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Rock star, 69, unsurprised by secret love child after sleeping with ‘millions'

Rock star, 69, unsurprised by secret love child after sleeping with ‘millions'

Metro3 days ago

An English singer has admitted he wasn't shocked discovering he'd fathered a child in the 80s due to his promiscuity.
Billy Idol – real name is William Michael Albert Broad – first achieved fame in the 1970s London punk rock scene as the lead singer of Generation X.
After embarking on a solo career, he released hits like Dancing with Myself and Rebel Yell but spent years out of the public eye in the latter half of the 1990s.
Away from the spotlight, the 69-year-old has never married, but was previously in a long-term relationship with singer and dancer Perri Lister.
They share son Willem, 36, while Billy also daughter Bonnie, 35, with Linda Mathis.
It was just a few years ago that Billy discovered the existence of Brant – finding out he was actually a father-of-three through a DNA test.
After Bonnie became a mother, she decided she wanted to find out more about her family tree and was shocked to be see a connection with Brant, whom she soon found out was her half-brother.
The discovery forms part of the new documentary Billy Idol Should Be Dead, which premiered at the Tribeca Film Festival earlier this month.
When speaking to iNews about finding out what it felt like to uncover he'd fathered a child during his 1985 tour Rebel Yell, he reflected on his hedonistic lifestyle at the time.
'Maybe a little bit, but the more I thought about it, I guessed there must be something like that,' he responded when asking if it had been a shock.
'We were going around in the '80s and '70s, just having knockdown, drag-out sex with a million people you didn't know.
'A lot of people in the rock world got children beyond their usual relationships.'
He was then probed on whether he'd considered the possibility he might have other children he's yet to connect with.
'I think we would know about them now if there were,' he said.
Billy, who is now a grandfather of four, went on to share he was now at a 'better place in my life'.
He said the fact he was no longer a drug addict allowed there to 'be there' for his children and grandchildren.
In the documentary Billy spoke about his children and how he wanted to make up for lost time.
'I really enjoyed being a dad. I always wanted a boy and a girl, and I finagled my way into a boy and a girl. In your own daft way, you've achieved what you set out to do,' he said.
'And I actually had a son that I didn't realise, who I fathered on the Rebel Yell tour without knowing it. So, I somehow finagled this as well.'
Once his children met, he noticed how they all shared the 'same quirky sense of humour'.
Meanwhile Brant said that after getting to know his dad, he now sees him as a 'man who loves his family'.
Over the decades Billy has struggled with alcoholism and drug addiction, including heroin and cocaine.
In his 2014 memoir, he wrote about waking up in hospital after passing out in a nightclub several times.
After collapsing outside a Los Angeles nightclub due to an overdose he ceased his drug use, deciding his children would never forgive him for dying of a drug overdose.
He's not taken hard drugs since 2003, but Billy wrote in his memoir he continued to smoke cannabis and drank occasionally.
Last year Bily reflected on how his sexual exploits inspired his 1982 hit Hot in the City. More Trending
He'd just moved to the Big Apple from London, and was inspired by the club scene, drippingly-hot air and his own desires.
'I was literally hot in the city but also, I felt sexually alive. I was sexually hot,' he told Vulture.
He then said his 1983 hit Rebel Yell was about being 'blazing hot' for a girlfriend, who he wanted to make an 'orgasmic cry of love for'.
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Surprisingly funky Scots band introduced whole new audience to Gaelic
Surprisingly funky Scots band introduced whole new audience to Gaelic

