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Nicola Peltz strips completely naked for steamy bath snap as she ignores Beckham family feud

Nicola Peltz strips completely naked for steamy bath snap as she ignores Beckham family feud

The Sun5 days ago
NICOLA Peltz stripped completely naked for a racy bath snap before posing topless in her latest sizzling set of selfies.
The model and actress uploaded her "best memories" in a happy summer holiday round-up posted to Instagram despite being in the midst of a feud with husband Brooklyn's loved ones.
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Nicola, 30, and Brooklyn, 26, have reportedly been keeping their distance from his family, after they failed to attend dad David's 50th birthday party.
Chef and photographer Brooklyn has continued to gush over his spouse throughout - despite "cutting off brothers Cruz and Romeo" in the drama - amid fears he's "obsessed" with his marriage.
He recently opened up further on his affections in a Instagram grid post in which he claimed popping the question to the American was the "best decision ever."
And the Brit appeared more than happy to embrace his photographer streak for Nicola's latest snap in their bathroom.
It sees the beauty fully stretched out in a white tub with no bubble bath, the clear water giving a glimpse of her toned figure.
She covered her modesty with her arm and leg, leaving her dark locks flowing into the water.
Nicola went make-up free and accessorised with a single diamond bracelet.
She flashed a pout as she looked directly upwards at Brooklyn taking the snap.
In another image, the Lola star posed topless for a mirror selfie before joining her spouse for a cuddled-up snap.
Brooklyn Beckham takes swipe at David and Victoria amid 'family feud' as he shares tribute to wife Nicola Peltz
The pair were also seen in a variety of poses on a boat.
In the comments section, eldest Beckham son Brooklyn proudly wrote: "I took the photo in the bath."
He then added: "Love you xx"
TRUE ROMANCE
Brooklyn recently opened up to Glamour on his early plans to pop the question to the actress, who he married in Miami three years ago.
The Beckham Family Feud
April 2022: Brooklyn marries Nicola Peltz.
Wedding Dress Controversy: Rumours begin circulating that there's tension between Nicola and Victoria Beckham after Nicola chooses not to wear a Victoria Beckham -designed wedding gown. Nicola later clarifies in August 2022 (and again in March 2023) that Victoria's atelier couldn't make the dress in time, but reports in May 2025 suggest Victoria actually changed her mind about making the dress.
Post-Wedding (2022 onwards): Minimal interaction between Nicola and Victoria on social media, and noticeable absence of Nicola at key Beckham family events.
Alleged Wedding "Hijack": In May 2025, a source claimed Victoria "ruined" part of the wedding by allegedly hijacking a dance with Marc Anthony, which was meant for Brooklyn and Nicola. Nicola reportedly ran from the room crying.
March 2025: A resurfaced TikTok of Romeo and Cruz mimicking a "baby voice" (which fans associate with Nicola) sparks speculation of sibling shade.
April 2025: Brooklyn and Nicola are reportedly absent from Victoria Beckham's 51st birthday celebrations in Miami and her Paris Fashion Week show.
May 2025: David Beckham's 50th Birthday Snub: Brooklyn and Nicola are notably absent from David Beckham's 50th birthday celebrations in London, despite being invited. Reports suggest their absence was due to Brooklyn not wanting to be in the same room as Kim Turnbull, the girlfriend of Romeo who had previously been reported to have been dating Brooklyn, who David allegedly opted to have at the party over Nicola.
Rumours emerge of a falling out between Brooklyn and his younger brother Romeo, reportedly due to Romeo's new girlfriend, DJ Kim Turnbull, who allegedly had a past connection with Brooklyn.
Reports surface that the Beckham parents are "hurt and disappointed" that Brooklyn is "playing no part in family life." Sources claim that tensions between Brooklyn and Nicola and his parents are "definitely not beyond repair."
June 2025: Brooklyn and Nicola reportedly enlist a "crisis team" similar to Prince Harry and Meghan Markle for "reputation management" due to the growing media scrutiny.
Cruz Beckham posts cryptic lyrics on Instagram that some interpret as a swipe at Brooklyn.
July 2025: Reports indicate David and Victoria are "desperate" to reconcile with Brooklyn. Brooklyn publicly wishes his sister Harper a happy 14th birthday on Instagram, tagging Nicola, which is seen as a potential "olive branch" and a rare public message to his family amid the rumored rift.
Brooklyn UNFOLLOWS his brothers Romeo and Cruz just 24 hours after his birthday message to Harper. Nicola quickly follows suit and also ditches the Beckham bros from her Instagram following. Romeo and Cruz are now also no longer following Brooklyn.
In a rare joint interview and cover shoot with his wife, Brooklyn said: "I knew after three months that I wanted to marry her.
"But because of COVID, I wanted to wait until our families could be there."
Yet the chef and photographer failed to mention his parents David and Victoria by name, and claims he has now hired Prince Harry's lawyers to solve the bitter dispute.
Brooklyn continued to detail his proposal plans to Glamour Magazine 's Germany edition adding: "A few hours before, I had a golf cart accident and needed stitches in my hand.
"My thumb was completely bandaged - I couldn't even open the wine!"
During the chat, he was quick to gush over his spouse and their almost-instant connection.
He said: "When I first saw Nicola at Coachella, I was immediately captivated - by her beauty, her warmth, her charisma.
"Even though it was only a fleeting moment, it stayed with me for a long time."
He then added: "You have to marry your best friend, someone you feel at home with. For me, Nicola is exactly that."
Brooklyn previously made a dig at his famous parents in a social media post about Bates Motel star Nicola, saying: 'My whole world.
"I will love you forever. I always choose you baby.'
TOUGH TIMES
Their love story comes as Nicola recently revealed her huge new career move.
Brooklyn recently broke his silence amid ongoing family drama, wishing sister Harper a happy birthday just days after being caught in a so-called 'WW3' rift involving his brothers Romeo and Cruz.
The feud reportedly boiled over after Romeo blocked both Brooklyn and Nicola on Instagram, blindsiding the couple during their holiday.
Initial reports claimed Brooklyn and Nicola had unfollowed his siblings first, but insiders told The Sun that wasn't the case.
A friend said: 'Brooklyn had no idea about any of this until he read about it online.
'It's possible Romeo and Cruz blocked them, which would make it appear as no longer following the brothers.
'They certainly didn't unfollow them or block them - they're as confused as anyone else.
'The first they heard about it was when it was being reported on.'
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'I saw real Bonnie Blue behind closed doors - there's one dark truth people don't see'
'I saw real Bonnie Blue behind closed doors - there's one dark truth people don't see'

