Bugonia” star Jesse Plemons stood near the main lobby bar talking with friends and posing for pictures with fans while finishing the dregs of a drink. A server approached him and asked if he’d like another. Plemons politely declined and the server laughed, saying, “Sorry, I didn’t mean to give you any peer pressure.” — Jessica Gelt

Amy Madigan inquires about press room rules; ‘Is it like bingo?’

Amy Madigan after winning the Oscar for supporting actress for “Weapons.”

(Kayla Bartkowski / Los Angeles Times)

After taking the stage to accept her first Oscar win for “Weapons” on Sunday, Amy Madigan paused operations in the press room to ask how moderators decide who gets to ask questions of the night’s winners.

“Is it like bingo?” the actor asked. As laughter swelled across the crowd in response, she clarified hers was a “serious question.” — Malia Mendez

After a loss, Stellan Skarsgård knows the meaning of ‘Sentimental Value’

Megan Everett-Skarsgård and Stellan Skarsgård at the 98th Annual Academy Awards.

(Myung J. Chun / Los Angeles Times)

Stellan Skarsgård, of “Sentimental Value,” enjoyed a cocktail in a VIP room just off the main auditorium fresh off of losing the Oscar for supporting actor to Sean Penn for his performance in “One Battle After Another.”

Fans rushed Skarsgård anyway, shaking his hand and telling him how much his performance as a troubled alcoholic father and artist resonated with them. “We had four actor nominations on an international film,” Skarsgård told one of them. “That’s never happened before.” — Jessica Gelt

Two of this Oscar season’s tallest figures share a moment

During a commercial break, 6-foot-5 “Frankenstein” star Jacob Elordi and 6-foot-6 Oliver Laxe, director of international feature nominee “Sirāt,” greeted one another at the lobby bar. The pair, who have been impossible to miss as two of the tallest people at various events throughout awards season, shared a warm, high-altitude embrace and Elordi introduced the French-born Laxe to his date for the Oscars: his mother, Melissa. — Josh Rottenberg

‘The Singers’ and ‘Two People Exchanging Saliva’ winners are happy to share their Oscars success

From left, producer Jack Piatt and director Sam A. Davis, makers of “The Singers,” pose with Natalie Musteata and Alexandre Singh, co-directors of “Two People Exchanging Saliva.” All of them won Oscars for live-action short.

(Kayla Bartkowski / Los Angeles Times)

Gasps erupted in the press room after presenter Kumail Nanjiani announced the seventh-ever tie in Academy Awards history Sunday evening, between live-action shorts “The Singers,” directed by Sam A. Davis and produced by Jack Piatt, and “Two People Exchanging Saliva,” directed by Alexandre Singh and Natalie Musteata.

Speaking to the press room after the ultra-rare event, Piatt was unbothered and even enthused by the outcome, saying he wished there could be a “five-way tie” among all the category’s nominees.

Davis agreed, confiding that he’d previously told the “Two People Exchanging Saliva” team “in confidence, that if we lost, I hope we lost to them.”

Shortly thereafter, Musteata said tying with “The Singers” folks was “such a dream.”

“Someone on Reddit asked us if we would be happy to share the award, and we were like, ‘Heck yeah, we would love to share it with another film that is equally beautiful and totally different.’ ” — Malia Mendez

Elle Fanning soothes Timothée Chalamet after lead actor Oscar goes to Michael B. Jordan

Elle Fanning talks with Stellan Skarsgård during the 98th Academy Awards. Timothée Chalamet was seated in front of Fanning during the show.

(Robert Gauthier / Los Angeles Times)

When Michael B. Jordan walked off stage and the show went to commercial break, Timothée Chalamet, who was up against Jordan in the lead actor category, took a sip of his drink as Elle Fanning, sitting behind him, gave him a pat on the back.

Fanning talked to her “A Complete Unknown” co-star throughout the night, who barely turned around to look at her. Kylie Jenner kept rubbing and patting Chalamet’s hand while he nervously jiggled his right leg. — Yvonne Villarreal and Jessica Gelt

Autumn Durald Arkapaw receives standing ovation in press room after historic win

Autumn Durald Arkapaw accepts the Oscar for cinematography for “Sinners” — the first woman to win the award.

(Robert Gauthier / Los Angeles Times)

“Sinners” shooter Autumn Durald Arkapaw on Sunday became the first woman to win the Oscar for cinematography. As she arrived backstage following her historic win, the press room erupted into applause, with many reporters delivering a standing ovation.

