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Leeds Question Time viewer distracts everyone as viewers complain

Prince Andrew, Leveling Up and the Ukraine-Russia crisis were discussed (Author: Gardener)

Leeds QuestionSeveral BBC Question Time viewers were fascinated by this Leeds viewer's glasses and mustache Several BBC Question Time viewers were fascinated by this Leeds viewer's glasses and mustache Get the latest news from all over our city - get in touch Sign up for our free email newsletter Get the latest news from all over our city - sign up for our free email newsletter. The BBC's first ever political question and answer session was held in Leeds on Thursday. Presenter Fiona Bruce was joined at Leeds Grammer School by Jake Berry MP, Chair of the Northern Research Group of Conservative MPs, and Greater Manchester Mayor Andy Burnham. Frances O'Grady, General Secretary of the UK Trades Union Congress, Jürgen Maier, Deputy Chair of the Northern Powerhouse Partnership, and GB News journalist Inaya Folarin Iman rounded out the five-person panel. Click here to see the latest political headlines. However, several people watching at home were baffled by the lack of Covid-19 safety measures. For filming in Leeds, the plexiglass walls that had separated panelists in many previous episodes were removed. Small distances were kept between spectators, but no one appeared to be wearing a mask in the school's large assembly hall. Although such measures are no longer required by law, many people on Twitter were confused by the decision. @vickyblack said: "So Covid is #bbcqt gone now? No distancing, no masks and no plexiglass screens between panels." @lizzieslists added: "It's disappointing to see #bbcqt taking the government's position that covid is suddenly gone." @Melonhead999: "Daily always die 150+ people left on Covid #bbcqt, why remove safety measures?” And @tmoraitauthor said: “Interesting: no masks and no plastic screens on #bbcqt. So Covid is gone now, or was it a dream?” Topics for discussion during the hour-long program included Prince Andrew's ongoing role within the Royal Family and the government's Leveling Up agenda. A man from York began by asking, "Is it now time for the 'grand ol' Duke of York to march down the hill and restore his title to His Majesty the Queen?". But the most frank opinion came from another viewer, who spoke up to say: "He should be an officer and a gentleman. Many of these were centered on Leeds' transport system. A woman in the audience said: "Leeds has the worst transport system in the country. There were also questions about the Government making a U-turn to bring HS2 to Leeds - a decision described by one viewer as a "body blow". Mr Burnham added: "A new railway line from Leeds to Manchester. A proud, young city like Bradford has completely cut off the grid. They came here to get the votes of the people. And they said we're going to equate you with the South. We “The problem is that reality doesn't match the rhetoric and the truth is that the North-South divide has widened in this pandemic.” Mr Berry responded by saying: “It's an aspiration, the economy change in the North of England, to reindustrialize the North with good quality jobs and it will also be the people of the North who will upgrade the North - the Ukraine-Russia crisis and the post scandal but one man in particular caught the attention of TV viewers on herself: Fiona Bruce twice questioned a man with "jazzy green glasses" and Twitter responded by saying he looks like The Riddler @bottomike posted a picture of the man next to him The caption: "A break from the hunt after Sonic the Hedgehog #bbcqt". @F4RUC said: "How did #Batman's nemesis #TheRiddler make it onto #bbcqt?". He has also been described as a "style icon" and a man who looked like he was "from the year 2047". @JCaramac said: "This is what they said the future would be like #bbcqt". Question Time is broadcast weekly on BBC One on Thursday evenings. The program is touring the country but the February 17 episode was the first time it has been hosted in Leeds in more than two years. To get the latest email updates from LeedsLive, click here.

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Question Time to present an unvaccinated audience in a controversial move

Question Time's latest show in London will feature an unvaccinated audience after presenter Fiona Bruce called it an "important debate". (Author: Gardener)

Question Time'sThe Question Time audience will consist of unvaccinated members of the public when it returns to London tonight. The long-running BBC current affairs show issued a call to viewers who chose not to get the vaccine in a previous episode in January. During a live broadcast from St Andrews, presenter Fiona Bruce urged those who remained unvaccinated to get in touch for her upcoming show in London. She told viewers: "There are many different reasons why people have chosen not to get vaccinated - we would be interested in exploring some of those issues." Fiona went on to describe it as an "important debate" before opening up , how viewers could apply to be part of the live program. She explained London was chosen because of a "relatively high proportion" of people who are still not taking the jab in the capital. Question Time previously tweeted: "Question Time is taking place in London on February 3rd and we are looking for those who have rejected the Covid vaccine to share their views." Fans gave mixed responses, with many taking the step on the social Media website called Twitter "irresponsible". One wrote: "You want to put actively unvaccinated people in a room together? Who takes responsibility for the death?" Another said: "Oh good because anti-vaccination doesn't get enough publicity anyway. Currently, listeners are required to provide proof of vaccination or a negative lateral flow test. They are also required to maintain social distancing and wear masks unless they are asking the panel a question. The BBC said in a statement: "There are still significant numbers of the UK public who are unvaccinated, particularly in certain areas and communities. “We think this is an interesting and worthy part of the debate. “Question Time always strives to discuss every side of every argument. “This is about listening and understanding our viewers. The BBC has always made the scientific consensus on vaccination very clear.”