Daily Mirror

timea few seconds ago

  • Daily Mirror

'I saw real Bonnie Blue behind closed doors - there's one dark truth people don't see'

As a new Channel 4 documentary delves into the shocking real world of Bonnie Blue, mirror writer Ellie Fry argues that the viral adult star's dark influence over young men and women is painfully ignored Sat in a cosy cinema room packed full of press, Bonnie Blue, real name Tia Billinger, seems to be in her element. ‌ As her famous face and bright blonde curls pop up on the big screen, us viewers have no idea what's in store as we sit down to watch one of the biggest adult stars in the world appear in a brand new Channel 4 documentary, which promises to deliver full access to the real life of Bonnie Blue. ‌ But sitting there alongside her "proud" mum, other family members and small team, Bonnie knows all too well that the extreme sex empire she's painstakingly crafted is about to become even more mainstream, as the broadcaster has spared no blushes in its fly-on-the-wall hour-long show, titled "1000 Men and Me: The Bonnie Blue Story". ‌ Her life behind the scenes and the inner workings of her multi-million pound businesss have been shrouded in mystery until now. But one thing Bonnie's always been desperate to promote are her extreme sex challenges. The star's troubling social media strategy, where she posts aggressively across platforms like Instagram and TikTok, means that everyone - including young girls and boys - can easily stumble across a glimpse of her explicit content, where she boasts about sleeping with married men and being "helpless" as men "take her". ‌ Sadly, Channel 4's deep dive does little to hold Bonnie accountable for the undeniable responsibilities she has as a world famous adult star promoting potentially dangerous sex stunts on social media. Our online landscape is already teeming with violent porn and unhealthy perceptions of sex, and in this bleak attention economy of viral videos and views, it seems as though there's no limit to how far Bonnie will push herself. ‌ Chillingly, the star's whole business model centres around sleeping with 'normal' men in amateur videos. What struck me watching the film is the horrifying juxtaposition of going to such extreme, unrealistic measures with everyday members of the public. Bonnie positions herself as somewhat of a saviour - relishing in giving the average man a chance to sleep with a porn star, or "teaching barely legal" virgins how to perform in the bedroom. ‌ She says in the doc: "I found my purpose in porn. I found the niche I want to focus on. And it's not just because I'm obsessed with 18-year-olds, it was such a bigger picture in terms of teaching them how to have sex; watching their face light up as they lost their virginity. I really love that." But while these gritty, 'homemade' scenes may seem real - and earn Bonnie millions of pounds - the relatability ends at the amateurs involved. The star's extreme stunts - from sleeping with 1,057 men in a day and planning to cage herself in a glass box in a sex 'petting zoo' - are merely perpetuating dangerous myths about what women need to do for their partners - and what men should expect in the bedroom. ‌ In a bid to brush away her critics, who have questioned the ethics and power dynamic in her content, Bonnie says that she talks about consent until she's blue in the face, insisting that every participant has to sign a consent form and show ID before taking part. But I can't help but notice her thirst for control over the participants she chooses - notably people who are not in the porn industry, or have never filmed such extreme content before - and wonder where that stems from. ‌ It seems as though she deliberately profits from the vulnerability and innocence of the young men and women who agree to appear in her films. And this connection to the everyday public is exactly where that danger lies - it feels so within reach, despite being so extreme. The star's ex husband Oliver Davidson, who appears fleetingly in the film, explains her strategy perfectly. "She really connects with the fans," he says. "Most people, if they do porn, they seem out of reach. You're never going to meet them. You're never going to be able to film with them. Whereas Bonnie puts a location online, and then obviously her fans can actually film with her. It's like a defining moment in porn, where she's completely changed the game." ‌ But the normalisation of such severe porn will soon seep into the psyche of young people being fed the content by the giants at Meta and TikTok. And this marketing strategy puts Bonnie at risk too. The star admits in the film that she hasn't left the house alone in the last six months, and fears being attacked by acid on the street. The documentary