Conservative US news host advocates for hitting children more
Host Lawrence Jones controversially suggested that parents should "spank your kid's a**" as a method of discipline.
Co-host Ainsley Earhardt cautioned that physical discipline could lead to legal repercussions for parents in cities like New York.
Dr Leonard Sachs, a family physician and author, argued that parents need to be in charge for children's health and happiness, rather than letting children make decisions.
The segment concluded by highlighting "FAFO" (eff around and find out) as a new parenting trend emerging as an alternative to gentle parenting.
Hashtags
Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
Daily Mail
12 minutes ago
- Daily Mail
80s beauty who ruled primetime with NFL Hall of Famer husband in a hit family sitcom spotted on a rare stroll with pup in LA
This Canadian-born bombshell lit up screens in the 70s and 80s, earning an Emmy award and a Golden Globe nomination for her unforgettable roles as a trailblazing Olympic gold medalist, a daring pilot and a beloved sitcom mom. She held her own in blockbuster films as she starred alongside Hollywood greats Clint Eastwood and Gene Hackman. Alongside her real-life NFL Hall of Famer husband, she helped raise a precocious young boy who was adopted after the tragic loss of his parents in a hit 80s sitcom that became a staple of family TV. She showcased her beauty and assets in a Playboy spread devoted to her and took on a memorable role as Cherry Forever, a sex worker, in the hit sex comedy Porky's. Since the passing of her husband, a former defensive tackle turned actor, she has kept a low profile in Los Angeles. Can you guess who? It's Susan Clark from the sitcom Webster! This 82-year-old actress was spotted enjoying a sunny stroll through her Los Angeles neighborhood on Sunday. Accompanied by her small tan dog sporting a pink harness, the former screen star walked leisurely along a hedge-lined sidewalk. She kept things casual in a gray zip-up jacket, green pants, and black Hoka sneakers, topping off the look with a straw hat and black sunglasses for a touch of sun-smart style. The former actress later left her home in her blue Toyota Prius to go run errands in an all-black ensemble consisting of a sweater, pants and brown Oxford shoes with a tan purse tucked into her arm. Clark has stayed out of the spotlight since her career came to a crawl at the turn of the century, but her list of accolades reflects the substantial impact she left behind in Hollywood. After her walk concluded, she emerged from her house and got in her blue Prius to run some errands. She wore an all-black ensemble consisting of a sweater, pants, brown Oxford shoes and had a tan purse clutched in her arm Raised in Toronto, Canada, she started her career on stage before embarking on the big screen. Her first big roles came when she became employed by Universal Pictures in 1967. This new contract opened up a series of leading television and film roles, including Coogan's Bluff, where she starred alongside Clint Eastwood in 1968. Other big actors she played alongside with were Tell Them Willie Boy Is Here with Robert Redford in 1969, Valdez Is Coming with Burt Lancaster in 1971, Showdown with Dean Martin in 1973 and Night Moves with Gene Hackman in 1975. Clark earned her first Emmy in 1976 for her portrayal of multi-sport legend Babe Didrikson in the 1975 TV movie Babe. Didrikson won gold and silver medals in track and field at the 1932 Olympics before dominating women's golf with 10 LPGA major championships. She was nominated for another Emmy for Best Actress for her depiction of Amelia Earhart in a 1976 three-hour made-for-television biographical film. Not only was she a talented actress, but she was also a timeless beauty, which landed her a topless spread in a 1973 issue of Playboy. She later embraced a more provocative role as the mysterious sex worker Cherry Forever in the cult classic teen comedy Porky's. The actress met her husband Alex Karras, a legendary Detroit Lions defensive tackle and NFL Hall of Famer, when she co-starred alongside him in Babe, and married him five years later in 1980 – the same year they had their daughter Katie. Clark's biggest success would be a project she'd embark on beside her husband, who played her on-screen husband in the hit 80s sitcom Webster. The show ran from 1983 to 1989 and followed a newly adopted black boy adjusting to life with his white godfather, a former NFL star, played by Karras, and his loving socialite wife, played by Clark, in their Chicago home. This show Clark's ticket to a Golden Globe nomination for Best Actress in a Television Series or Comedy in 1985. When the show came to an end in 1989, Clark would try her hand at a few other TV films such as Murder, She Wrote (1991), Butterbox Babies (1995) and finally the series Emily of New Moon (1998-99). Both Clark and Karras would step back from Hollywood at the turn of the century and live out their retirement in Los Angeles until his death in 2012 from kidney failure.
