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Keith Richards Becomes a Great‑Grandfather at 82Keith Richards announced his new role as a great‑grandfather during a video call from the Hit Factory, the New York studio where the Rolling Stones first recorded Emotional Rescue. He laughed about the vague ages of his great‑grandchildren, noting that they range from "one to five" years old, and expressed delight at "being a fantastic grandad".Health Reflections and Lifestyle Changes Behind His LongevityThe rock legend credits his survival to listening to his body "just before it screamed for help" and slowing down when needed. He quit smoking cigarettes six years ago, admits to regular weed use, and says he now limits alcohol to moderation, though he still consumes "a ton of heroin a day" in a controlled manner. These habits, combined with a disciplined approach to pacing himself, have helped him defy earlier predictions of an early death.Numbers Behind the Milestones: Age, Career Span, and Album OutputAge: 82 years oldCareer length: Over 58 years in the music industryRecent Rolling Stones releases: Blue & Lonesome (2016), Hackney Diamonds (2023), and the new Foreign Tongues (2024)Great‑grandchildren: Approximately four, ages between 1‑5These figures illustrate a rare combination of personal longevity and sustained creative output.Impact on the Rolling Stones’ Creative Dynamic and Future ReleasesRichards says the relationship with Mick Jagger has mellowed; the "jousting" of earlier decades has given way to mutual respect as both men age. Producer Andrew Watt has injected fresh energy into the band, streamlining sessions and encouraging a "no‑bullshit" approach. This collaborative atmosphere helped shape tracks like "Some of Us" and "Ringing Hollow" on Foreign Tongues, signaling a smoother creative process.What Lies Ahead for Richards and the StonesLooking forward, Richards hints at the possibility of one more Rolling Stones album, while also enjoying his family life. With his health regimen stabilising and the band’s momentum from recent releases, fans can anticipate continued touring, new recordings, and perhaps more candid interviews that blend rock mythology with the realities of octogenarian life.

The Final Curtain: A Pivotal Moment in Music HistoryThe Beatles' last official concert on August 29, 1966, at Candlestick Park in San Francisco marked more than just the end of a touring era—it symbolized a fundamental shift in how music would be created and experienced. As Jim Marshall's photographs capture, the band was already feeling nostalgic for what they were leaving behind, even as they stood on the precipice of their most innovative period.The Creative Divide: Studio Innovation vs. Live PerformanceTwo months before their final show, the Beatles had completed recording "Revolver," an album that would push the boundaries of popular music. Yet during their final tour, they performed none of these groundbreaking tracks. The complexity of songs like "Eleanor Rigby" and "Tomorrow Never Knows" simply couldn't be replicated in a live setting with their four-piece band configuration.This creative divide reveals a crucial moment in music history. Until the Beatles, recordings were essentially documentation of live performances. Their first album, "Please Please Me," captured songs honed on stages in Hamburg and Liverpool. By 1966, however, the Beatles had come to see the studio as a creative platform in its own right—a place where experimentation with sounds and techniques could create something entirely new.The Changing Landscape of Live MusicWhile the Beatles were pioneering studio techniques, other artists were revolutionizing the live concert experience. Bob Dylan and the Rolling Stones were developing what we now recognize as the modern rock gig—longer performances, more artistic expression, and a direct connection with audiences that extended beyond simple entertainment.The Beatles' live shows, by contrast, remained stuck in the past. Their 1966 concert format resembled a package-tour variety show, with five or six acts and the Beatles appearing last for a breathless half-hour set before saying goodnight. This disconnect between their recorded work and live performances became increasingly unsustainable as their studio work grew more ambitious.The Legacy of the Final TourThe Beatles' decision to stop touring wasn't merely a practical response to the challenges of performing complex music live—it reflected a deeper artistic evolution. By focusing on studio innovation, they paved the way for future artists who would similarly embrace recording technology as an integral part of the creative process.Ironically, this decision that seemed to separate them from their audience would ultimately transform how musicians connected with fans. The studio innovations pioneered by the Beatles during this period would influence generations of artists, creating new possibilities for musical expression that continue to resonate today.The End of an Era and the Birth of a New Musical LanguageThe Beatles' final tour marked not just the end of an era for the band, but a turning point for popular music as a whole. As they transitioned from live performers to studio innovators, they helped create a new musical language that would define the decades to come.The photographs from this period, capturing the band at this transitional moment, serve as a visual document of one of music history's most significant transformations. They show a group on the cusp of their most creative period, already looking back with nostalgia at the live performances that had made them global superstars, while simultaneously embracing the future possibilities that studio recording would unlock.