Arkapaw was equally thrilled, telling the room, “A lot of little girls that look like me will sleep really well tonight.”

“I heard Karen O say once at a concert… ‘You have to see you to be you,’” she said. “Ryan gives us, the women on this film, and our heads of department, he gives us those opportunities to shine and be ourselves and work in a creative environment where we’re leading.”

Such trust is rarely extended by directors, Arkapaw said, and she is grateful. — Malia Mendez

Kidlington in Oxfordshire was declared a town last month after almost 40 years, and boasts scenic walks, cosy pubs and is the perfect base for visiting Blenheim Palace and Harry Potter locations

Britain has officially gained a new town, boasting welcoming pubs, a delightful tearoom, picturesque riverside strolls and a vibrant community spirit.

Located to the north of Oxford, Kidlington features a busy high street and an expanding population. However, until recently, it held the distinction of being one of Britain’s largest villages.

The Oxfordshire settlement is home to nearly 14,000 people and exceeds the size of several of England’s more established towns. Kidlington previously sought to upgrade its designation from village to town status back in 1988, though the bid was unsuccessful at that time, with locals continuing to embrace their preferred classification.

Yet after nearly four decades, Kidlington was officially granted town status last month, after Parish Council members backed the move unanimously. The council highlighted that it possesses the “population, services, and infrastructure of a town”, with the reclassification bringing certain advantages.

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Under the government’s revised National Planning Policy Framework and National Policing Guarantee introduced last year, towns benefit from enhanced safeguards, especially concerning planning and policing matters. The settlement has ambitions to construct additional housing and increase its population beyond 30,000, reports the Express.

Yet, some locals remain unconvinced about its elevated status as a town, with one resident telling the Metro: “I would prefer it to be a village – it just got more of a community feel to it. A town to me seems something that it’s not. I don’t know what it represents, being a town.”

They continued: “I can’t see by being a town it’s going to improve.” Meanwhile, others feel disappointed about losing its claim as one of Europe’s largest villages.

However, politics aside, Kidlington boasts a stunning location, close to the beautiful Cotswolds, nestled between the River Cherwell and the Oxford Canal. The town offers numerous picturesque walks, and sits conveniently less than half an hour’s drive from Oxford city centre.

It serves as a perfect base for Oxford commuters, with the neighbouring Parkway railway station providing access to the city in less than 10 minutes. For those exploring the town itself, there’s the 13th-century church featuring an impressive 220-foot spire, and the high street, brimming with shops and welcoming pubs, including The King’s Arms and The Boat Inn, positioned along the river.

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Making the most of its setting, visitors can find the Thrupp Canoe and Kayak Hire Centre for leisurely river trips, followed by a visit to the delightful Annie’s Tea Rooms. There’s also the Thrupp Community Forest providing woodland walks, and close by sits Willowbrook Farm for days of adventure.

The town is also in close proximity to the market town of Bicester, renowned for its popular outlet village, offering discounted brands. Meanwhile, less than 10 minutes away lies Blenheim Palace, the distinguished birthplace of Sir Winston Churchill and home to acres of tranquil grounds to explore.

Nearby is also the iconic Harry Potter tree, featured in the franchise films, which is definitely worth a visit after a wander around Kidlington.

At the Basement, a haunted escape room experience in Sylmar, patrons attempt to evade a deranged serial killer by solving puzzles.

Now the actors, who work as game masters and perform as distressed abductees at the venue, will be frightening their guests while under union protection.

This week, the Basement’s union voted unanimously to ratify its first working contract, making it the first and only escape room to have a union and operate under a collective bargaining agreement. The group is recognized as part of the Actors’ Equity Assn., which represents more than 51,000 actors and managers in live entertainment.

Jenna Wagner, an actor at the Basement, said the new contract, bargained by a dozen employees including herself, will “improve general unit morale.” It addresses higher wages and greater safety provisions as well as scheduling and media protections.

The Basement’s workers are the first escape room actors to successfully unionize.

(THE BASEMENT: A Live Escape Room Experience and Elwood Walker)

“It’s, of course, setting a precedent. A lot of people don’t see working at an escape room as something worthy of being recognized. Sometimes when you say, ‘I’m an actor at an escape room.’ People just say ‘Oh, OK,’” Wagner said. “It feels very validating [to unionize like this] because we are actors. We are performing every day.”

The Basement’s union was formed two years ago. Management, led by founder and chief executive Kayden Ressel, voluntarily recognized its workers’ efforts to join Actors’ Equity. Ressel said he used to work as a scare actor at haunted attractions so he understood where his employees were coming from.