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Sophie from Apprentice shares behind-the-scenes boardroom facts, including retakes

Fired Apprentice contestant Sophie Wilding reveals to BBC One viewers some behind-the-scenes secrets - and what Lord Alan Sugar always does (Author: Gardener)

SophieThe Apprentice's Sophie Wilding shares session secrets from reshoots to clues InboxSomething went wrong, please try again later. Thanks for signing up! We have more newsletter Show meThe Apprentice's latest fired contestant, Sophie Wilding, has shared with viewers some behind-the-scenes secrets of the boardroom, including why everyone is always fighting for a seat and the promotional hint that you're on the losing team. Sophie, who became the latest victim in the boardroom after failing to impress Lord Alan Sugar, shared what really happens when the candidates are called to their destiny. The 32-year-old cocktail bar owner, who took on the role of project manager on the driverless vehicle task, explained that the process is completely different than at home. The Apprentice's latest fired candidate, Sophie Wilding, has let viewers in on some behind-the-scenes boardroom secrets. Get the daily newsletter from OK! exclusive celebrity stories and fabulous photoshoots straight to your inbox. Sophie said that's why candidates always hope they'll be given a chair when they enter the boardroom, rather than having to stand behind their team. She laughed, "One thing is you always wanted to sit. Sophie said that everyone wanted a chair in the boardroom. Sophie then recalled a particularly memorable moment when her leg cramped and they had to re-spin a section. She explained: "One time I was on the winning team and my leg went dead. Sophie recalled a time when her spasm caused the segment to have to be reshot. Meanwhile, Sophie said she noticed that Lord Sugar has a big clue as to who will be on the losing team. She explained, "When Lord Sugar, Karren [Brady] and Tim [Campbell] talk about the different teams, you're always like, 'Ooh, are they winning or are they losing?'" "Something I picked. Also, Lord Sugar is speaking in Boardroom always more with the winning team than the losing team.” VIP and check out all our exclusive offers – it's free! VIP and you get access to all our big exclusives... Be the first to meet the latest showbiz babes, see the most coveted wedding pictures of the year or take a guided tour of your favorite celebrity's lavish multi-million pound site home - all for free! Sophie added, "So I've always tried to remember how long he would talk to each side before the actual verdict is made on who is the winner or who is the loser." Sophie continued to say what it feels like to be part of the famous board scenes, saying: "It's a big process you go through from the moment you're on the losing team to going to the cafe. But it goes really fast when you're in the last three." Sophie continued, "You try to think of things in your head, but it's also exhausting. You sit there and think, 'If you don't want me to stay, just let me go.'” For the latest stories about The Apprentice, subscribe to our daily OK!

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Jodie Whittaker announces her second pregnancy

Jodie Whittaker announced her second pregnancy while cradling her belly at the Brit Awards at the O2 Arena in London on Tuesday. (Author: Gardener)

Jodie WhittakerJodie Whittaker announced her second pregnancy while cradling her belly at the Brit Awards at the O2 Arena in London on Tuesday. The show began with a spectacular theatrical performance by Ed performing a new version of Bad Habits, for which he was joined by special guests, Bring Me The Horizon. With medleys and music legends at the heart of BRIT's on-stage performances, Anne-Marie - who fell during her performance - and KSI delivered a stunning three-song set alongside Digital Farm Animals, while rock king Liam Gallagher braved a helicopter into the O2- Arena to perform his new single Everything's Electric. The 2022 BRIT Awards really were Adele's night and she performed a stripped-down version of her power ballad I Drink Wine before winning three awards, bringing her total number of BRIT trophies to 12 since winning the first-ever Rising Star Award in 2008. Adele has been awarded the prestigious Mastercard Album of the Year for the third time, having won for her previous two albums in 2012 and 2016 - the only solo artist in BRIT history to have won the award three times. The singer also became the inaugural recipient of the BRITs' inaugural Female Artist of the Year award, with her third win, which came with winning Song of the Year for Easy On Me. The international counterparts to these new categories similarly saw two unbeatable global artists celebrate; with Billie Eilish as International Artist of the Year and Olivia Rodrigo with International Song of the Year for Good 4 U - the UK's best-selling international single of the year. Making her BRIT debut both on stage with an electrifying two-song performance and in this year's shortlists, Little Simz was named Best New Artist, beating out competition from Central Cee, Griff, Joy Crookes and Self Esteem. She was joined on stage by actress Emma Corrin. Mercury Prize-winning London band Wolf Alice won Best Group, the second year they had been nominated in the category. Shortlisted for BRIT's Rising Star 2022, three incredible female artists competed for the coveted award, chosen by critics and music minds to identify the future stars of British music. Winner Holly Humberstone performed a rendition of her new single 'London is Lonely' to her biggest audience yet and was introduced on stage by Griff, last year's Rising Star award winner. The 2022 BRITs saw a number of changes in award categories to create even more opportunities for artists to be recognized. The recipient of the BRITs' first-ever Songwriter of the Year award went to Ed Sheeran tonight, before performing a second number, The Joker and The Queen, later on in the show. After receiving two awards last year, Dua Lipa was honored with Pop/R&B Act and after receiving her first ever BRIT nomination this year, Becky Hill was honored with Dance Act. Alternative/Rock Act went to Sam Fender (who took his British record label Polydor's trophy list to 5), who later in the show wowed audiences with a performance of his top ten hit single Seventeen Going Under. British rap king Dave was presented with the Hip Hop/Grime/Rap Act award by Arsenal legends Ian Wright and Bukayo Saka and closed the ceremony with a triumphant performance of In The Fire, where he was surrounded by fellow rappers Ghetts, Giggs, Fredo, Konyikeh, and Meekz. This evening's presenters included Courtney Cox and Johnny McDaid, Brian Cox, Vicky McClure, Jodie Whittaker, Mo Farah, Tom Daley and Ronnie Wood.

