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Billi Mucklow shows ex Andy Carroll what he's missing as she poses in hot pink bikini on Spanish holiday

Billi Mucklow shows ex Andy Carroll what he's missing as she poses in hot pink bikini on Spanish holiday

The Sun4 days ago
BILLI Mucklow has turned up the heat, and turned heads, with a sizzling bikini snap as she soaks up the sun in Mallorca.
The ex- TOWIE babe, 37, slipped into a hot pink Hunza G bikini worth £185 and looked every inch the beach goddess as she posed by the turquoise sea.
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Billi oozed glam in gold-rimmed sunnies, a pearl necklace and a green Van Cleef bracelet .
She captioned the jaw-dropping pic: 'Sun, Sea & Sangria.'
Fans, including celeb pals Helen Flanagan and Georgia Kousoulou, were quick to flood the comments with praise, dropping flame and heart-eye emojis in their droves.
The smoking snap comes just days after it was revealed that Billi and ex-England striker Andy Carroll, 36, have sold their £8.5million Essex mansion, seven months after confirming their split.
The former couple, who were together for 11 years and share three kids, tied the knot in 2022 but went their separate ways last September.
The six-bed pad, which once belonged to Rod Stewart, boasts 25 acres, a football pitch and its own lake. The pair reportedly accepted a seven-figure offer on the home.
Since the break-up, .
The couple jetted off to Ibiza earlier this year, posting loved-up snaps that didn't go down well with Billi's mates.
A source told The Sun: 'Everyone thinks Andy is acting like a total p***k. Posting sexy shots with Lou while Billi's at home looking after not only their kids but his two from a past relationship? It's a gut punch.'
Billi's said to be focusing on their five children — Arlo, Wolf, Marvel Mae, plus Andy's older kids Emilie Rose, 15, and Lucas, 14.
In 2022, their marriage was nearly off before it even began, after Andy was pictured passed out with two women on his Dubai stag do.
Billi forgave him at the time, but less than two years later, the marriage crumbled.
Insiders say Billi 'always knew there was someone else' — but didn't realise it was Lou until Andy and his new flame rocked up dressed as Taylor Swift and Travis Kelce at a Halloween bash last year.
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Give the old band T-shirt a second chance – I'm 47 and I still love mine
Give the old band T-shirt a second chance – I'm 47 and I still love mine