is radically uncensored in its depiction of Bonnie's work and shows explicit sex scenes, something Channel 4 says is "editorially justified" and "presented in a non-gratuitous manner". ‌ Seeing what happens behind the scenes is no doubt shocking, but it's the lesser known 'challenges' involving young women that are more disturbing to me. In the show, the more viral Bonnie gets, the further she leans into these extreme sex acts, as she begins relying on the use of young girls in her content. One scene shows Bonnie filming a sex tape with multiple other young female OnlyFans creators and a male porn star. Interviewing the women who have been recruited to take part in the stunt, filmed in a school classroom, the documentary's director reveals that the creators aren't being paid to take part. ‌ One young woman, who profits on OnlyFans with solo work and content with her partner, tells the camera that she's never done anything this "adventurous" and looks visibly nervous. Another timidly admits that the only time she's ever seen live sex is in Amsterdam in the red light district. A third creator, a 21-year-old woman, admits her subscribers love her content because she looks so much younger than she is. ‌ In an admission that makes my stomach churn, Bonnie says of the classroom stunt: "The fact that they are so nervous actually works in my favour, because their reactions are going to be more realistic." Bonnie seems to relish in stamping out the innocence of her participants. Yes, they've all consented. But the undercurrent of exploitation, in a classroom full of young women who have never filmed porn before, never mind extreme content, feels palpable. What message does that send out to young boys watching her videos, whose perceptions of consent and power are being shaped by such content? To me, the star appears to hide behind the guise of empowerment - both of herself and virgins, young content creators and 'normal' men - when in reality she is profiting from their vulnerability and glorifying rape culture with her 'challenges'. ‌ Her petting zoo stunt, that got cancelled after OnlyFans decided to permanently ban her from its platform at the final hour, would have seen Bonnie "tied down" in a glass box in a house in London, where strangers would come and do "whatever they wanted". Bonnie bragged in the documentary: "I am going to be completely helpless, tied down, gagged, choked". Alarmingly, a recent government review found porn involving non-fatal strangulation (NFS) was "rife" and that its prevalence online was contributing to choking becoming commonplace in some people's sex lives - particularly among young people. ‌ Even more disturbingly, the UK courts have seen an alarming rise in women's lives ending after what those accused of their deaths say were 'sex games gone wrong'. To the feminists who challenge her behaviour, Bonnie hits back, saying in the doc: "You fought for women's rights for years and years. You've fought for us to have control over our body and be empowered by that. I'm now living by that. "And suddenly you want me to shut up, have a couple of kids, get married and stay quiet, but I don't want that. If anything, I'm an image of what you've just been asking for for years and years. And suddenly you see it, and you're now thinking, f***, we don't want this woman to speak proudly of sex." ‌ As a woman who openly brags about using rage-bait as the cornerstone of her business model, spamming multiple TikTok and Instagram accounts a day with content designed to outrage, it's hard to take anything Bonnie says seriously. But she certainly refuses to take any responsibility for the influence she may have over the younger generation. When asked how she feels about young teenagers coming across her content, Bonnie admits she "forgets" to think of it from that point of view. ‌ She then says bluntly: "There's also a parent's responsibility to say, hey, there's people in the world that do mass murders. [It] doesn't mean you do that." Even if it's not Bonnie's job to educate young people on safe and healthy sex, there's something sinister in wanting to profit from those who may be vulnerable. In one part of the show, she admits: "I really want to do a disabled gang bang". Rage-bait or not, where do we draw the line at accepting such statements? And who is being "empowered" here? Channel 4 failed to press Bonnie on that vile remark. It's a show that leaves more questions than answers, and feels more like an advert than a documentary. It's too early to say just how much of an impact this new trend of extreme sex stunts will have on young people, but it feels like a nightmare waiting to happen - and, as the show does thankfully note, Bonnie clearly has no interest in taking accountability for the fallout.

