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Billy Livsey, an American musician who arrived in England in the 1970s, transitioned from touring with Slim Chance and Gallagher & Lyle to writing hits for Shakin’ Stevens, Elkie Brooks and Paul Young before being tapped to write for the teen pop group Five Star. In the mid‑80s Livsey co‑wrote the chart‑topping single “System Addict” with Gary Bell, and a few months later his publisher suggested a partnership with lyricist Peter Sinfield. After a brief exchange of a rough melody, Sinfield asked Livsey to pen the words over the phone, resulting in the lyric sheet for what would become “Rain Or Shine.” The demo featured the renowned session vocalist Tessa Niles, whose résumé includes touring with The Police and singing on Eric Clapton’s “Layla” on his Unplugged album. Livsey recalls that her effortless delivery set the tone for the final recording. Recording took place at London’s iconic Mayfair Studios, a venue that had hosted legends such as George Michael and Tina Turner. Livsey admits he “stole” a sequencer fragment from Donald Fagen’s “New Frontier” to give the track a subtle, progressive‑pop edge. Five Star’s lead vocalist Deniece Pearson remembers the demo’s female vocal as a revelation compared to an earlier male‑sung version of “All Fall Down.” Her father and manager, Buster Pearson, urged her to “listen to the lady on the demo and articulate your words.” Because she was wearing braces, Deniece deliberately over‑enunciated to keep the metal from sticking to her lips – a quirky detail she still laughs about. Studio sessions were far from smooth. Frequent electrical glitches prompted Livsey to joke, “Gremlin. Gremlin.” Yet he remained confident, insisting that such hiccups often precede a hit record – a prediction that proved accurate. Upon release, “Rain Or Shine” became a staple of Five Star’s live repertoire, earning spots on Top of the Pops, the Royal Variety Performance and the Miss World stage. During a tour, a fan pulled Deniece into the audience pit, only to be rescued by her “hunky Italian” security guard, a moment she now recounts with affection. Today the song closes the group’s concerts as an encore, with audiences singing along and often moving Deniece to tears. She credits Livsey’s melodic craftsmanship, noting that the 80s songwriting formula – a strong melody followed by soaring vocals – remains the song’s enduring charm.

Aisling Bea, 42, finally steps onto the solo stand‑up circuit with a 75‑minute show titled “Older Than Jesus.” The title, a tongue‑in‑cheek nod to the mid‑life milestone of outliving the biblical figure, hints at the personal reflections that anchor the performance. Although Bea is best known for TV hits and a stint on Taskmaster, this is her inaugural headline tour. The material draws heavily on her recent “accidental pregnancy” and the ensuing transition to motherhood, offering a candid look at the chaos and comedy of late‑stage parenthood. True to her reputation, Bea’s humor remains delightfully reckless. She riffs on childhood memories of crafting DIY Dairylea spreads with second‑hand “bodies of Christ,” reenacts a disastrous Take That movie wrap‑party, and even masquerades as a dad in her sister’s antenatal class. Each anecdote is delivered with a cartoonish egotism that celebrates her own absurdity. Physical comedy spikes the night: a deliberately over‑the‑top “slut drop” followed by a playlist curated for her own C‑section. These moments juxtapose the glamour‑obsessed persona she projects on Instagram with the far less polished reality of a new mother, underscoring the show’s central tension. In the closing segment, Bea pivots from pure silliness to a more earnest commentary, using pregnancy and parenthood as lenses to critique entrenched gender expectations. The moral—delivered with a sincere, if slightly unexpected, earnestness—offers a satisfying resolution to a set that otherwise revels in delightful immaturity. The premiere took place at De Montfort Hall in Leicester on 8 April, with the tour set to continue across the UK in the weeks ahead.