Mick Jagger's New Role Rolling Stones singer Mick Jagger is set to play a lighthouse keeper in Alice Rohrwacher's upcoming film, Three Incestuous Sisters. The film is an adaptation of Audrey Niffenegger's 2005 visual novel and marks Rohrwacher's English-language debut. Film Details The film is currently in production on the Italian island of Stromboli. Jagger joins a star-studded cast including Dakota Johnson, Jessie Buckley, Saoirse Ronan, and Josh O'Connor. Interestingly, O'Connor will play his character's son in the film. Rohrwacher's Previous Work Alice Rohrwacher received critical acclaim for her previous films, Happy as Lazzaro and La Chimera. Her adaptation of Three Incestuous Sisters is highly anticipated, given her track record of delivering unique storytelling. Jagger's Film Experience Mick Jagger has a history of appearing in films, including lead roles in Performance and Ned Kelly, as well as smaller roles in Freejack and The Man from Elysian Fields. He has also worked as a producer on projects like Enigma and Get on Up. The Future of the Film With a talented cast and a unique storyline, Three Incestuous Sisters is shaping up to be a compelling addition to Rohrwacher's filmography. The film's release is highly anticipated, and fans of Jagger and Rohrwacher will be eager to see the final product.

The Hedonistic Legacy of London RecordsLondon Records, the iconic British label that operated with major label distribution but maintained an independent spirit, defined an era of music industry excess and creativity. As a new six-part podcast, "Hit That Perfect Beat – The London Records Story," delves into its colorful history, former artists and executives recall a label that was "the equivalent of Studio 54" – a place where the music business met unbridled hedonism.From Decca to Dance Music EmpireOriginally part of Decca Records (home to the Rolling Stones), London Records began a new chapter in 1980 when Decca was acquired by Polygram. Under the leadership of managing director Colin Bell alongside Roger Ames and Tracy Bennet, the label transformed into an independent operation with major distribution. "We were put in there to develop it into a pop label," recalls Bell. "We were obsessed with being cool. We wanted to be easily identifiable for a generation of young people. We wanted pop that had an edge."The Chart-Hyping Scandal and Financial SuccessWhile the label enjoyed commercial success, it wasn't without controversy. In 1991, London Records was fined £50,000 by the British Phonographic Industry for chart hyping – sending people to purchase records of their artists to boost chart positions. Terry Farley of the acid house crew Boy's Own confirmed this practice was widespread: "Me and Andy Weatherall used to go out on record-hyping missions for them. I remember buying Bananarama singles. But that wasn't unique to London, every record company was involved in it."Defining Pop with AttitudeUnlike labels that forged identities around specific genres, London Records embraced a hodgepodge approach. It operated several imprints, most notably the dance label FFRR headed by Pete Tong, and by the 1990s housed artists as diverse as Orbital, East 17, All Saints, Menswear, Dani Minogue, Utah Saints, and Shakespears Sister. What united this eclectic roster was a commitment to "hits" and a preference for "left-leaning pop – pop with attitude." As Pete Tong explains: "We didn't sign Take That, we signed East 17. We didn't sign Spice Girls, we signed All Saints. Not that we didn't try to sign the Spice Girls..."The Cultural Impact of Musical RebellionLondon Records' legacy extends beyond its chart success. The label provided a platform for artists who challenged norms, from Bronski Beat's unapologetic gay identity to East 17's boyband credibility in alternative music circles. For Tony Mortimer of East 17, being on the label meant enjoying "the best of both worlds": "We were a boyband but we were still in NME and Melody Maker. It was a very cool label to be on. And we had access to these amazing mixes by people like [US house music legend] Danny Tenaglia."The End of an Era and Lasting InfluenceAs the CD sales era peaked, the hedonistic atmosphere around London Records intensified, eventually contributing to its decline. The label's culture inspired John Niven's debut novel "Kill Your Friends," a dark satire of the music industry. "I was simultaneously fascinated and horrified by it," Niven recalls. "To come into this culture, where the artists were, at best, tolerated, and at worst regarded as an impediment, was a real eye opener." While London Records no longer operates with the same prominence, its influence on the music industry's approach to artist development and branding continues to resonate in today's streaming age.