Iconic comedian reveals jaw-dropping cost of playing Taylor Swift song at his show
Iconic comedian reveals jaw-dropping cost of playing Taylor Swift song at his show

Daily Mail​

timea few seconds ago

  • Daily Mail​

Iconic comedian reveals jaw-dropping cost of playing Taylor Swift song at his show

Comedian Marc Maron has revealed the eye-watering sum he paid to use Taylor Swift 's music in his stage show. The 61-year-old star revealed the five-digit figure while appearing on Vulture 's Good One podcast this week. 'I think it came out to $50K, around that. I did everything I could to get the joke in front of her,' he said about spoofing the 35-year-old singer's 2022 song Bigger Than the Whole Sky. He said he initially reached out to Swift's longtime collaborator, musician Jack Antonoff. 'I know Jack Antonoff enough to text him — and he's the cowriter on that song,' Maron explained. 'I said, "I don't know what's proper or how to do this, but we're running out of money on this thing. It's probably going to come out of my pocket. Is there anything you can do about this song or talk to Taylor?"' has contacted Taylor's representatives for comment regarding Maron's payment claim but have yet to hear back. Maron said that Antonoff directed him to 'go through the proper channels' to obtain a license for the song, which was featured on Swift's Midnights album. He said about the cost, 'It was doable. We made enough money. It was tight, but because of the ticket sales for the [televised version of the] special, we are able to get that song.' The fee allowed him to sing just 'a minute' of the tune, with financial consequences if he were to extend it. 'If I would have gone over the minute, it would have been more money,' he divulged. 'We couldn't even let it, like, play out the special or anything. So, I got together with a band and wrote that music as the opening and closing. Yeah, it was under a minute,' the entertainer recalled. Maron emphasized his 'history' with the song, and said he felt that he needed to play it during his standup set. 'It had to happen,' he insisted. 'The real fear is, like, she doesn't let you use it, and then what do you do? You can't do the bit on the special. That's why I was, like, [manifesting] "I think she'll like the bit."' The star noted that while Swift's team gave him the ok to use the music, he doesn't know if the Cruel Summer hitmaker has actually heard his bit. Maron has hosted the podcast WTF With Marc Maron since 2009, making him one of the original podcasters. He said about the cost, 'It was doable. We made enough money. It was tight, but because of the ticket sales for the [televised version of the] special, we are able to get that song'; pictured in 2019 In June he announced that he and producer Brendan McDonald are ending the show later this year, per Variety. 'WTF' is coming to an end, and it's our decision,' he told listeners during an episode featuring comedian John Mulaney as a guest. 'We'll have our final episode sometime in the fall.' He added candidly, 'It was not some kind of difficult decision, necessarily. Neither me nor Brendan — who are the only people in charge of this operation on every level — we both realized together that we were done.' Marc is currently promoting the animated family comedy The Bad Guys 2, in theaters August 1.