Telegraph

time32 minutes ago

  • Telegraph

Give the old band T-shirt a second chance – I'm 47 and I still love mine

There are very few items that should remain in your wardrobe for 32 years straight. If you own an original Hermès Birkin bag or an Alexander McQueen suit designed by the man himself then feeling protective towards items of such venerable age is understandable – you'll be able to buy a yacht or six with them if you contact the right auction house. But there's only one type of person who keeps a T-shirt that wears its age so nakedly that burns, tears and sweat marks can raise the eyebrows and crinkle the septum of complete strangers. Band T-shirts are often cheaply made, occasionally have questionable designs, can lose their shape in the wash and seldom look good on anyone over 30. But yet I'm one of many music fans who just cannot throw these totemic garments of my youth away – despite not having worn any of them since the turn of the millennium. Band T-shirts were never intended for the 47-year-old me. Their popularity is supposed to lie solely with teenagers who haven't yet learnt how to broadcast their passions and beliefs more subtly. But it's a summer of music nostalgia at the moment, as the Oasis reunion tour, Glastonbury featuring Rod Stewart and Neil Young, and the farewell tour from Ozzie Osbourne farewell show just before his passing demonstrates. The fervour right now for vintage band T-shirts – and Oasis – is such that Selfridges is launching the Summer of Sound this month, featuring curated, vintage merchandise from the likes of Oasis, the Rolling Stones, Smashing Pumpkins and Nirvana. Prices run to a staggering £3,395, so there's clearly an enthusiastic market for such things willing to part with huge amounts of cash. 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And I was sceptical but curious about The Smiths and Nirvana tee donners; they could be the witty Oscar Wilde type but could equally be vodka-guzzling manic depressives. I had my Blur T-shirt on of course, which I hoped made me look laddish but also moderately bookish – the kind of guy who likes lager but can also have a chat about Alexander Trocchi or Douglas Coupland. Pretentious and deluded? Let me count the ways… But it was vital for me at that time to distinguish myself from the hordes of Oasis T-shirt wearers who (and I stand by my theory to this day, with the reunion tour currently in full flow) I was convinced were, underneath the swagger, reactionary bores who would all graduate to work on the lower rungs of the finance sector. Then, as now, there were ways to wear a band T-shirt in order to ensure that you came across as a knowing fan, not a grumpy roadie. Naturally, tucking your T-shirt into your jeans was the first sign of a young adult who hasn't cut the parental apron strings. A more common problem, for blokes in particular, was size. Back in the mid-Nineties, the only ways to get a band T-shirt were to buy one off a bloke standing outside the gig venue who would have them displayed on the pavement. Or you could head to the one 'indie' shop in your town which would have a mediocre selection of overpriced T-shirts hung above the CD racks. The lack of choice, coupled with my devotion to the band or artist (though they were mostly bands back then) meant that I had quite a few band T-shirts (Saint Etienne, The Boo Radleys) that were ludicrously over-sized. My mates and I figured out (and God this seemed so important back then) that the way around it was to tuck the XL shirt in at the back, roll it up at the front so it caught very loosely on your belt and then wear a Harrington jacket on top. The problem came when we were sweating it out on the dance floor and couldn't take our jackets off – lest it looked like we'd got dressed drunk and in the dark. Which, actually, quite a few of us probably had. A new era? But that era of music being dominated by 'three, four or five white blokes with guitars looking like a gang' in the UK is completely over now. And, for some reason, single artists don't work as well when cheaply pasted onto a T-shirt. Taylor Swift concerts are proper dress-up events, not T-shirt conventions. Anyone wearing a Self-Esteem T-shirt would look like they're trying too hard and a Kneecap T-shirt would just make you look like a dilettante contrarian. So Gen Z are mining the past. On a recent trip to Liverpool, the Resurrection store on Bold Street, long a northern hub for band tees, had infinitely more Nirvana T-shirts than anything for The 1975 or Idles. I saw two girls of no more than 17 wandering around, both in Ramones T-shirts, the ultimate example of a band who have sold more merch than albums. Music snobs have long derided the Ramones T-shirt phenomenon; lambasting youngsters who wear the distinctive black tee with the presidential seal style emblem that was the logo of 'Da Brudders', despite having been born long after the premature deaths of Joey, Johnny and Dee Dee. It's the worst kind of musical elitism; usually practised by men who themselves own a Sun Records or Motown T-shirt, despite being merely a twinkle in their parent's eyes when Marvin and Elvis were first in the studio. Yet these retro reproduction Ramones T-shirts that are ubiquitous in both Liverpool and Camden Market are chiefly of semantic value. There are mega-bucks to be had in band T-shirt land, but they're reserved for those with either the savvy or hoarding habits required to hold onto a tee from the era of loon pants and 18-minute drum solos. 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Banquet Records in Kingston are a bit more connected to the present day with high-quality T-shirts available on their website for Yard Act, Hundred Reasons and, inevitably, Oasis. Donning my Blur T-shirt from 1993 (bought at a gig that two mates and I skived off school to go and see at the age of 15) for the first time in decades was a strange experience. First off, it did fit. But I still looked ridiculous. It also triggered two entirely contradictory emotions. Firstly, an intense nostalgia for that teen era of cigarettes, snogs, cider and seven-inch singles. But also a feeling of unease: by wearing this now, I'm not broadcasting that I love a great band of yore; I'm transmitting that I haven't moved with the times at all. So I took it off again pretty sharpish, knowing that, with age, comes more discreet ways of letting the world know your attitudes and beliefs via your garments. Yet, it turns out, I might be in possession of a frayed cotton pension contribution. Online, the exact Blur tour T-shirt I own, from their pre- Parklife and pop stardom period, is selling for up to £400. Will I sell? No, I don't think so. Having a band T-shirt makes me feel connected to my past. But, just like my teen adorations for eating fish finger sandwiches, reading Loaded magazine and applying Clearasil, a public display really wouldn't do me any favours today. But I'll never relinquish my tees, and all that they stand for.