The Independent
an hour ago
- The Independent
Sydney Sweeney's voter registration emerges amid uproar over controversial American Eagle jeans ad
Sydney Sweeney registered as a Republican in Florida several months before President Donald Trump won his second term, it has been revealed, as the actor faces backlash over her provocative American Eagle campaign, which some critics have deemed 'racist.' The 27-year-old Euphoria actress has been a registered voter with the Republican Party in Florida since June 2024, according to public voting records. Sweeney's party affiliation was first confirmed by Buzzfeed News on Saturday, after a post on X claiming she was 'an actual registered member of the republican party' went viral. The post quickly gained traction as critics were already piling on the White Lotus and Madame Web actress for her American Eagle Outfitters campaign, which came with the tagline: ' Sydney Sweeney Has Great Jeans.' The ad starts with Sweeney saying, 'Genes are passed down from parents to offspring, often determining traits like hair color, personality and even eye color' before she adds: 'My jeans are blue.' While the ad appeared to be making a pun about denim – changing the word 'genes' to 'jeans' – it sparked outrage online over the phrases 'good genes' and 'great genes.' Critics say the two phrases, paired with Sweeney's references to her hair and eye color, echo the sentiments of eugenics, the discredited, racist belief once popularized by the Nazis that the human race can be improved genetically by selective breeding. In a statement, American Eagle spoke out about the campaign and defended Sweeney. ''Sydney Sweeney Has Great Jeans' is and always was about the jeans,' the company wrote in a statement on Instagram. 'Her jeans. Her story.' 'We'll continue to celebrate how everyone wears their AE jeans with confidence, their way,' the statement continued. 'Great jeans look good on everyone.' Meanwhile, the White House and conservative media jumped to Sweeney's defense, with President Trump's communications director Steven Cheung calling the negative reaction to the ad 'cancel culture run amok.' The controversy surrounding the advertisement has also been featured on Fox News 28 more times than the Jeffrey Epstein saga this past week. According to a study by liberal media watchdog Media Matters for America, the network has spent over 85 minutes across at least 20 segments through Thursday afternoon discussing the commercial and the discourse surrounding it. After right-wing media came to Sweeney's defense, Daily Show correspondent and guest host Desi Lydic called out conservatives for their apparent hypocrisy in gushing over the campaign. 'This is such bulls***. Blond women have had constant representation, OK? In entertainment, in fashion, in letter-turning,' Lydic said. 'It's not that they want to see more white women, it's that they want to see none of anyone else. For a story about boobs, it sure has a hell of a lot of assholes.' Lydic specifically called out former Fox News host Megyn Kelly for her sudden switch-up in attitude toward Sweeney, after Kelly suggested a month ago that Sweeney was the 'new toast of the town' only because of her 'amazing breasts,' HuffPost reported. 'Yeah, yeah! That's right, women, you listen to Megyn Kelly and hide your sexuality unless your body makes liberals mad, in which case it's a kickass body! Hell, yeah! Go, girl!' Lydic joked. 'You motorboat those liberals here but not so much that it threatens Megyn or, so help me God, she will destroy you, ho bags!'