The Battle Against the Thames Tower Celebrities including Rolling Stones frontman Mick Jagger have defeated plans to build a 29-storey tower on the banks of the River Thames. Jagger, along with fellow rockstar Eric Clapton, actor Felicity Kendal and comic Harry Hill, fought the developer Rockwell Property for two years over its plan to erect a 100-metre tower next to Battersea Bridge. The Proposed Development Rockwell Property initially proposed building a 34-storey tower with 142 flats, which was later reduced to 110 flats, including 54 affordable homes, along with underground parking and a mix of commercial spaces. Proposed tower height: 100 metres Number of flats: 110 Affordable homes: 54 The Reasons for Rejection Wandsworth council rejected the plans, citing the project’s “excessive height and scale,” adding that it “would represent an unacceptable and incongruous transformative change within the location that would significantly harm the spatial character of the same location”. The Greater London Authority backed the council’s decision. The Impact on the Local Area A planning inspector ruled that the tower would have an “adverse effects on the character and appearance of the local area” and “be overbearing”. The inspector added: “The proposal would cause harm to townscape character in several identified views from different directions and differing distances. The Future Outlook Rockwell Property expressed disappointment with the decision, stating that they “firmly believe in this regeneration project” and had made changes to the scheme following feedback from the public.

The Birth of a Classic George Thorogood, songwriter, vocalist, and guitarist, recalls the creation of his iconic song 'Bad to the Bone'. Before the song's release, Thorogood's band played obscure blues songs, but they wanted to create an original hit. The Inspiration Behind 'Bad to the Bone' Thorogood explains that the song is a male fantasy, where every guy wants to be 'bad'. He drew inspiration from Hollywood movies, tough guys like Bernardo from West Side Story, and Howlin' Wolf, whom his band opened for in 1974. The Songwriting Process Thorogood followed Johnny Cash's advice for songwriters: writing down rhyming words and working around them. He started with 'bone' and incorporated 'bad', which meant 'cool' in his neighborhood. The Song's Early Days The band shopped the song to Muddy Waters, but his manager rejected it, saying Muddy wouldn't record a blues song by a white guy. Thorogood and his band rehearsed the song to make recording efficient and minimize costs. The Rise to Fame 'Bad to the Bone' took off when classic rock radio stations began playing it, placing it alongside songs by Led Zeppelin, Steve Miller, and The Rolling Stones. Young listeners considered it a classic. Terminator 2 and Arnold Schwarzenegger The song gained further popularity when it appeared in Terminator 2. Arnold Schwarzenegger called Thorogood, saying in his Terminator voice: 'Your song. Give it to me. Now.' The Legacy of 'Bad to the Bone' Thorogood reflects on the song's impact, stating it's an over-masculine chuckle and not to be taken seriously. The song brings out the 'lion in the mouse', and its popularity endures to this day. Jeff Simon's Perspective Jeff Simon, the band's drummer, shares his experience of recording 'Bad to the Bone'. He recalls George working on the song and the band's blues influences.