Tom Lehrer obituary: devilish musical satirist
Tom Lehrer obituary: devilish musical satirist

Times

time30 minutes ago

  • Times

Tom Lehrer obituary: devilish musical satirist

Before Tom Lehrer opened his mouth, he seemed the image of decency. Sitting at the piano in a tux as sharp as his jawline, looking a little nerdy with his slicked-back hair, large-framed glasses and bow tie, he could have fooled his listeners into thinking that they were about to hear a mild selection of show tunes. Yet as soon as his fingers hit the keys he revealed himself as the imp he really was, gleefully mocking staid mid-century morals, goading his listeners to clutch their pearls. He sang The Masochism Tango, exclaiming that 'I ache for the touch of your lips, dear/ But much more for the touch of your whips, dear.' And he sang about that bucolic way to spend a Sunday afternoon: Poisoning Pigeons in the Park. In I Got It From Agnes, he sang about the transmission of 'it', a venereal disease, through a series of increasingly depraved couplings. Masterfully avoiding recourse to a single rude word, he made eyes bulge with tell of how 'Max got it from Edith, who gets it every spring/ She got it from her daddy who just gives her everything/ She then gave it to Daniel, whose spaniel has it now/ Our dentist even got it and we're still wondering how.' He won renown among those of discerning bad taste in the Fifties and early Sixties for 37 such songs. They also included I Hold Your Hand In Mine — the seemingly sweet murmurs of a lover who has in fact murdered his darling and kept her hand as a souvenir — and When You are Old and Gray, in which, inverting Yeats's poem, he pleaded: 'So say you love me here and now, I'll make the most of that/ Say you love and trust me, for I know you'll disgust me, when you're old and getting fat.' He sang such lyrics with blithe zest and remarkable vocal dexterity, wending his way through the most tangled tongue-twisters. As if to prove a point, he arranged all the known elements to the tune of Gilbert and Sullivan's The Major General's Song. Part of the joy of listening to him sing was the thrill of hearing him vault such high hurdles as 'Europium, zirconium, lutetium, vanadium/ And lanthanum and osmium and astatine and radium/ And gold, protactinium and indium and gallium/ And iodine and thorium and thulium and thallium.' Lehrer was such a confident performer that his songs could seem like spontaneous outbursts, but really he laboured over them intently, shaving off spare words and notes until they were as elegant as equations. A Harvard mathematician who retreated from the limelight back to his alma mater, he found the same satisfaction in fitting a satirical message into verse as he did in solving such abstruse mathematical problems as 'the number of locally maximal elements in a random sample'. Many of his songs originated as party pieces to play to his friends at Harvard, where he matriculated in 1943 at only 15. He made a record of a dozen of his songs to give to them as a memento, hoping to sell the rest of the 400 copies at gigs. Having managed to sell them in a couple of days, he printed more, and employed freshmen to help him to dispatch them by mail order. His fame spread by word of mouth, and by 1954 he had sold 10,000 records. He also began playing in nightclubs such as The Blue Angel in Manhattan and the Hungry I in San Francisco, and at benefits for liberal and anti-war groups. A left-winger of the strait-laced sort who would soon be drowned out by the hippy movement, he endeared himself to his comrades with an 'uplifting song in the tradition of the great old revival hymns' about nuclear annihilation. It went: 'We will all go together when we go/ What a comforting fact that is to know/ Universal bereavement, an inspiring achievement/ Yes we will all go together when we go.' By 1957 he was performing at Carnegie Hall. Lehrer's fame reached Britain that year, when Professor JR Sutherland, awarding an honorary music degree to Princess Margaret from the University of London, let it be known that she was a fan of his music. Talk of his songs spread through university papers and record shops, prompting the BBC to ban most of them from the airwaves the following year. In 1959 he recorded a second album, More of Tom Lehrer, and sold out several venues in the United Kingdom. Yet it was at this moment that he began to tell his friends he wanted to stop performing. He had never gone out of his way to seek fame. At Harvard, once inundated with invitations to perform at parties, he had doubled his fee. The number of invitations halved, which suited him just fine. At the end of 1959, having toured Australia, and the UK once more, he decided to let his records earn his living for him, and return to Harvard to try to finish his PhD. He soon concluded, however, that he had nothing original to offer academia, and gave up on the PhD in 1965. He continued to dabble with songwriting, submitting tapes of his music to That Was the Week That Was — a precursor to Saturday Night Live — and releasing a third album, That Was the Year That Was. But it