Telegraph
an hour ago
- Telegraph
The dark genius of Billy Joel, the most underrated man in rock
Has Billy Joel been underrated? It might seem an absurd thing to suggest. The American singer-songwriter is among the top 30 best-selling artists in pop history; he's had 33 hit singles, sold 160 million records, won multiple Grammy, Emmy and Tony awards and ranks as the fourth-most-popular solo artist in America of all time. Yet at the height of his 1970s and Eighties fame, he was something of a critical whipping post, a purveyor of 'self-dramatising kitsch'. A new two-part documentary, Billy Joel: And So It Goes, attempts belatedly to redress such critical disdain. 'I had a chip on my shoulder,' Joel admits in the documentary, recalling when the pugnacious superstar would tear up reviews on stage and phone critics personally to scold them. He casts it back to childhood bullying during an impoverished upbringing in Long Island, New York. 'I learnt life is a fight. And that was a good lesson to learn.' And So It Goes is packed with fantastic never-before-seen footage, home movies, candid snapshots, intimate backstage and domestic scenes – as well as compelling studio and live performances, with musical luminaries queuing up to laud his talent, including Paul McCartney, Sting, Don Henley and Bruce Springsteen. ('His melodies are better than mine,' the Boss admits.) I have always had a soft spot for Billy Joel. At the height of punk, when he was perceived as one of the least cool musicians on the planet, I loved his 1977 album The Stranger, for its sharp, romantically observed songs of everyday life. The mixture of romanticism and cynicism in his greatest work strikes a powerful chord, from pugnacious rockers such as My Life to the epic sweep of Scenes From an Italian Restaurant and Vienna. Such worldwide smash hits as Uptown Girl, We Didn't Start the Fire and River of Dreams have fixed his place in the top 30 best-selling music artists of all time, even though he effectively gave up writing songs in 1993 and has recently had to cancel all his upcoming tour dates due to ill health. The documentary arrives with unfortunate timing. In May, the 76-year-old revealed that he was suffering from fluid build-up in his brain that affected his 'hearing, vision and balance'. The condition is called normal pressure hydrocephalus, though Joel claimed he is 'not deathly ill' and has undergone surgery in the hope of making a recovery. 'They keep referring to what I have as a 'brain disorder', so it sounds a lot worse than what I'm feeling.' Yet it seems quite unlikely that he will ever be back on the road again. One might conclude from the documentary that it is about as much as Joel would have expected from life. 'I've had a lot of hard lessons,' he ruminates, contemplating struggles with drugs and alcohol and three divorces. 'I realised life doesn't always have a happy ending.' There is a surprising darkness at the film's heart, with a persistent undercurrent of downbeat fatalism. 'Life's not a musical, it's a Greek tragedy,' is how Joel sums up his philosophy. 'I always felt like an outsider,' he says of a childhood as the only Jewish family in an Italian neighbourhood, raised by a single mother after his father deserted them when Joel was eight. 'We were the discard family on the block. We didn't have a new car, we didn't have a dad, we were the Jews, we didn't have any money, sometimes we didn't have any food.' ('There was poor, and there was Billy Joel poor' confirms lifelong friend Jon Small). His mother's moods swung between depression and euphoria, and she was 'probably bipolar', according to Joel's older sister, Judy Molinari, but 'no matter how poor we were, she knew Billy had to have his piano lessons'. Their father was a frustrated classical concert pianist, who once knocked Joel unconscious for rocking up Beethoven's Moonlight Sonata. 'He was a very dark man,' recalls Joel. 'He told me once as a kid 'life is a cesspool.'' Following his parent's divorce in 1957, Joel didn't see his father for 16 years. One of his greatest songs, Vienna, was inspired by an ultimately frustrating reunion with his father, whom he tracked down in Austria with a second family (he has a half brother, Alexander Joel, who grew up to become a respected orchestral conductor). It was there he learnt the devastating history of the Joel family, formerly wealthy German industrialists who lost everything during the rise of the Nazis and were mostly wiped out in the Holocaust. Joel reveals a love-hate relationship with his own art. He describes songwriting as 'a lonely job', and confesses 'I see the piano as this big black box with 88 teeth trying to bite my hands off.' Each episode is two and a half hours long, and, frankly, five hours in the company of Billy Joel is a lot. It is leavened by humour, thankfully, and not all of it based around the physical appearance of a pop superstar who always manages to look like he hates getting