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PNE fans make Aston Villa prediction about 'ridiculous' Cameron Archer

Many would like to see him return to a 12-month contract in the next term. Here's what they said about Archer in the early stages of his loan (Author: Gardener)

PNEAston Villa forward Cameron Archer is already tearing up trees at loan club Preston North End, judging by the judgment of their fan base. Archer started the season on fire with four goals in the EFL Cup and a lot more in the EFL Trophy and for Villas U23 in the Premier League 2. Minutes under Steven Gerrard were hard to come by though and had only been brief before Loan at Solihull Moors, which was not a league, the January transfer window presented an ideal opportunity for Villa and Archer to find a suitable loan move. At Preston, now managed by Ryan Lowe - a man Gerrard knows well - Archer's opportunity presented itself - and he's already made full use of his senior minutes. After scoring on his debut in a 2-0 win at West Brom just minutes after coming on as a substitute, Archer has since gone on to wins away from home at Hull City and Peterborough United. Here's what they said about Archer in the early stages of his loan. Mr. Meeseeks: This boy is going to the top. First season in senior league football and p****** it in a notoriously physically demanding and difficult league. Enjoy it while it's here and pray it leads to something special. Go upstairs. Stevie North End: I hope the Villa forwards end the season strong and reduce Archer's chances of making their squad next season. Weiser Say: I think with his performances, assists and goals so far, he will be at Villa next season and will be a regular part of the matchday squad. York White: Archer's going to be a player in a couple of years, we're going to tell anyone who's going to listen, 'He used to play for Preston, you know'. NG White: He's absolutely brilliant, isn't he? The one thing I absolutely love about him is that despite his immense talent, he came here with an appropriate attitude. No big Charlie nonsense like we've seen with previous loan players. Tom: All in all just a special talent. shabbagaz : With Archer, he just seems to go for anything. He quickly became the most talented borrower we've had in many years. Spavin Stardust: Will develop into a good or top-level Premiership forward and play for England if he continues like this. SF: He will play for England, no question.

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Liverpool vs Norwich City Betting Tips

Liverpool vs Norwich City Betting Tips: Premier League Previews, 101 Great Goals Predictions & Betting Odds. Scheduled for February 19, 2022. (Author: Gardener)

Norwich City Betting TipsLiverpool have been on top in the last two games this season; both at Carrow Road and with 0-3 away wins. It extended the Reds' winning streak as visitors to Norwich to nine straight games in all competitions. Therefore, the 101 Great Goals prediction for this game is another Liverpool 3-0 win over Norwich City and is available at odds of 7/1. Alternatively, you can bet on any Liverpool win at 1/10 against the Canaries at home on Saturday. Or an away win for Norwich City on 21.1. on Anfield Road. You can find odds of 8.5/1 for any draw between Liverpool and Norwich City on Saturday. Liverpool host Norwich City for this Premier League game at Anfield on Saturday. This will be the third of four meetings between the teams this season, with them set to meet in Liverpool in the fifth round of the FA Cup early next month. Norwich was once something of a bogeyman for Liverpool, particularly at Carrow Road. The Reds made ten visits to Norwich between 1984 and 1994 and only once managed to return to Liverpool with a win. The Premier League era began with the Canary Islands taking seven points out of a possible 12 from Liverpool, while Norwich traveled to Munich and beat Bayern in the UEFA Cup - becoming the first English side to win at the Olympic Stadium. It's been almost a one-way affair in that game since then, with Norwich being without a win against the Reds in their last 16 games. Jurgen Klopp's era was particularly brutal, suffering five straight defeats and conceding 16 goals. With the fans back in the stadiums, Anfield's stronghold has been firmly established here again, with Klopp's boys unbeaten in 18 games in all competitions this season. Only a 0-0 draw against Arsenal in the first leg of the EFL Cup semi-finals breaks an otherwise 12-game winning streak that has spanned their last six Premier League home games. The Reds have also made short work of themselves in their two meetings against Norwich this season, winning 3-0 on both occasions. With a brace from Taki Minamino and goals from Divock Origi, Roberto Firmino, Mohamed Salah and Diogo Jota all scoring in those games, Sadio Mané remains the only forward Liverpool have started this season not to score against the Canary Islands has. So our pick to get into the scorer charts any time during this Saturday's game is Sadio Mané with 5/6. Place your bet on Liverpool vs Norwich City at bet365 by clicking here. Place your bet on Liverpool vs Norwich City at bet365 by clicking here. Although this has created new problems as good players like Divock Origi, Takumi Minamino, Joe Gomez and Curtis Jones have not been included in their matchday squad for the trip to Burnley. We're also likely to see some rotation here with only a two-day break after their game in Milan on Wednesday night. That means players like Minamino, Origi, Jones, Luis Díaz (above), Joel Matip, Naby Keïta, Konstantinos Tsimikas, Jordan Henderson, Roberto Firmino, James Milner and Alex Oxlade Chamberlain are all hoping to benefit from a field reshuffle. Ozan Kabak is also likely to miss the game due to the illness that left him out of the last two matchday squads. Adam Idah is on the verge of a return as he was not included in the squad that lost to Manchester City last weekend due to his ankle and knee problems. Although it's likely that this match comes a little early for him. A link to the Liverpool vs Norwich live streaming preview is available by clicking here. - 101 Great Goals may earn a commission through links on this site. Note that all of our reviewers are compensated for contributing content to 101 Great Goals. For more betting tips content go here: Premier League Betting Tips & Football Betting Tips.