The Herald Scotland

time44 minutes ago

  • The Herald Scotland

Surprisingly funky Scots band introduced whole new audience to Gaelic

Neigh hooves nor nothing. Capercaillie started off right traditional and, while that remained in their backbone, and indeed their soul, they went on to incorporate funk, jazz and pop into a fusion that brought chart success and introduced a new audience to Gaelic. They've sold more than a million albums worldwide and performed in 30-odd countries. They produced the first Gaelic-language single to reach the top 40. Credited with helping the revival of Celtic music, they followed a trail blazed by the Chieftains and the splendidly named Silly Wizard. Billboard magazine described them as 'the most exciting and vibrant band in the field of Celtic music'. That Celtic music has been described as getting the 'Capercaillie Treatment', with modern electric guitars, synthesisers, drums, loops and samples added to traditional Gaelic songs or featuring in the band's own compositions. These even incorporate swing without losing their Celtic soul. Traditional instruments include fiddle, accordion and uilleann pipes. The deal is sealed with Karen Matheson's voice, variously described as 'transcendent', 'breathtaking', and 'ethereal'. Widely regarded as the finest Gaelic singer in the world, the late Sir Sean Connery once said she had 'a throat that is surely touched by God'. TALENTED FOLK THE band, initially without Matheson and indeed a name, was formed in Taynuilt, Argyll, in 1983 by school friends Donald Shaw on accordion and Marc Duff on bodhran and whistles. Read more Rab Shaw was a teenage prodigy, steeped in traditional folk, but winning the All-Britain Accordion Championship with a Paganini classical piece. Many of the band's Gaelic songs – they also sing in English – were sourced from Matheson's family repertoire, as well as old cassette field recordings, and the School of Scottish Studies archive. Shaw and Duff joined forces with like-minded musicians from Oban, including fiddler and vocalist Joanie MacLachlan, guitar and bouzouki player Shaun Craig, and bass and fiddle player Martin MacLeod. They performed at ceilidhs and were first spotted at the 1983 Mull Music Festival by legendary radio presenter Iain MacDonald, who immediately booked them for his next show, giving the hitherto informal outfit a week to come up with a name. They chose Capercaillie in part to symbolise fighting against extinction, as with Gaelic. After building a reputation with local performances, the band added the aforementioned Matheson, who'd learned songs on her Hebridean grandmother's knee and had performed in local ceilidhs as a child before winning the silver pendant for best singer at the MOD. Capercaillie's first album, Cascade, was recorded over three days in 1984 at Edinburgh's Palladium studios. This and their second, Crosswinds, featured few modern instruments but this was soon to change. After a successful US tour in 1988, David Rome of Survival Records invited the band to London, recording several songs. This led to a licensing deal with major label industry voices thought Rome 'completely crazy', he has recalled, 'because it was just very, very left-field. You know: 'This band doesn't even sing in English'" However, Capercaillie's major-label debut, 1991's Delirium, was a watershed release introducing – on Rome's suggestion – drums to their sound. The album included Coisich a Rùin (Come on, My Love), a funkellated, 400-year-old waulking song which became the UK's first Gaelic top 40 hit. CALL OF DESTINY THE band learned about this heady chart success while standing in and around the phone box of a Little Chef roadside diner near Stirling. 'Everyone was kind of jumping around this little phone box,' recalled Rome. 'That is something I'll never forget'. Much of Delirium's songlist still figures in the repertoire of live performances. Other albums over the years have included 1997's Beautiful Wasteland, with the single of that name a lament about longing for home. It was recorded in the Andalusian mountains of Spain. 'Spain is a big territory for us,' Shaw told The Herald in 1999. 'In Spain they have a lot of respect for artists involved in Celtic languages. Areas of the north of Spain and the Basque country have a lot of affinity with what the band is doing … They look to what we're doing as a really strong parallel in the renaissance of folk music.' A year before Beautiful Wasteland, Matheson released her first solo album, The Dreaming Sea, featuring songs by husband and band co-partner described the record as 'more melancholic' than Capercaillie's 'more vibey' output. Asked in an interview with The Herald's David Belcher in 1996 if she was melancholic, she replied: 'I am, yeah, ooh yes. I find going on stage very difficult, nerve-wracking. I've learnt to cope with it over the years … but then as a child, from the age of four onwards, I sang unaccompanied at Mods and ceilidhs, and my first memories are of being terrified and standing with tears running down my face.' Karen Matheson (Image: Agency) People assumed she'd been forced to do it. But: 'It wasn't that at all. In fact, my father, who was a terrible introvert, became an accordionist in the same way, performing music because music was the community, and everybody sang or played something.' KNOW THE SCORE Last year's album ReLoved marked the band's 40th anniversary and was their first studio release since 2013's At the Heart of It All. It contains new arrangements recorded with the BBC Scottish Symphony Orchestra, new territory for them apart from a brief encounter with the Irish Film Orchestra on their Gaelic lament Ailean Duinn, which featured on Carter Burwell's score for the film Rob Roy. Matheson, who was ordered into the British Empire (OBE) in 2006, told The Herald that year: 'As Celts, we shouldn't be precious about music either. It shouldn't be kept in a glass case. With each Capercaillie LP, we get braver and take more chances, more risks.' Yep, that's the key. Any performance, certainly at first, requires courage. As does messing with traditional music (one reviewer attributed their use of a synthesiser to the Devil). But risk has its rewards and these, say the band on their website, have 'taken us from the Brazilian rainforest to the Hanging Gardens of Babylon, not to mention into the pop charts. [But] it is the ancient Gaelic culture that still inspires us most.'