“Their values seemed to be in alignment with what I really wanted my business to be in the first place. So, we were excited” about the union efforts, Ressel said. He’s hoping the finalized contract “will raise the bar” for other escape rooms.

The Sylmar attraction first opened in 2014 and employs 15 people. Across 3,000 square feet, it offers four interactive room choices where groups get to decide between escaping different areas of the haunted house. Live actors are involved in three of the four experiences. (The Basement is one of the few escape rooms to hire actors.) Two other Basement locations can be found in Las Vegas and Kansas City, Mo.

Ressel said he’s considering offering a discount of 10% to 20% for customers who belong to unions.

The popularity of escape rooms in the U.S. goes back to the early 2010s, when interest in interactive experiences was at an all-time high. Today, there are around 75 escape rooms in the L.A. area and more than 2,000 across the country. According to data from the media company Room Escape Artist and the escape room app Morty, the industry stabilized at the current facility count in 2022, after shrinking more than 10% during the pandemic.

The Basement’s workers are the first escape room actors to successfully unionize.

(THE BASEMENT: A Live Escape Room Experience and Elwood Walker)

Noah Nelson, a professor at the California Institute of the Arts and founder of immersive arts publication No Proscenium, said Actors’ Equity’s recognition of the Basement’s workers is a step in the right direction as the union welcomes more nontraditional units.

“There’s something to be said about the value of live entertainment being recognized. It goes beyond the venues that people would traditionally associate with that whether that is a regional theater, a Broadway house or a concert venue,” Nelson said. “There is an industry here that stretches beyond just the big houses, and at the end of the day, I view the signs of organizing in these spaces as nothing but a good sign for the overall health of the industry.”

The Actors’ Equity Assn. was founded in 1913 and is known for representing live performers typically in theatrical productions. In recent years, the definition of live entertainment has expanded, and Actors’ Equity has recognized performers at the Griffith Observatory, Drunk Shakespeare companies and even the dancers at the Star Garden Topless Dive Bar in North Hollywood. There also are ongoing negotiations for Disneyland’s cast members and the entertainers at the Casa Bonita restaurant in Denver.

Stefanie Frey, the director of organizing and mobilization at Actors’ Equity, said in a statement that the union views “escape rooms and similar immersive entertainment experiences as another live stage.” She also said the union expects “others in this growing community will seek out our union for representation.”

Actress Brooke Shields, the president of Actors’ Equity, said, “Negotiating a first contract is always a challenge, and in this case, we had no other unionized escape rooms to use for a model.”

“These workers stuck together through a long process, and seeing what they’ve achieved, I’m sure they agree it was worth it,” she said in a statement. “They have made history for a swiftly growing sector of our industry.”

On a dreary February afternoon in Chinatown, Ben Lovett, pianist and keyboardist of the British folk-rock group Mumford & Sons, was hours away from releasing his band’s sixth album, “Prizefighter.” The LP — co-produced by Aaron Dessner with guests Hozier, Gracie Abrams and Chris Stapleton — rejuvenates a catalog that includes a Grammy for album of the year in 2013. He could have been celebrating, or at least resting up for his upcoming “Saturday Night Live” gig and fall arena tour.

Instead, Lovett was calf-deep in sludgy rain water flooding the streets from a sudden downpour, standing at the roll-gate of a ripped-apart warehouse. “You’ll need this,” Lovett told a Times reporter as he handed out hardhats, walking his construction team through the still-raw hallways, shouting over a cacophony of circular saws.

In a few weeks, this site will be Pacific Electric, a new 750-capacity music venue that Lovett and his venue-developer firm TVG Hospitality have been converting for six years. It’s a small but ambitious entry into a Los Angeles venue landscape that’s recovering from fire and economic woes, yet has also seen several jolts of life recently.

Pacific Electric is a new flagship for the team at TVG, which has become an independent-scene force in the U.S. and U.K. over the last decade. Beyond his band, this project plants Lovett’s flag as an L.A. live music entrepreneur too.

“I’ve never had such a significant moment around a venue launch,” Lovett said in the soon-to-be dressing room at Pacific Electric. “It’s the seventh venue we’ve done, but it has never coincided with such an important creative moment with the band. I have to be very disciplined right now.”