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Celebs Go Dating's Ulrika Jonsson sobs as she gets rejected by Toyboy

Ulrika Jonsson is currently looking for love on E4's Celebs Go Dating but is struggling to find Mr Right (Author: Gardener)

Ulrika JonssonUlrika Jonsson is currently looking for love on E4's Celebs Go Dating but is struggling to find Mr Right Celebs Go Dating: Ulrika Jonsson is put in the friend zone by her date Nobody likes to be rejected on a date. And Ulrika Jonsson, 54, was left in the friend zone after a series of outings with 31-year-old Jad in the latest episode of E4's Celebs Go Dating. On Monday night's episode, Swedish TV presenter Jad made her feelings clear, but he offered her a response no love seeker wants to hear - that he thinks they're missing a special "spark". The news seemed to come as a surprise to the mother-of-four after she asked Jad if he would like to take her out for the weekend. When she invited Jad over for a short vacation, he replied, "Do you feel like something's missing?" Perplexed, Ulrika asked, "Like what?" before Jad continued, "Just a little spark between us, like I'm being honest. We get along well as friends, but I feel like we've become good friends and I like where it is." Ulrika put on a brave face and kept it together throughout the date, but later admitted that she was flattened by Jad's comment. Ulrika Jonsson was friendzoned on Celeb's Go Dating on Monday. During a conversation with her best friend Laura, she was overcome with emotion and introduced herself as she shared information after the date. I won't pretend it's any different," she shared. Her love interest said they didn't have a spark. A supportive pal wrote on Twitter: "Ulrika is a lovely, beautiful and honest lady. I like her date, but he shouldn't have brought her to this point. Oh her friend is just lovely! "Awe no I'm actually a bit upset with Ulrika she really liked the guy it's a horrible feeling when you get into the friend zone #CelebsGoDating," added another. A third wrote on the microblogging site: "Awww I want to hug Ulrika. Dating sucks. Lol #CelebsGoDating.” Ulrika cried as she broke the news to her friend. Some Twitter users urged Ulrika to seek love with an older man and move away from the younger guys. "Awww I'm so sad for Ulrika but she has to make her mind up about boys maybe late 40s maybe more so than boys early or late 30s. Jad was nice to disappoint her nicely," one wrote. More typed: "Why can't Ulrika choose someone her own age" and "Ulrika will be constantly disappointed if she only wants men half her age." Ulrika recently hinted that she has trouble dating secure, since people only want to meet for sex and nothing else. Learning about online dating, she told Heat magazine, "People want to meet for sex, that's one thing. But maybe I don't want that.” Ulrika feels that her lack of experience might make her search for love more difficult. She said: "Until less than a year ago I never went on a date — ever. But I recently tried online dating. Ulrika married her first husband, John Turnbull, in 1990 at the age of 23 and welcomed their first child when she was 27. Ulrika was comforted by her friend Laura. Divorcing John in 1995 and dating footballer Stan Collymore, she later had a romance with German hotel manager Marcus Kempen - with whom she shares Bo. She began a high-profile affair with former England football manager Sven-Goran Eriksson in 2002 and that same year fell in love with a contestant named Lance Gerrard-Wright from dating show Mr Right - whom she married in 2003, divorced in 2006 and shares their daughter Martha . She then married American advertising executive Brian Monet in 2008 but divorced in 2019 and together they share son Malcolm.

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Is South Africa the real deal? In any case, England should take note of this

Bangladesh's eight-wicket win at the Bay Oval last month upset the established order of Test cricket. New Zealand, the all-conquering boys next door, just did it (Author: Gardener)

South AfricaBangladesh's eight-wicket win at the Bay Oval last month upset the established order of Test cricket. New Zealand, the all-conquering boys next door, simply didn't lose at home. Over a 17 Test period West Indies (twice), England (twice), Sri Lanka, Bangladesh, India and Pakistan came, saw and failed to conquer. Then Bangladesh came back, winning the first Test and losing the second by an innings and 117 carries. "Number of tests since the last accident" had risen again to one for New Zealand. That 17-game run dates back to March 2017 when South Africa won by eight wickets at the Basin Reserve in Wellington. The tourists won that series 1-0 and New Zealand have not won a Test against South Africa since March 2004. The Proteas have never lost a series to New Zealand in either country, but it would be a remarkable feat if South Africa won one of the forthcoming Tests, let alone both. Not only will this be an interesting two-test series in its own right; It gives England fans a glimpse of the teams heading to the UK for the project reset's first home summer. Tom Latham is the New Zealand captain in the absence of Kane Williamson and his problematic elbow. Williamson's home record during that unbeaten stretch of 17 Tests was great: 1,708 runs at 85.40, with 12 of his 22 innings going beyond 50 and seven hitting triple figures. He's a big loss for New Zealand, as was Ross Taylor, who retired last month, but Latham and Henry Nicholls have good records in the country. They also have Devon Conway, who has strong claims to being the world's most stable all-format batsman: having started as a opener with 200 in June's debut against England at Lord's, he has 623 runs in his first five Tests , ranked 3rd with two centuries in three innings against Bangladesh. Between losses to South Africa and Bangladesh, there was a first-inning deficit in just three of the 17 Tests: England scored in 2018 and at Hagley Oval leads Seddon Park the following year; and India led by seven runs at halftime at Hagley Oval in 2020. In their 17 first innings, New Zealand passed 400s 12 times, seven over 500s, three 600s and one 700. The 2017 South Africa XI had a great bowling attack: Morne Morkel, Vernon Philander, Kagiso Rabada and Keshav Maharaj, with JP Duminy helped. Rabada remains at the forefront of a four-man hem attack that put in an excellent performance in the 2-1 home win over India earlier this year. Taking the new ball with Rabada is Duanne Olivier, who made his first Test appearance in three years against India after signing as Kolpak for Yorkshire to play for England. In a low-scoring series against India, Jansen, Ngidi and Rabada scored on 02/17. 54 wickets. However, Rabada's three Tests in 2017 are the trio's only experience of red ball cricket in New Zealand. Maharaj is still dawdling with his left arm, helped by another face familiar to county cricket: Simon Harmer, the off-spinner who has often engaged in a lone slow-bowling battle with Essex, is back after winning five Tests graduated for South Africa in 2015. It would be contradictory for South Africa to choose two weirdos in a country of green seafarers. Maharaj hit two five-fors in 2017, the only spinner in New Zealand since Sunil Narine in 2013. South Africa's bowlers need to tame the home hitters because it takes something special for the visitors - absent Faf du Plessis and Quinton de Kock - to hit big scores reach. They beat India by keeping them under 270 in the last two Tests and chasing 240 and 212 for a pair of seven-wicket wins without the home side scoring a century. Elgar, left, led South Africa to a series win over India last time out but his work will be scarce against Latham and New Zealand. As captain and opening batsman, South Africa will need Dean Elgar's performance. None of them, not even Elgar (4,582 runs at 39.84), average above 40 in tests. Elgar and Bavuma remain from the 2017 series in New Zealand, in which Elgar scored a century and a fifty and Bavuma two fifties. Bavuma's century against England six years ago is his only Test hundred, which comes with 17 half-centuries, while Van der Dussen has yet to convert any of his six fifties into three numbers. South Africa was further weakened by the absence of Keegan Petersen, who impressed with three half centuries against India after a positive Covid test kept him out of the traveling squad. You will be challenged by a well-known New Zealand bowling lineup. Matt Henry or the uncapped Blair Tickner is his likely replacement, while Kyle Jamieson, bowling out of the clouds, has 44 wickets at home at 3.50pm. New Zealand (likely): Tom Latham (c), Will Young, Devon Conway, Henry Nicholls, Daryl Mitchell, Colin de Grandhomme, Tom Blundell (wk), Kyle Jamieson, Tim Southee, Neil Wagner, Matt Henry/Blair Tickner. Plans for England women to play more Test cricket after Ashes thriller Smith ruled out of T20 series against Sri Lanka with concussion Archer goes in IPL auction for £782k despite injury