The transition from live piano accompaniment in silent cinemas to recorded soundtracks marked a turning point for movie‑goers; the Vitaphone disc system of 1926 and the optical Movietone process that followed gave films a reliable, repeatable musical identity.Sunrise: A Song of Two Humans (1927) was the first feature to have its music and sound effects printed directly onto the film strip, allowing audiences to hear orchestrated pieces by Chopin and Gounod in perfect sync with the picture.King Kong (1933) showcased Max Steiner’s pioneering use of the orchestra to drive narrative, mood and scene transitions, laying the groundwork for the symphonic Hollywood score that dominated the mid‑20th century.Citizen Kane (1941) gave Bernard Herrmann a platform to break from the lush, “Hollywood” sound, delivering a stark, atmospheric score that emphasized psychological tension and set a new standard for dramatic underscoring.Blackboard Jungle (1955) introduced Bill Haley’s Rock Around the Clock as the film’s musical spine, proving that popular rock could boost a movie’s commercial appeal and ushering in the era of song‑driven soundtracks.Forbidden Planet (1956) featured the first entirely electronic score, created by Louis and Bebe Barron using magnetic‑tape techniques; the pioneering use of the theremin and other electronic textures opened a fresh sonic frontier for sci‑fi cinema.Breakfast at Tiffany’s (1961) highlighted Henry Mancini’s “symphonic pop” style, marrying a timeless hit – Moon River – with a jazzy, contemporary score that demonstrated how pop sensibilities could coexist with traditional orchestration.2001: A Space Odyssey (1968) is remembered more for its curated classical pieces than Alex North’s original score, yet the film’s bold juxtaposition of Ligeti, Strauss and Khachaturian proved that pre‑existing music could become an integral narrative force.American Graffiti (1973) assembled over 40 period songs, weaving them into the story’s fabric and proving that a soundtrack could function as a cultural time‑capsule, influencing countless later productions.Star Wars: A New Hope (1977) revived the full‑orchestra tradition when John Williams delivered a heroic, leitmotif‑rich score that re‑ignited audience love for symphonic film music and set a template for blockbuster scoring.Crimson Tide (1995) marked Hans Zimmer’s breakthrough, blending aggressive electronic pulses with a powerful orchestral choir to create the modern, hybrid sound that now defines many high‑budget action films.These ten milestones illustrate how film music has continually evolved— from live accompaniment to electronic experimentation—while retaining a core purpose: to deepen storytelling and shape audience emotion. The legacy of these scores is celebrated each April at the London Soundtrack Festival, underscoring their lasting influence on both cinema and popular culture.

Guy Singh-Watson, founder of organic veg box company Riverford, has expressed deep regret for the decades he spent confined by traditional masculinity. On International Women's Day, he found himself in a crowd of mostly women, listening to his wife discuss her experiences. This encounter made him realize that many issues discussed on IWD relate to male behavior, and men should be paying attention. Challenging Traditional Masculinity: Singh-Watson notes that success in farming and most businesses depends on building and maintaining relationships. He recalls that when Riverford first measured its gender pay gap in 2017, women earned an average of 91p an hour compared to their male colleagues' £1. Despite efforts to address the issue, progress was slow until a new, younger female farm manager, Maddie, took charge and transformed the workplace culture. Under Maddie's leadership, Riverford became one of the few veg farms with a waiting list for pickers. The company achieved this by creating a fun, emotionally safe, and fulfilling work environment. Singh-Watson acknowledges that he and other men in leadership roles often struggle with sensitive issues and tend to turn to women for resolution. A Shift Towards Inclusivity: The cultural shift at Riverford began with its transition to employee ownership in 2018. This process required introspection and evaluation of decision-making processes. With the help of a business change coach and the company's head of HR, a genuinely inclusive culture was built. As a result, Riverford now has a negative gender pay gap, with women earning 1.56% more per hour than men. Singh-Watson emphasizes that men can change and that embracing emotional literacy – kindness, openness, empathy, and compassion – makes them stronger. He encourages men to cast off limiting beliefs around what it means to be a man and to support each other and the women in their lives. Ultimately, inclusivity benefits everyone, and men must take responsibility for creating a more equitable and compassionate work environment.

Sha’Carri Richardson, the Olympic 100m silver medallist and world‑ranked sixth‑fastest woman, delivered a thrilling victory at the 144th Stawell Gift on Easter Monday, crossing the finish line in a record 13.15 seconds to claim the $40,000 top prize.The 26‑year‑old American entered the historic Australian event – the nation’s oldest and richest running race – as a scratch runner, meaning she started from the zero‑metre mark while rivals enjoyed handicaps based on prior performance.In the women’s final, Richardson edged out Charlotte Nielsen (13.20s) and Chiara Santiglia (13.36s) after a false start by 17‑year‑old Grace Crowe forced the latter to move her blocks back a metre, effectively shortening Richardson’s target.Her semi‑final had been a nail‑biter; Richardson eased up at the line and won by a razor‑thin seven thousandths of a second over Halle Martin, prompting her coach Dennis Mitchell to stress the need for a stronger finish.“I think I realised I was going to win right past 90 metres,” Richardson said post‑race, adding, “The love, the support, the true enjoyment that I had on the track … you all made this moment happen. Thank you.”Richardson’s triumph makes her the third woman ever to win the Stawell Gift from scratch, underscoring the event’s growing international stature and the lucrative incentive for elite sprinters.In the men’s 120‑metre final, Australian Olufemi Komolafe – a 21‑year‑old medical student – secured victory in 11.93 seconds from a five‑metre handicap, with Jake Ireland second in 12.07 seconds. Komolafe expressed disappointment at not facing his idol, fellow American sprinter Christian Coleman, who failed to qualify for the final, finishing fifth in his semi‑final off scratch.Coleman reflected, “I gave it everything I got. You give them that much of a margin, it’s pretty tough. I hope everybody continues to watch and support athletics. I’m looking forward to a strong season and improving my 40‑to‑100 metre transition.”