Mumford & Sons led the 2010s folk revival that minted a generation of plaintive, earnest singer-songwriter acts atop the charts. While their genre peers’ fates have varied, Mumford & Sons remained perennial arena and festival headliners, with an ambitious midcareer streak in the studio. As pop culture’s tastes shifted, and his band moved around New York, L.A. and the U.K., Lovett returned to his show-producing roots in 2016 to build the 320-capacity nightclub Omeara in London.

Los Angeles, CA – February 19: Exterior view of the new music venue Pacific Electric, which is under construction in Chinatown and owned by Ben Lovett of the Grammy-winning folk band Mumford & Sons. (Allen J. Schaben / Los Angeles Times)

(Allen J. Schaben / Los Angeles Times)

“A lot of rooms in America are owned by the promoter, so unless you are working with that promoter, you can’t play that room. I don’t like that. I think there’s something fundamentally broken with that practice,” he said. “I wanted to prove out that idea, but I had to learn everything, like how you get a liquor license. It wasn’t perfect, but the intent was so pure.”

Two years and a couple U.K. venues later, TVG got an unexpected call from the city of Huntsville, Ala., to build the Orion Amphitheater, an 8,000-capacity anchor venue for the massive civic project Apollo Park. The futuristic Grecian agora, which opened in 2022, was beyond anything they’d built before — similar to Red Rocks in Colorado or Forest Hills Stadium in New York. Suddenly, Lovett and TVG were players in the U.S. too.

“When I’m off the road, I drop my kid at school and I go to work. I sit in an office from 9 a.m. to 6 p.m.,” Lovett said. “That’s not common, but there are people I really admire like Pharrell Williams who have a foot in entrepreneurship while also being a creator of songs. By doing a day’s work with TVG, sitting down at the piano can still feel like a hobby.”

Lovett, who lives in L.A., had long wanted something closer to home. The industrial northern pocket of Chinatown housing Pacific Electric is well-known to ravers and foodies — Insomniac’s Naud Street warehouse is close by, and the upscale cocktail bar Apotheke and pan-Asian restaurant Majordomo are around the corner. But besides festivals at Los Angeles State Historic Park, there hadn’t been much of a live music presence in the area (a plan to open an outpost of the NYC venue Baby’s All Right was thwarted by the pandemic).

Pacific Electric will be on the small side for a theater, a more intimate peer of downtown’s Regent or Bellwether. But Lovett’s plowed 20 years of notes from touring into the space — from the serene sandstone-hued dressing rooms with a piano and built-in laundry facilities, to a fully-separated horseshoe bar area to keep fan drink lines moving. There’s no bad sightline in the space, from either the ground floor or upper level balcony, which looks out over a stage wreathed in pink neon and wood cutouts evoking the industrial cityscape outside.

“Keeping the dirt under my fingernails with projects like this, and watching shows as often as I do, you realize how hard and how much creativity and magic there are around shows,” Lovett said. “It’s never a given to have an audience.”

To manage the venue, TVG brought on Stacey Levine, a veteran of the Palladium, Wiltern and Theatre at the Ace Hotel (now the United Theater on Broadway). While her management experience is in larger, historic venues, the chance to build something from scratch with an artist’s insight was enticing.

“People really want to get off their phones and back into independent venues, and this little pocket of downtown is about to pop off,” Levine said. “It’s very cool and close to different areas of L.A. But the venue is also really artist-focused. At 750 capacity, do you often have really nice dressing rooms? Probably not. But this is like welcoming artists into a nice hotel.”

Pacific Electric is independent in the sense that it’s not wholly exclusive for either promoter conglomerate (they plan to work with both Live Nation, AEG and others). Lovett, who cited the San Francisco concert impresario Bill Graham as a model for his company, said, “I love the opportunity to back an artist and be their advocate, and they should be able to work in any room they want to. I’ll die on that hill.”

The music won’t lean especially Mumford-ish. Its first show, with the synthwave group TimeCop1983, is slated for March 20, with a Robyn-themed club night, heavy rockers Militarie Gun and a big comedy slate from the Netflix Is a Joke festival up next.

L.A.’s nightlife — particularly in downtown — is still recovering from the pandemic-era culling of live venues and hospitality. After the malaise that’s ripped through L.A.’s entertainment economy of late, and a year of fires, ICE raids and other withering events in Los Angeles, Pacific Electric will have its work cut out to build its regular audience.

But new venues like South Pasadena’s Sid the Cat Auditorium and Re:Frame in Atwater Village have taken similar big swings in recent months. Lovett sounded hopeful that L.A. has plenty of room for more.