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Punch The Clock: An Interview With Elvis Costello

Bright, shiny and brilliant The Boy Named If is the newest act on the ongoing Elvis Costello show. "I'm always striving to do something new... (Author: Gardener)

An Interview With Elvis CostelloBright, shiny and brilliant The Boy Named If is the newest act on the ongoing Elvis Costello show. Bright, shiny and brilliant The Boy Named If is the newest act on the ongoing Elvis Costello show. "I'm always keen to do something new because you know something from it that you didn't know when you went in," he tells Pat Carty. "I'm always keen to do something new because you know something from it that you didn't know when you went in," he tells Pat Carty. The 15 Minute Interview, as the great Pete Paphides recently pointed out, is a tricky customer. Having spent decades listening to his music - I could point to at least eight albums that are undeniable classics - as well as reading closely his interviews, notes and that wonderful autobiography, Unfaithful Music And Disappearing Ink, I have always suspected that Elvis Costello would fall into the latter category. Costello is on the Zoom circus promoting his new album with The Imposters, The Boy Named If, which is a very good, loud, jarring rock 'n' roll record and isn't a million miles away from some of the classics that recorded with his first backing volume and hinted at above. In fact, in the circulating press materials, Costello has this to say: “This year, this year's model came back to surprise us in a different language. This edition is called Spanish Model. Both this album and The Boy Named If are records in progress and if you want to draw a line between them, move on.” “Spanish Model,” as he will explain, was a release of the year 2021, which saw Costello's voice removed from the master tapes of this first Attractions record and replaced with various Latin singers. I have a thousand questions, but in my haste to maximize the time allotted, I'm making a bullet out of the first one. "What record did you say?" Costello asks, raising an eyebrow over the rims of his dark glasses. I mean, this year's model. "'Spanish Angel' is the song I'm going to write next week." I hold up a copy of this year's model in my defense and point out that it was bought with my own money, which gets a laugh. After all the palaver, Costello doesn't have it anyway. “Remember I was recording in Helsinki, in those carefree days when you could just hop on a plane and fly anywhere, and made some kind of loud, clattering music myself, just for fun. There's a lot of guitar on “No Flag” [on 2020's Hey Clockface and, according to the man himself, at least partly inspired by The Stooges], so you could draw a line from that to this record, but I don't really think that this record how these recordings sound.” Elvis fills in some more details behind the Spanish model project. "We reopened the tapes, the multitracks, because we had to remix 'This Year's Girl' for David Simon's series 'The Deuce' and we heard how good everything still sounded. And when we took out my voice to put in another singer like they requested, I just had the idea to do that with every song on the record, in Spanish, and I knew Sebastian [Krys, multiple Grammy winner Producer, who has worked with Costello since Look Now 2018] knew which singers would enjoy it. It was great to hear the songs sung again in a different language in a very different way, but I don't like to say, 'well I did that, so now I have to do something else'. I'll start my next question by saying that Costello labeled Look Here as uptown pop. Look Here is a bit more menacing. I think that's a better title. Here are these songs, you better listen to them!" "Pat I'll call you before I release any record in the future and check if the title is really what it should be because you can think of better titles. Look here and Spanish Angel. This is the remix album in forty years. Spanish Angel will be the Serbo-Croatian remix of This Year's Model.” If you record an album of Mink DeVille songs, call it Spanish Angel, I suggest. I think he's more likely to laugh with me than at me. An uptown pop record like Look Now - a grossly underrated album - calls for some sophisticated arrangements. Is a record like this easier to make? That question sends him off again, and at that point I quietly crumble up my sheet of carefully prepared questions and toss it in the bin, thinking it best to just let it do its thing. “These are all arrangements, but with Look Now you had to worry a little bit more about where you didn't play because if I had Steve [Nieve, Attractions and Imposters keyboard genius], he'd just walk out every track on it would obviously clash with where I had written the orchestration. I wanted it to sound like they went into the studio with an orchestra and all played at the same time so I knew where to sing and play and where not to. This record is the kind of music I really love, and it's the kind of music that's on Imperial Bedroom [1982 if-it-ain't-baroque-don't-fix-it-masterpiece] and on Painted From Memory [1998's awe-inspiring collaboration with Burt Bacharach, more on that later]. Look Now was the first record The Imposters made without being there. We weren't in Mississippi, we weren't working with Allen Toussaint in New Orleans [2006's The River In Reverse, you should buy that too], we were doing something that was just us, a few songs that I had during, and some brand new songs.” “Hey Clockface was a mix too, because I didn't know where this record was going to end up. And of course, circumstances we've all experienced influenced the way this record was completed. There were to be more sessions, but I came home and listened to what I had done - I had cut twelve songs in five days - and two more pieces completed the puzzle.” This brings Costello to the genesis of The Boy Named If . "After being home for a few months," he continues with very little or no break, "we started to realize we weren't going back on stage anytime soon. Pete [Thomas, the man Costello recently said was promoted to best drummer in the world after Charlie Watts left us] is happy to play, so he puts in hours every day. He has the same drum kit that he played on this year's model. A drum kit in a small room is kind of the sound I started with, "Watching The Detectives" is the sound of a drum kit bouncing off a wall that's very close by. He played along with all his favorite records, but he was bored, he wanted to do something. I sent him one of those tunes, just me pounding it on a guitar, and he sent it back to me with the drums. "I don't really think it was influenced by anything from the past," he says, returning to my first question. “The uninhibited way we play and the trust we have in each other is why it sounded so energetic and alive. The songs are about different times in life; You leave all the wonders and magical things of childhood and get into lust and algebra as a teenager, then you're in your early 20s and you don't know what's right and wrong, but everything is exciting. Then a little later you look back at things you've done, maybe you can take responsibility for it, maybe you can't. It's not like my diary, it's not my last confession, but they made pretty lively songs to my ear. I'm really proud of the band, how they did it without making any concessions to the circumstances. A lot of the music I listened to in the first few months when people weren't playing out there sounded a bit down, in a defensive crouch, that wasn't what I wanted from the music. I wanted the music to feel alive.” The Boy Named If certainly achieves that, and comes in quite an attractive packaging adorned with illustrations by a certain Eamon Singer, a Costello