The Concept Behind the Show The small print tells us this show has no connection to the fashion house of McQueen, nor does it feature any of Alexander McQueen's designs. You could think it's a cynical attempt to get bums on seats for classical music, but it is created by McQueen's longtime musical director, John Gosling, alongside Robert Ames, conductor of the London Contemporary Orchestra. The LCO plays music that inspired the designer, all run together like a DJ mix with theatrical lighting and multi-genre guest performers. The Music and Performance Far from “unnatural”, most of the harmonies here are as concordant as Classic FM, mostly film soundtracks (The Hours, The Piano, a couple of John Williams') and tearjerkers (Dido's Lament, Barber's Adagio for Strings). The friction, however, is all in the combinations. For example: two dancers posturing in nude body stockings – one has hooves instead of hands and tights over her face – and then behind them, the cello section in formal white tie and tails. Hearing Handel cut with the Rolling Stones in a jaunty string arrangement, or a blast of Nirvana, feels like your GCSE music teacher trying to be cool, although the blaring siren of Armand Van Helden's Witch Doktor is genuinely unsettling. The Impact of the Performance Cabaret singer Le Gateau Chocolat always has presence and fabulous costumes – one here resembles a green Quality Street-wrapper – but like the rest of this show seems under-rehearsed. The two dancers, choreographed by Holly Blakey, appear in superfluous layers that exaggerate the messy world of the choreography and it is hard to tell whether it's being serious or sarcastic when the dancers shake their heads comically in time with a piano trill. The Legacy of Lee Alexander McQueen There's a superficiality to this genre clash; are these art forms really speaking to each other or is it provocation for the sake of it? But there are genuinely illuminating moments in a film choreographed by Michael Clark, a friend of McQueen's, both men steeped in classical craft and punk spirit. We see dancer Jules Cunningham in a very Isabella Blow hat, and Simon Williams dancing to Barber's Adagio, one of the most loved/hackneyed pieces of music. And yet the shocking starkness of Clark's ironed-out angles cuts through the familiarity to bring a laser focus to the music. It's a show full of contradictions, wrestling between sweet and edgy, but ending up quite middle of the road. The Show's Details At Royal Festival Hall, London, until 30 April

The Lead: Arctic Monkeys' Humble Beginnings In 2005, Sheffield's music scene was buzzing with energy, enough that NME coined the term "New Yorkshire" to describe the explosion of talent in the region. Among these bands, Arctic Monkeys were just beginning their journey, a group of childhood friends from High Green who would go on to revolutionize British indie music. Their story is one of youthful determination, local influences, and a rejection of the mainstream music industry's expectations. The Sheffield Divide: Art vs. Traditional Indie Sheffield's music landscape in the mid-2000s was characterized by a distinct split between two types of bands. On one side were the more artier, often student-led indie bands like The Long Blondes, who deliberately positioned themselves against the local scene. The Long Blondes famously declared in their press materials: "Our shared influences include the Mael Brothers, Marx Brothers and the Bewlay Brothers. We do not listen to the Beatles, the Rolling Stones, Jimi Hendrix, the Doors or Bob Dylan." This intentional pomposity was perceived as arrogance by some, but represented a deliberate rejection of what they saw as staid, male-dominated music. On the other side were more traditional local indie outfits like Milburn, formed in 2001 by a group of teenagers in their mid-teens. These bands were influenced by the punk ethos of doing it yourself, often with little regard for what came before. As Milburn's Joe Carnall recalled: "If you had said Longpigs to me, I'd have gone, what? And if you'd have said Pulp, I'd have been like, he's a bit poncey isn't he? We were just angry young lads, so everything was shit. Which I think is great because it means you try and do something new." The Regional Rivalry: North vs. South Sheffield The divide in Sheffield wasn't just musical—it was geographical and cultural. As Jon McClure of Reverend and the Makers explained: "Culturally, it's different. I'm from north Sheffield where the accent is different. It's a lot thicker and harder, and the people are more brusque." This regional tension created a competitive environment where bands were suspicious of each other, with Carnall admitting: "It was very regional. We were suspicious of other bands. Like, [arty band] the Long Blondes, what's that? I'm not proud of it but that fuelled what we did." Milburn's Influence: The First Local Success Formed in 2001, Milburn quickly became a significant presence in Sheffield's music scene. They released a demo called "Steel Town" and built a substantial following, selling out the 500-capacity Boardwalk venue (locally known as "The Mucky Duck"). Their success demonstrated that bands from Sheffield could achieve local recognition without being based in London or other major music centers. Arctic Monkeys drummer Matt Helders later acknowledged Milburn's impact: "Milburn were the first people we saw doing