Donald Trump has faced intense backlash for a recent social media post in which he threatened to obliterate Iran's power plants and bridges if the country does not reopen the Strait of Hormuz by Tuesday. The US president's expletive-laden warning was met with alarm from Capitol Hill, with Chuck Schumer, a senior Senate Democrat, condemning Trump's behavior as 'ranting like an unhinged madman'.Trump's post drew criticism for potentially threatening war crimes and alienating allies. The president's comments also sparked a response from Iran's parliament speaker, who warned that Trump's 'reckless moves' could lead to the entire region 'burning'. The situation has raised concerns about the potential for conflict and the impact on global stability.In related news, the US military successfully rescued a second crew member of a downed F-15E fighter jet in a daring operation in south-west Iran. Trump hailed the mission as 'one of the most daring search-and-rescue operations in US history'. The incident has highlighted the ongoing tensions between the US and Iran, with implications for the global energy market and the potential for conflict.The crisis has also sparked debate about the US's reliance on fossil fuels and the need to transition to renewable energy sources. As the situation continues to unfold, it remains to be seen how the international community will respond to Trump's threats and the potential consequences for global stability.

An estimated 15 people were injured when a vehicle struck attendees of the Lao New Year parade in New Iberia, Iberia Parish, Louisiana.The Iberia Parish Sheriff’s Office, via spokesperson Rebecca Melancon, indicated that the preliminary investigation suggests the incident was not intentional.According to Acadian Ambulance, 11 victims were transported to hospitals by ground ambulance and two were airlifted for urgent care. The response mobilized ten ambulances and two medical helicopters to the scene.The crash occurred in New Iberia, a city of over 28,000 residents, located roughly 34 km (21 mi) south of Lafayette and 214 km (130 mi) west of New Orleans.The Lao New Year Festival parade, an annual Easter‑weekend event featuring live music, food vendors, and a beauty pageant, saw its musical program cancelled while vendors were allowed to remain open until 9 p.m. local time.Festival organizers expressed deep sorrow, stating, "We are praying for the victims and their families," and indicated that, if security resources are restored, religious services would resume on Sunday.The Lao New Year celebration, rooted in Buddhist tradition and marking the transition from the dry season to the monsoon, reflects the presence of a vibrant Lao community in Louisiana, particularly in New Iberia’s Lanexang Village, which houses hundreds of Lao residents.Many members of this community trace their origins to the aftermath of the Vietnam War and the 1975 Pathet Lao takeover, which prompted large‑scale migration to the United States.

Virgil van Dijk openly criticised Liverpool’s performance after a crushing 4‑0 defeat to Manchester City in the FA Cup quarter‑final, saying the side effectively "gave up" and offering a direct apology to the club’s supporters. The Dutch defender described the loss as the most severe under manager Arne Slot, noting that the timing of the defeat makes it especially hard to rebound for the Champions League first‑leg against Paris Saint‑Germain on Wednesday. Van Dijk pointed out that Liverpool allowed four goals in an 18‑minute spell around the break, a collapse that has contributed to the club’s tally of 15 defeats across all competitions this season (excluding the Community Shield). "It’s on us," he said, expressing remorse for the second‑half display and acknowledging the mental strain of a difficult campaign. He also took personal responsibility for the penalty that gave City the lead, marking his fourth spot‑kick conceded this season after 319 appearances for Liverpool. Regarding the manager, Van Dijk stated, "Slot is responsible as the manager, but we are the ones on the pitch." He added that the team let both the fans and themselves down, especially after the penalty incident. Looking ahead, the captain warned that the upcoming match in Paris will be "very difficult", but stressed that Liverpool must fight in the remaining three games to salvage the season. Van Dijk also reflected on a perceived loss of the "togetherness" that defined his years at the club, attributing it to a major squad overhaul and a transitional period that hampers consistency.

The world is facing an energy crisis reminiscent of the 1970s, with rising energy prices and fears of stagflation. In response, countries may turn to coal, a dirtiest of fuels, to meet their energy demands.Historically, energy crises have led to increased investment in coal production. During Jimmy Carter's presidency, the US aggressively developed domestic coal sources, which became America's 'black hope'. Similarly, Donald Trump's America is doubling down on fossil fuels, pushing to develop US coal and oil reserves.The energy crisis sparked by the US-Iran war highlights the need for renewable energy sources. However, the conflict has raised hurdles to investing in renewable power generation capacity, including inflation and interest rates. As a result, countries around the world, including Japan, India, and Europe, are considering or have already ramped up their use of coal.Despite the progress made in decarbonization and the switch to cleaner gas in power generation, the current crisis could unravel these efforts. Coal consumption worldwide has increased by about 1.3bn tons since 2020, to 8.8bn tons, driven by demand in India and China. The International Energy Agency (IEA) reports that coal supplied 23% of the world's energy in 2000, increasing to 28% in 2023.The global energy landscape is shifting, with renewable energy sources becoming increasingly important. However, the ongoing conflict in Iran and rising energy prices pose significant challenges to the transition to a low-carbon economy.