alias known for, among others responsible for the cover art of Blood & Chocolate and Look Now. "I have to say that there's a very personal reason why I've been so keen on doodling lately," explains Costello. I wanted to do something not to worry. It had nothing to do with their circumstances, I was thinking about my work.” “When people really dislike something but don't know where it came from, it just makes me want to do it more. That was my way with music, if people don't like things I do, I just do it 100%. Don't argue with me about what I'm thinking, because you don't know what's going on in my head. If you want a song to sound different, fuck write it yourself. You can even use your own freaking pencil if you don't like that drawing... Fuck off.” I'm not sure what happened there, but Costello did seems really upset. Also included in the album/book are short vignettes or "fables" that expand on each text. To pick one at random, writing around "The Difference" made me think that the song's stinging takes place on a stage rather than in "real life". Costello explains her admission at all. First of all, the reason they exist is because I wanted there to be a physical object that people could hold in their hands. When we originally planned the release of this record, as you know, there was a shortage of vinyl. A vinyl record would be at least 12" by 12" with room for some illustrations. I was told there would be no vinyl, the release would be a little plastic thing with the CD, but mainly it would be the stream and downloads. I'm sure we all like the accessibility of being able to call a number on your computer and hear it instantly. It's like throwing the songs into the stream and then they just float away like a bunch of sticks. There is no way to keep the center of the story. After I got the idea that the songs are a collection of stories, children's stories or people acting like children and went as far as to draw the cover with a story in a picture, I thought why are we doing not just a book. I wrote these short stories very quickly. What happened just before the song started playing? In other cases there are other implications in the story, or even the illustration can suggest something, as in "What If I Can't Give You Anything But Love" there is a big clue as to what that in the Great Green's image might represent guy with a knife. Take what you want out of it. You have to leave room for the listener's imagination even when you are given all this information - song, story and drawing. Some people see the drawings as decorative only. Other people might look at them and say, oh, does that have any connection to this song or story? "You don't need to see the story book to enjoy the songs, you don't need to know that 'The Difference' is based on a line from Paweł Pawlikowski's film Cold War, but it's kind of like 'I Do'. on dial. We had a discussion about the possibility of adapting this film for the stage and while these songs are not from a score, I worked out how some of the implications of scenes and lines in this story could work in songs. "The Difference" is from a specific line in the film, you'll find it if you watch it again. Sometimes a line in Shakespeare or a line in the Bible can inspire a song. "I've always taken clues in songs from unusual sources, sometimes experiences, sometimes observations. I can think of maybe five songs on Brutal Youth that have either titles, imagery, or entire narratives drawn from paintings. I didn't say that at the time because people would have thought I was crazy. That wouldn't have fitted with "Oh, he's back with the old band and don't they rock?" That was easier said than actually listening to what the songs are about. Some people are lazy and just want a simple explanation for everything that happens. You know that's true.” Brutal Youth is one of my favorite Costello records, partly because it rocks, but I get it. Elvis is still talking, so I won't stop him. Staying with the songwriting, I'll point to the scene in The Beatles: Get Back where McCartney, who is no stranger to Costello, pulls "Get Back" out of thin air and ask if it ever worked that way for him. I had the structure of these songs pretty clear. Steve actually complained about the way it worked - we didn't play all at once at any point because it's not possible over the distance. It might be arguable to say that the rhythm section of The Attractions was in a sense the words and the drums because the other two guys were kind of playing decorations the entire time. Yes, they hooked in as a proper rhythm section, all four of us would just relentlessly play something, but a key commonality on a lot of the records I've made with Pete is the flow of words, and a lot more words than a lot of people use. It only works because we're in some kind of relationship, and that's how we started. Steve when we sent him a three man version of, say, "Penelope Halfpenny" said, "What the hell am I playing on that? You managed!' I think what I find attractive about Steve's contribution to this album is that he was forced to play brilliantly within what was already laid down and that's why we got different things because he's so used to our group to lead, and why shouldn't you let him lead, he's so imaginative? There's no harm in doing it differently every now and then, and of course there are songs like "The Man You Love To Hate" where he's just taken over and there's no room for anyone else. Listen carefully to what he's doing, even on something like "Magnificent Hurt," which is a pretty simple song. Hear him play in this fun, dissonant solo I play. And that's that trust again, it comes from years of understanding how we think.” “I know you can create a song,” he says, remembering the question. You've got the rhythm, you've got the cadence, you've got the melody, you've got everything but the sense, and sometimes that's the last thing that comes up. Sometimes it's the first thing, and you could suggest two or three different tunes to convey that idea. If I knew how to do it, I would "I would do it all day and write songs for Adele. Some people talk about it like a muse, sometimes it feels like a trance, and sometimes it's just work. Because these Because songs were written close together, there was obviously a connection. But I didn't sit down and say I'm going to write a concept album like a Yes album. It wasn't that way of thinking at all." Thank God for that, I say, and Elvis nods in agreement. There's a reboot of the aforementioned Painted From Memory collaboration with Burt Bacharach later this year. "Yeah, well, it's not an anniversary," Costello corrects me Birthday, you're celebrating your wedding anniversary because that's the day you remember. I was with my mom the week before last and really wrapped it up. It's a sad assignment, but it's one where you look at the documents, the records, the little snippets, the photos that illustrate life. Wednesday was the tenth anniversary of my dad's death but I missed him the same the day before and the day after, it wasn't really a hard day. I asked about working with Bacharach. Costello seemed only too happy to elaborate on their relationship and work, and used this as a starting point to explain a bit about his approach to music and songwriting. The clock was now out the window, so I just sat back and enjoyed listening to the man's conversation. "Burt's impact on me as a listener goes back to Perry Como singing 'Magic Moments' on TV in the '50s. I actually have a very strong memory of hearing Cilla sing "Anyone Who Had A Heart" and not knowing why it made me feel weird. You probably know it's written in different time signatures, and for a slow song it has this weird effect on you because it breaks out of meter. As I got older I could