tired him to tour the world, playing the same songs over and over, and he all but gave it up. On a short tour of Scandinavia in 1967 he joked that all of his songs were 'part of a huge scientific project to which I have devoted my entire life, namely, the attempt to prolong adolescence beyond all previous limits', but it seemed that experiment had reached its conclusion. It was not only out of weariness that he retreated from the limelight, but out of a sense that popular culture had left him behind. His brand of dissent — droll, insouciant, recognisably an undergraduate parlour game — seemed an anachronism to the earnest and righteous rebels of the counterculture. About them he joked, 'It takes a certain amount of courage to get up in a coffee house or a college auditorium and come out in favour of the things everybody else is against, like peace and justice and brotherhood and so on.' Contrary to a biographical note on one of his LPs, Thomas Andrew Lehrer was not 'raised by a yak, by whom he was always treated as one of the family', but born in Manhattan in 1928, the son of Morris Lehrer, a non-practising Jew and necktie manufacturer whose Gilbert and Sullivan records he would listen to constantly, and Anna (née Waller). He began piano lessons at the age of eight, and spent the summers of his boyhood at Camp Androscoggin in Maine, where he bumped into a younger boy whose music he would later idolise: Stephen Sondheim (obituary, November 27, 2021). Educated at Horace Mann, a private high school in the Bronx, Lehrer skipped three years to keep himself amused. His application to Harvard took the form of a poem, the last stanza of which ran: 'But although I detest/ Learning poems and the rest/ Of the things one must know to have 'culture',/ While each of my teachers/ Makes speeches like preachers/ And preys on my faults like a vulture/ I will leave movie thrillers/ And watch caterpillars/ Get born and pupated and larva'ed/ And I'll work like a slave/ And always behave/ And maybe I'll get into Harvard.' He chose to study mathematics, judging that English involved too much reading and chemistry too much grubbing around in foul-smelling laboratories. Once there he began writing scurrilous songs with which to entertain his peers, and surrounded himself with pranksters who would later become eminences in their respective fields: Philip Warren Anderson, who won the Nobel prize in physics; Lewis Branscombe, who became the chief scientist at IBM, and David Robinson, who became the executive director of the Carnegie Corporation. In 1951 he staged the Physical Revue (a play of words on the Physical Review, a scientific publication), a musical drama incorporating 21 of his songs. Invitations to perform at parties poured in, and steadily he acquired a following. By 1954 he was selling records from the second floor of his house, and working as a defence contractor to avoid being conscripted. Despite his best efforts, the following year he was drafted into the Defence Department's cryptography division, which would later become the National Security Agency. He maintained that his only contribution to the NSA was a way to get around its prohibition against staff drinking alcohol at parties — jelly vodka shots. Lehrer gave his last public performance for many years at a fundraiser for the Democratic presidential candidate George McGovern in 1972. Looking for a sunny climate and a quieter life, he began teaching a course in musical theatre at the University of California, Santa Cruz. He would later teach mathematics there too. It was tacitly understood in his classes that nobody was to mention his career as a performer. Despite his on-stage effervescence he was a deeply reticent man, whose friends hardly got a glimpse into his private life. Once asked whether he had a wife or children, he replied 'not guilty on both counts'. Lehrer claimed that he stopped writing satire partly because 'things I once thought were funny are scary now. I often feel like a resident of Pompeii who has been asked for some humorous comments on lava.' Indeed, he famously said a year after he retired from performing that 'political satire became obsolete when Kissinger was awarded the Nobel peace prize'. Having relinquished fame so flippantly, he affected to care little about his legacy. When one would-be biographer came knocking, he rebuffed his offer to write his life story, but gave him the original recordings of his second album as though they were worthless to him. He felt no need to give an answer to those who wondered why one of the great lyricists of the 20th century would seem so indifferent to the fate of his own art. In 2020 he put his songs in the public domain. Yet as a younger man he did claim to feel a degree of emotional investment in the reception of his work, saying:'If, after hearing my songs, just one human being is inspired to say something nasty to a friend, or perhaps to strike a loved one, it will all have been worth the while.' Tom Lehrer, musical satirist, was born on April 9, 1928. He died on July 27, 2025, aged 97

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