it that were kids our age. We didn't think it was a thing that people did where we were from. We had this naive, or even maybe cynical attitude that all bands were just put together in London and that it doesn't happen to people like us." Arctic Monkeys' Formation: From Street Corners to Stage Arctic Monkeys emerged from High Green, a suburb of north Sheffield near the Barnsley border. The band consisted of childhood friends Alex Turner, Matt Helders, and Andy Nicholson (soon joined by Jamie Cook). Their formation was organic and spontaneous, as Helders explained: "This band came about from us hanging out on the street. Instead of deciding which house to go and egg that night, we were like, why don't we start a band? It really came from those kinds of conversations when you're on a field somewhere and people are smoking and drinking cider." Before Arctic Monkeys gained recognition, Helders and Turner briefly played in a funk ensemble called Judan Suki (Japanese for "being kicked in the weak spot") organized by Jon McClure. The experience was formative, even if the band was "fucking horrendous" according to McClure. For Helders, it was crucial: "I can see why Jon looks back and cringes but for me it was really important. And also for Al, because we'd never played onstage before. So it made it seem more accessible and realistic." The Practice Regimen: Building From Scratch Unlike some bands that might have emerged fully formed, Arctic Monkeys dedicated themselves to rigorous practice before performing publicly. They practiced consistently for nearly a year before their first public shows, demonstrating their commitment to developing their craft. This dedication would later pay dividends as they honed their distinctive sound and tight musical chemistry that would become their trademark. The Legacy: How Sheffield Shaped a Global Phenomenon The story of Arctic Monkeys' early years reveals how a specific local environment can nurture unique musical talent. The band's success wasn't just about their songwriting or performance abilities—it was about their authenticity and connection to their roots. They emerged from a vibrant but divided scene, influenced by but distinct from their contemporaries, and maintained their identity even as fame came their way. As the band members themselves acknowledged, they were "stubborn teenagers" who didn't want to be famous—at least not in the conventional sense. This attitude allowed them to create music on their own terms, which ultimately resonated with audiences worldwide and helped redefine what British indie music could be in the 21st century.

The End of an Era: Nedra Talley Ross Passes Away at 80Nedra Talley Ross, the final surviving member of the legendary 1960s pop group The Ronettes, has died at the age of 80. Announced by her daughter on social media, Talley Ross passed away at her home on Sunday morning, leaving behind a void in the history of American pop music. As the third member of the trio alongside Ronnie Spector and Estelle Bennett, her voice was instrumental in shaping the sound of the 1960s.The Ronettes' Rise to Fame and the 'Wall of Sound'Born in Manhattan in 1946, Talley Ross began performing with her cousins during their teenage years. The group formed in 1957, but their breakthrough came in 1963 when Estelle Bennett cold-called the office of producer Phil Spector. According to Ronnie Spector's memoir, Spector was so captivated by their rendition of 'Why Do Fools Fall In Love' that he exclaimed, 'That's the voice I've been looking for!' This meeting launched The Ronettes into the stratosphere of pop culture.1963: The trio signs with Phil Spector and achieves massive commercial success.1966: The Ronettes join The Beatles on their final world tour.1967: The group officially splits.The Economic Legacy of a 'Wall of Sound' LegendDespite their immense cultural footprint, the financial reality for the group was stark. The Ronettes launched a long legal battle in the 2000s to recover unpaid royalties, revealing in New York's State court of appeals that they had earned less than $15,000 from their massive catalog of hits. However, the economic value of their contribution to music history is immeasurable. BMI once calculated that their signature song, 'Be My Baby,' had been played in 3.9m feature presentations since 1963, an equivalent of 17 years of continuous radio play.Reshaping the Landscape of 1960s PopThe Ronettes were more than just a girl group; they were a defining force of the era. Their hits, including 'Walking in the Rain' and 'Baby, I Love You,' became staples of the 'Wall of Sound' production technique. Their influence extended far beyond their discography. Keith Richards of The Rolling Stones famously described their ability to 'sing all their way right through a wall of sound,' a sentiment that highlighted their vocal power. The group also shared stages with the biggest acts of the time, including The Beatles on their final world tour in 1966.The Lasting Echo of a Musical RevolutionAs the final member of the original lineup passes, The Ronettes' legacy moves from a living history to a permanent archive of American pop culture. Their contributions have been immortalized in films such as Mean Streets and Dirty Dancing. While the trio is now complete in spirit, the music they created continues to resonate, proving that the 'Wall of Sound' is an enduring pillar of musical history.