appreciate that kind of carnal or sensual implication of so many of Burt's songs. There are songs I could point to before Burt and I ever met where I tried speaking in that type of language with varying degrees of success. Maybe it's better that I couldn't get close to the model and just made up my own song, like 'Accidents Will Happen'. I remember thinking, "This is kinda like Burt." It doesn't sound remotely like him, but I think it owed him a debt of gratitude.” “People just didn't have that much of a manifesto for everything they did thirty or forty years ago, we didn't asked such difficult questions or asked to explain ourselves that way, and even less so in Burt's day. Nobody ever questioned Burt about the inside of the music. And he wrote for great singers like Dionne Warwick." "Since we've been writing together we've written an album, it's been reimagined by Bill Frisell [The Sweetest Punch, which also features the great Cassandra Wilson], a bunch People recorded 'God Give Me Strength' [commissioned for the 1996 film Grace Of My Heart, and one of Costello's greatest achievements] and we were asked to write a musical on it. We worked on it for three, four years. It came up to the workshop performance but it was clear that the new songs we wrote and the old songs never really fitted together and the story the writers wrote honestly competed with the songs I think they fought one Fight they couldn't win. That sounds a bit arrogant that there's more narration in some lyrics than in the story. So it would never work." "Those were some of the songs that Burt T he Imposters was leading the studio on Look Now, that was an amazing session - 'Look Now' and 'Photographs Can Lie' - and there were other songs that could do that. We had written together what The Imposters and I had recorded with Steve Nieve , such as "He's Given Me Things". There's more, we were asked to write a score for Austin Powers and he wrote some pretty darn nice tunes. I wrote all of the music for "Stripping Paper" on "Look Now" for the musical "Painted From Memory". I gave this song to Burt and he said, 'That's done, I won't add anything'. "I think we're going to put out a record that showcases the original songs and sort of a version of what could have been added to that, from studio versions to really great vocal and piano demos, not just my voice but some other singers, "Best of all was at Capitol Studios maybe two months ago with Burt and a thirty piece orchestra," he continues with a grin. It's like the dream, you're in the studio, like Cilla playing 'Alfie', you're trying to sing this difficult song with a conductor - Vince Mendoza did the orchestration - and this killer band, very different from The Imposters, a lot more Burt's choice of people I wanted that, I wanted it to be his voice in music I've only ever done a few things or mostly watched my wife do it n as she recorded there. But we did The New Basement Tapes [recordings of late '60s Dylan lyrics with new music] there and I did a song with Roger McGuinn [formerly Byrd did 'You Bowed Down' on Back From Rio in the '90s covered with Elvis as backing player helping vocals] many years ago. As you walk down the hall it's like, get ready because it's [points to imaginary images on an imaginary wall] Nat Cole, Peggy Lee, Sinatra, Gene Vincent, it's intimidating. I suppose people feel the same way about Abbey Road and probably Windmill Lane too, there's history in there and that's something that can scare you or inspire you to do a good job. That's why people go to Muscle Shoals, they want to get some of that flavor. Despite his own size, Elvis still has to pinch himself in this situation. “Burt stood at the board looking at the score and I knew what was coming. The voice comes from the talkback, [breathless Burt Burr] "Elvis, you're not singing the right tune on bar 12." I just got one note wrong in the melody and he heard it and then he's like, "Vince, we really have to watch the downbeat on 61." Nothing escapes his attention, every time I'm on stage with him he's the same. It's not that he's unduly demanding, he just has incredible focus. Listen to the records he orchestrated and partially produced at Sceptre, how incredibly focused each part is in the orchestra and rhythm section, all serving the story. It's on a level that very few groups other than The Beatles are likely to have in a very different form. Almost all other shots are a bit blurry. There are only a few people who could literally write this orchestration down and it will be like classical music in its attention to being what it is. People don't really have access to it because they're making Lego now by comparison. Two sets of bars, end to end, twelve people to write a song - great if you like it, but Burt can do the whole thing and the orchestration. The only thing he doesn't do is write words, that's my job.” Even at this stage, Costello is still learning from the likes of Bacharach. I don't feel sorry for myself, but I left school at seventeen, which is later than my mother, who left school at fourteen and started selling records. I've been working on becoming a musician ever since, I've never really been able to do another job. I did other jobs, like all of us, to pay the rent, but I had no formal education beyond that, and I stopped paying attention much earlier. I am in no way book scholar in any literary sense and have no formal musical training. At forty I took some music lessons from Michael McGlynn [the Irish composer and founder of Anúna who worked with Costello and The Chieftains on Long Journey Home] to break this damn mental block I had on music notation. Once away I could write and imagine things, I could communicate with people I really wanted to work with like the Brodsky Quartet. Little details in the music escaped because I didn't know how to write them down exactly, so it was very necessary. He started teaching me the piano. All of this stuff looks like a scheme, and to some people it's, "Oh, you're trying to make yourself look smart about it!" That's only because they have an orthodox view of music that starts and ends with rock. I don't even like square rock, give me rock and roll. After a certain point I pick it up and listen to The Temptations. I want syncopation. Your imagination says, "I want a more complex harmony." That doesn't mean I have to write this just because I love three-chord songs, but if it's just going to be this tight church, I won't." "Whether you can command everything or let him serve you is another thing, but at least be aware of it and don't badmouth it because beautiful things are happening right out of your sight. And so I would always be keen to do something that is a new adventure because you know something from it that you didn't know when you went into it. Burt is a perfect example, there was a lot to learn through observation and out there. From that we wrote some really great songs that I never dared dream of. When he was playing Marlena Dietrich piano in 1963 when my dad [Ross McManus, with Joe Loss and his orchestra] was on The Royal Variety Show with The Beatles, who would have thought I'd be writing songs with two of the guys on the bill? It sounds like a grandiose statement, but do you think I could have dreamed that in my wildest imagination when I was nine? At this point, the understandably disgruntled lady from the record company, Rainar, interrupts our conversation. I throw up my hands apologetically and she gives me a look like I just dropped a piano on her cat. I say thank you to Costello and take this opportunity to thank him for all the great records I've been listening to over the years. "Not at all, really good to talk to you," says our man, "and thanks for your questions." The boy named If is outside now. Elvis lives!