“I operated five venues in the pandemic, and conversations abounded like ‘Is this the death of live experiences?’” Lovett said. “My take was different, which was the one thing that we couldn’t figure out how to fix, was how to spend time together. Our greatest void was human interaction. We’re always going to trend towards congregation. If I didn’t believe that, I wouldn’t do this.”

Now you can pair your big show with dinner and a more intimate listening experience. The Hollywood Palladium, an Art Deco music venue graced by performers like Frank Sinatra, Richard Pryor, Jimi Hendrix, Lady Gaga and Jay-Z since 1940, has debuted a swanky lounge known as Vinyl Room.

Inspired by 1970s Japanese high-fidelity (hi-fi for short) listening rooms and operated by entertainment company Live Nation, it’s a space where concertgoers can have dinner, grab drinks and catch a vinyl DJ set before or after their ticketed event in the same venue.

With a name like Vinyl Room, you can expect to see vinyl records everywhere.

“You’re in [for] a whole night of music,” says Geni Lincoln, president of the California region for Live Nation, adding that her team put “so much thought” into the sound and design of the space, which was in development for more than two years.

“I’ve been coming to the Palladium since I was a teenager, so it’s really special to see,” she says.

Entering Vinyl Room feels like you’re stepping into a secret speakeasy for music lovers, one with iconic music memorabilia, a thoughtful food menu and premium sound quality. Want to check it out? Here are five things to know.

Everything inside of Vinyl Room is inspired by the sounds and the musicians who’ve played at the Hollywood Palladium since 1940.

1. Vinyl Room is exclusively open to members and concertgoers with an upgraded ticket

Vinyl Room is open only on Hollywood Palladium show nights, starting 90 minutes before doors open, and remains open one hour after the concert. Admission is limited to concertgoers who purchase a ticket upgrade, which starts at $35. Early reservations are recommended.

Vinyl Room also offers annual membership packages, which start at $2,000 and come with various benefits such as complimentary guest passes to Vinyl Room, access to an exclusive menu, valet parking, table reservations inside the lounge, a dedicated private entry, complimentary coat check and concert ticket credits.

Tip Dunn, also known as DJ tenSpeed, played records during opening night at Vinyl Room at the Hollywood Palladium.

2. Hi-fi is having a moment in Los Angeles — and Vinyl Room delivers on sound quality

From Common Wave Hi-Fi in Boyle Heights to Slow Jamz Gallery in the Arts District and Gold Line bar in Highland Park, hi-fi — a 1950s term used to describe the high-quality reproduction of sound — venues and experiences have been slowly popping up around L.A. over the last few years. Vinyl Room joins a short list of places where audiophiles can go to listen to music on hi-fi equipment, which many argue is the best way to experience it.

Much like the Hollywood Palladium, which is known for its top-tier sound, Vinyl Room also makes sound a priority. The lounge utilizes hi-fi sound equipment including Master Sounds Clarity-M speakers to ensure that the records sound as crisp as possible. Live DJs spin records on a set of turntables, which helps to create a richer and more analog sound that is closer to the original track than compressed versions such as MP3s.

Ruthie Embry, vice president of architecture and design at Live Nation, says the records and other memorabilia inside the space “connects you directly to the venue’s history the second you walk in the door.”

3. All of the decor ties back to music and the Hollywood Palladium’s rich history

With a name like Vinyl Room, you can expect to see vinyls everywhere. Records line most of the walls and shelves, drinks are served on vinyl-shaped coasters and tables and light fixtures are designed to the theme. There’s even vinyl wallpaper in the photo booth. In one corner of the lounge, you can dig through records under a neon sign that reads, “But have you heard it on vinyl?”

Ruthie Embry, vice president of architecture and design at Live Nation, says the records and other memorabilia inside the space “connects you directly to the venue’s history the second you walk in the door.”

Some standout items include a Red Hot Chili Peppers show flier, a Hollywood Palladium postcard signed by late musician and host Lawrence Welk and a photo of late singers Bonnie Baker and Orrin Tucker at the venue. Even the bathroom creates a memorable photo moment: The stalls are filled with photos of musicians and an “on air” studio sign lights up when a stall is occupied.

Vinyl Room’s menu, created by Chef Ryan DeRieux, is inspired by Asian flavors and includes items like the “Vinyl Roll,” which is made with spicy tuna.

4. Don’t worry about dinner plans before or after the show. Vinyl Room has got you covered

Eliminating the need to find a pre- or post-show restaurant, Vinyl Room has a full Asian-inspired menu created by Chef Ryan DeRieux.