Nicole and Papa from Renault Clio ad unrecognisable three decades later
Nicole and Papa from Renault Clio ad unrecognisable three decades later

Daily Mirror

timean hour ago

  • Daily Mirror

Nicole and Papa from Renault Clio ad unrecognisable three decades later

In the 1990s, the stars of Renault Clio's TV adverts were more famous than the Prime Minister, and their names might not mean much, but their catchphrase definitely will Back in the day, they were household names. It seems unbelievable now, but the stars of the 1990s Renault Clio adverts were once more familiar to Brits than then-Prime Minister John Major and the legendary BBC Radio 1 DJ Chris Evans. And even if the actors Estelle Skornik and Max Douchin aren't instantly recognisable by name, their iconic catchphrase certainly is. Their on-screen father-daughter relationship struck a chord across the nation. "Nicole?" the debonair Frenchman would enquire, full of anticipation. "Papa!" she'd respond, with a simplicity that captured hearts. ‌ ‌ In the debut advert, Nicole would slip away while her father seemed to nap in the garden of their chateau, dashing off to secretly meet with her dashing beau in her trusty Clio. But, unbeknown to Nicole, her dad was also on a clandestine mission, whizzing off in his car to surprise a mysterious lady with flowers. Upon Nicole's return, she'd discover her father seemingly-still snoozing in the garden, culminating in their trademark two-word dialogue. The charming ads aired for seven years starting in 1991, playing a part in the whopping sales of 300,000 Renault Clios. But what became of the duo? Estelle, who brought Nicole to life, has since graced other TV projects, including From Hell, The Days That Made History and Les Lyonnais. ‌ Now 53, she starred opposite Ioan Gruffudd, portraying a romantic interest for his character Horatio Hornblower in the epic naval drama set against the backdrop of the Napoleonic Wars. But Estelle has reportedly taken a step back from the limelight, favouring family life over fame. Tying the knot with Laurent Bismuth in 1996, the couple have since had three children. Her final acting gig on record was back in 2011. ‌ Reflecting on her character in a 1998 interview with the Independent, she reminisced: "Nicole is very spontanee and I'm very spontanee. She's open to life, she's French. Nicole is part of me." Max Douchin, fondly remembered as 'Papa' and now aged 87, found his acting niche later in life. He featured in an episode of the French-Italian TV show Les Héritiers De Patmos in 2017 and graced the Paris premiere. ‌ Currently enjoying retirement in Burgundy, France, surrounded by his partner and family, he hasn't given up performing entirely – he participates in a local choir. Chatting with Mail Online, he recalled the iconic Clio adverts with a sense of nostalgia. "When I meet English people, who happen to be in Burgundy, and I speak with them, every English person I meet remembers Papa," he shared. "I have a lot of good souvenirs from that programme for the Renault Clios."