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Gazza knew son Regan wasn't going to be a footballer and was so excited to see him dance

Dancing on Ice star Regan Gascoigne showed signs from a young age that he wasn't going to follow in father Paul Gascoigne's footsteps - and Gazza just wanted his son to be happy (Author: Gardener)

ReganDancing on Ice star Regan Gascoigne showed signs from a young age that he wasn't going to follow in father Paul Gascoigne's footsteps - and Gazza just wanted his son to have a happy footballing career - but he went in a different direction. Paul Gascoigne was one of the nation's greatest players during a glittering career that saw him play for Newcastle United, Tottenham Hotspur and Rangers. Gazza knew from a young age that his son would not be following in his footsteps after he turned his back on football boots and opted to buy ballet shoes instead. But Regan certainly inherited his father's fancy footwork when he enrolled in Hammond Ballet School and then majored in musical theater at Tring Park School for Performing Arts. While you might imagine Paul was a bit disappointed that his son didn't take up football, it was quite the opposite. Paul Gascoigne and son Regan Gascoigne warm up before a game against Spurs Get the news you want straight to your inbox. "I guess Dad didn't care that I didn't follow in his footsteps," Regan told The Mirror earlier this year. "He just wanted me to be happy. He wouldn't force me to do something I didn't want to do.” Gazza has always been very supportive of his son, who was seen in tears in the stands watching his son skate. Paul said: "Yes, he wanted to do his dance lessons in London and I took a little sly look and just choked a bit watching him dance, seeing how good he was and how much he was enjoying it. And then to see videos of Dancing On Ice training he showed me afterwards, he's good, he can win!" Regan is no stranger to the spotlight, having grown up with his famous father and also making a name for himself as a performer Despite his dancing background, Regen insists he has no advantage when it comes to performing on the ice.Speaking to The Mirror about his own skating ability, Regan said: "It's very different from dancing. On the Dancing floor has friction and stability. You hold your core in a very different way than you would dance. The ice is a very different element." Some viewers have claimed Regan and others including the former Strictly Come Dancing star Brendan Cole and Pussycat Doll Kimberly Wyatt have an unfair advantage over the rest of the field Regan insisted that wasn't the case, adding: "Which I have while dancing would, as I said, the friction of the floor, is completely taken away. "So I find there are parts of my body that I use differently. It's so different." It's so different." *Dancing on Ice airs tonight at 6pm on ITV

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