Amal Clooney, 47, wows in white with stunning fringed gown as she joins suave husband George, 64, and pals for dinner on a boat in Lake Como
Amal Clooney, 47, wows in white with stunning fringed gown as she joins suave husband George, 64, and pals for dinner on a boat in Lake Como

Daily Mail​

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Amal Clooney, 47, wows in white with stunning fringed gown as she joins suave husband George, 64, and pals for dinner on a boat in Lake Como

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Man Ray and Max Dupain surrealism
Man Ray and Max Dupain surrealism

The Guardian

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Man Ray and Max Dupain surrealism

Max Dupain made a swift transition from pictorialism to modernist values in his photography in the mid-1930s. Light, pattern and relationship became more important to his work, as did cropping, framing and technical experimentation. His use of solarisation and photomontage in Homage to Man Ray synthesises a curious but compelling image that hovers between reality and otherworldliness. Photograph: Max Dupain Eyes are a key motif in surrealist iconography as a symbol of inner vision and Man Ray believed they 'give forth an image of invisible thought'. While Glass Tears has the stylised, melodramatic appearance of a still from a silent film, the image poses questions of permanence and transience and the sentimentality of human sorrow. Photograph: Man Ray Max Dupain was drawn to notions of the known and unseen and the way that portraiture could be a vehicle for both exposure and discretion. His portrayal of art critic Leon Gellert invites speculation on the opportunistic nature of the photographic portrait and the studied nature of its sculptural equivalent. Photograph: Max Dupain Man Ray maintained that it was through the gaze of the old masters that he understood how to portray people: 'they knew drawing, perspective, staging … I admired the respect with which they reproduced the proportions of human features'. Yet Man Ray's own contribution to the genre was his willingness to set the model free from traditional representation and play with the effects of light and imagination—to imbue a sense of poetry or mystery. Photograph: Man Ray The advancements of 'new photography' presented Max Dupain with an 'exciting array of options' for his practice, both technical and attitudinal. He experimented widely with its favoured techniques, but also with transposing imagery to create pictures that transcended the rational and everyday, as seen in this photomontage. Photograph: Max Dupain The 1920s and 30s saw a significant shift for photography across the globe as artists pioneered new ways of looking through the viewfinder and exaggerated formal relationships, fragmented imagery, and relied less on narrative or naturalism. The cropped hand of this image, disassociated from its body or any graspable context, at once recalls the incompleteness of a broken classical sculpture and the surreality of a dream. Photograph: Man Ray In 1922 Man Ray published an album of 12 plates featuring a 'new procedure' he called 'rayography'. It involved placing objects on top of photosensitive paper and then exposing the paper to light very briefly in the darkroom. The white and paler areas of the print are where the objects rested, the darkest being the areas of space around them, creating an inverse image. Photograph: Man Ray Max Dupain's investigations with camera-less photography honored Man Ray's—he even titled several of his prints 'rayographs'—but he also investigated extensions of the method by bringing figurative imagery into the photogram's abstract field, and further exploring ambiguous scale and depth. Photograph: Max Dupain Max Dupain was one of the first Australian artists to take a serious interest in Surrealism. Shattered Intimacy adopts three revered surrealist tropes: the motif of the displaced classical figure — here a miniature replica of Discobolus — the discordant tableaux of unconnected objects, and the mysterious possibilities of unnatural lighting effects. The result is a glimpse into an alternative dimension. Photograph: Max Dupain

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