When Billy Met Alasdair: Alan Bissett on new Edinburgh Fringe show
When Billy Met Alasdair: Alan Bissett on new Edinburgh Fringe show

The National

time3 hours ago

  • The National

When Billy Met Alasdair: Alan Bissett on new Edinburgh Fringe show

Alasdair Gray is one of the towering figures of Scottish letters, Billy Connolly is the nation's greatest comic. Stature aside, they might seem like slightly unusual bedfellows, writer Alan Bissett told the Sunday National, but the two men had more in common than might first be assumed. Bissett's one-man play When Billy Met Alasdair at this year's Fringe follows the lives of both men, culminating with their meeting at the launch of Gray's magnum opus Lanark at the Third Eye Centre in Glasgow in 1981. 'In some ways, they're a study in contrasts because they're from completely different worlds: Billy's an entertainer, worked in the shipyards; Alastair's very highbrow and learned. It's like he absorbed the whole canon of Western literature,' said Bissett. 'Those contrasts are what drew me towards them. But actually, they are more similar than you think because Billy is also a very well-read person and he has a very keen eye for the arts – he's a painter as well. 'He's an incredibly articulate and intelligent man and cultured. And Alastair's also very funny. So while they seem like they seem like two very contrasting figures, underneath it, they've got much more in common than you think.' (Image: Gordon Terris / The Herald) Bissett (above), the writer behind The Moira Monologues and novels such as Boyracers and Lazy Susan, was inspired to write the play when he found a photograph of Connolly having his book signed by Gray. 'Because the two of them have meant so much to me individually, to see a photograph of the two of them in the same in the same shot, to see Billy getting his book signed by Alastair at the launch for Lanark, I was just always really fascinated by what they might have talked about or how Billy ended up there – what that shot meant, basically,' he said. Researching the script was the most time-consuming aspect of its writing says Bissett, digging into his friend Rodge Glass's biography of Gray, informed by his work as the author's secretary, as well as books by or about Connolly. 'You can feel the material to start to sing to you, it lifts out of the pages of research and the characters come with it and you might get some scenes that present themselves or lines of dialogue and that starts to gradually coalesce,' he said. 'It's almost like the project telling you that you've been prepping long enough and now it's time to give birth.' Redrafting was done partly in rehearsals with the play's director Kirstin McLean, who helped Bissett with his portrayal of both men. Playing both parts, plus a third, unnamed character, poses its challenges: 'If you forget your line and you're the only person on stage – wow. 'You just need to jam for a bit until it comes back to you.' Bissett's passion for both men is evident, describing them as his heroes. 'Billy Connolly has been a part of my life since my childhood, watching his videos with my family, all of us pissing ourselves laughing – probably the same story everyone in Scotland can tell,' he said. Meanwhile Gray loomed over him for some time as a young writer and Bissett described Lanark's reputation as being like a 'mountain that had to be scaled'. 'Then you get to the top of the mountain and there's this incredible view,' he said. Speaking about performing, Bissett takes on an almost religious edge. 'There's a really interesting phenomenon when you've performed in front of an audience for long enough, you get to be able to read a silence,' he said. 'Even if there's complete silence in front of you, you can tell the difference between a bored silence and an engaged silence. There's something about the quality of that silence that transmits; either frustration on the audience's part or willingness to go with you. You have to be able to react to tiny pressures in the room that are coming from the audience and that then feeds your performance. 'The audience gives you energy; if you're getting absolutely nothing from them, it's difficult to keep going. I mean, you do keep going but if you get the feeling the audience are warm and encouraging, it gives you so much power in your performance that it becomes a pleasure and that's why a performer does it, it's for that feeling.' Alan Bissett performs When Billy Met Alasdair at the Scottish Storytelling Centre at the Edinburgh Fringe from Thursday, July 31 to Saturday, August 23, with no shows on August 1, 6, 8, 13, 14, 20 or 21. To find out more or buy tickets, go to

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