Think sushi tots (like crispy tuna but with tater tots instead of rice), tuna poke nachos, chili crunch chicken wings and shiitake tempura burgers. There’s also a mouth-watering 100-ounce American wagyu skirt steak served with shishito peppers, pickles and charred carrots. For dessert, try the taiyaki, a popular fish-shaped Japanese street food, which is served with a delicious passion fruit cream that I wanted to take to go because I liked it so much.

Signature cocktails at Vinyl Room, inspired by popular songs, include the Superfly, Escape (if you like piña coladas) and Smoke on the Water.

5. The craft cocktails aren’t just delicious — they each have a story

Vinyl Room’s old-fashioned is made with Nikka Yoichi whisky, which is made in Japan.

The cocktail program, developed by third-generation bartender Sean Kenyon, is inspired by the songs created by musicians who’ve graced the Hollywood Palladium stage. A nod to the 1970s, the Superfly is a fizzy, citrus-forward play on Curtis Mayfield’s 1972 track and is made with Roku Gin and yuzu and sencha syrup. Other signature drinks include the rum-based Escape (if you like piña coladas) with coconut oolong syrup, pineapple juice and miso, and the tart yet sweet Smoke on the Water, which is reminiscent of Deep Purple’s 1972 song. The bar also offers an espresso martini (called the MT Joy), a signature old-fashioned (made with Nikka Yoichi whisky) and a Japanese whiskey highball (made with Hibiki Harmony whisky). The bar offers a number of non-alcoholic options as well.

In Dyche’s case, a dressing room can be lost very quickly, after succeeding Ange Postecoglou to become Forest’s third permanent manager this season.

Dyche’s reign went downhill after a good start, with BBC sources suggesting he struggled to bond with some players who questioned his methods and tactics, as he focused on the squad’s physicality.

Players’ opinions were also canvassed after defeat at Leeds United and they did not give Dyche their full backing.

So how quickly can a dressing room turn against a manager – and could it even happen before he steps through the door?

Sutton said: “Players talk when a new manager comes in. Some players may have experienced that manager before, or there may have been fall-out. I think instant impact is important.

“Certain managers will go into a club and want to do things their own particular way. They may leave out a club legend who’s already there, or a strong character, then that person won’t be happy and might be influential in the dressing room.”

Murphy believes every manager gets a chance, but warned: “It can change within three or four games.

“It can happen after a few bad results and performances, when you feel like you’re really struggling, getting beaten heavily, not competing in games.

“So maybe a month. One of the difficulties is when you have a dressing room where there is a little bit of pushback because some players are OK with the manager.

“This can become toxic as well because what you don’t want is a group of players who feel differently, because then you don’t have that cohesion and togetherness.

“But I would suggest when it starts going wrong it becomes a majority quite quickly.”

MOLLY-MAE Hague has just shown her followers that the amazing dressing room renovation under way in her luxury mansion is almost finished.

The reality star and her boxer beau Tommy Fury purchased the £5million pad together in 2022.

And it appears everything is really taking shape, bar some missing flooring here and there.

An excited Molly took to her Instagram story to share a snap of the dressing room which she already feels incredibly eager to use.

Penned over a photo of the mostly finished space, she said: “Home from the office to a nearly finished dressing room.

“I’m actually itching to get in here.

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“Couldn’t resist and already started putting bits and bobs on the shelves.

“Carpet to go down, little wall lights to add, then the final touches.”

Taking a selfie in the room’s giant mirror, Molly-Mae opted to wear a white top that allows her pregnant belly to peek through.

She paired the piece with comfortable black trousers and Ugg slippers.

Behind her an assortment of Louis Vuitton bags and other designer goods are sitting on the white dressing room furniture.

White with tasteful gold accents are the theme of the dressing room, bringing a stylish minimalist air to the area.

The renovation update comes shortly after Molly-Mae and Tommy announced they were expecting their second child together.

They made the announcement via Instagram by posting a sweet Instagram reel showing off her stomach.

Molly’s currently around six months pregnant, and already has a two-year-old daughter called Bambi.

Her and Tommy have opened up about how they know the gender of the second baby and how they have already picked a name.

But they’re keeping the information secret from their followers for now.

Though in a video posted online, Molly referred to her bump as “she” for a split second, leading fans to believe she’s having another baby girl.

As she showed off her bare baby bump and cradled it in her latest YouTube vlog, the social media personality declared: “Here she is!”