his picture taken. He looks positively ill during his first wedding, to Elizabeth Weber in 1973 ('I had reservations,' he admits). His second wife, supermodel Christie Brinkley, admits that she was almost put off by his 'Long Island bubble hair' and terrible clothes. He is a pop star who never had a good haircut – the pictures of Joel wearing chainmail and sporting shaggy ringlets and a droopy moustache in short-lived early Seventies heavy metal duo Attila have to be seen to be believed. By the end of the documentary, you might conclude that baldness is the kindest thing ever to happen to him. Episode one is the most compelling but also the saddest, with a huge romantic arc, following the love affair that drove his career, and broke both their hearts. Joel met Elizabeth Weber-Small when she was married to his best friend and Attila bandmate, Jon Small. He was so ashamed of their burgeoning love affair he twice attempted suicide (first with pills, then with furniture polish) and wound up in a mental hospital. He wrote the whole of his tender 1971 solo debut album, Cold Spring Harbor, in a state of romantic longing. When they eventually got together, Weber became the driving force in his career, taking on the role of his manager. She is the subject of such deathlessly romantic ballads as Just the Way You Are and Always a Woman, as well as the less flattering Stiletto. Interviewed for the documentary, Weber talks about Joel with tenderness and insight, revealing that she left him because of his heavy drinking and the near-suicidal behaviour that led to a life-threatening motorcycle crash in 1982. 'I would have stayed,' she reveals. 'Like so many women before me, make that accommodation for someone you love. But there was no way I could stand by and watch him kill himself. I didn't have it in me. I felt very strongly that's where it was going.' 'It was sad,' is the most Joel can admit on the subject. The second episode is a lot of fun, packed with delightful home footage shot by his second great love, the eternally bright-spirited Brinkley, who inspired Joel's most upbeat album, An Innocent Man, in 1983. There's a lot of witty patter, goofy backstage carry-on and fantastic music, with domestic bliss breaking out as the couple marry in 1985 and have a daughter, Alexa (also interviewed for the documentary). But it all goes sour when his new manger (his ex-wife's brother, whom she warned him against) defrauds him of multi-millions, Joel starts drinking again, quits songwriting and breaks up with Brinkley. She gets emotional recalling the moment she told him how unhappy she was, and his response was to just snap, 'Yeah, fine, go.' 'It was a very sad time for me,' admits Joel now. 'I was so devastated.' At which point viewers may realise they still have an hour to go of stints in rehab, falling out with Elton John (conspicuously absent from the documentary) over Joel's destructively heavy drinking during co-headlining tours, and another failed marriage, before we leave Joel in his fourth marriage (to Alexis Roderick, an equestrian and lawyer 30 years his junior, in 2015), with two young daughters (Della and Remy), sailing his beloved boat Alexa out to sea, and proclaiming hope for a future that we already know is about to be dashed by illness. I met Joel in a hotel bar after a concert in Detroit in 1990 and spent a long and increasingly drunken night in his company. I really liked him. He was funny, self-deprecating and the life of our spontaneous party, getting on a hotel piano and leading a rowdy sing-along into the small hours. The next day, his tour manager accused me of having led him astray and revealed that Joel had lost his voice and would have to cancel that night's concert. I realise now that was during a period when things were starting to go south again for Joel, who told me Brinkley had gone to stay with her parents in Hawaii. 'You can't have a fight with your wife when her parents own a beautiful beach house in Hawaii,' he joked. 'It's like any excuse to pack your bags and run home to momma.' That humour percolates through And So It Goes, but so does the self-absorption and melancholy that seem to have haunted him all his life. His songwriting seems to have been a vital outlet for his deepest feelings, but he cut off that part of himself in 1993, exhausted by artistic struggle. As Sting admiringly points out, Joel is a master of song structure, and the documentary explores his compositional roots in European classical music, which Joel adores. 'I realised I've never forgiven myself for not being Beethoven,' he confesses. It's clear that Joel's songs sprang from a deep well of often troubled emotions and experiences, reflecting the life of a man for whom music was a vocation, a burden and, perhaps, salvation. 'Everything I've done, everything I've lived through, has somehow found a way into my music,' says Joel. His place as an all-time great singer-songwriter cannot really be in doubt.
