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Bono survived on instant mashed potato and leftover airline food during his teenage years

Bono survived on instant mashed potato and leftover airline food during his teenage years

Yahoo16-07-2025
Bono was so poor as a teenager that he lived off instant mashed potato and leftover airline food.
The U2 frontman was just 14 when his mother Iris died and explained that times were so tough that he had to survive on the surplus food his older brother Norman brought back from the airport where he worked.
Speaking on Ruthie's Table 4 podcast, Bono, 65, said: "After my mother died I would usually return home with a tin of meat, a tin of beans and a packet of Cadbury's Smash (instant mashed potato).
"Thinking back to being a teenager, food was just fuel."
The With or Without You rocker explained that he spent money for food on "far more important" things like records.
Bono – whose real name is Paul Hewson - said: "I would spend my food money on things far more important like Alice Cooper's Hello Hooray.
"The house was two miles away from the runway where my brother Norman worked for Aer Lingus. He had talked them into allowing him to bring home the surplus food from the airline. This was highly exotic fare.
"Gammon steak and pineapple, an Italian dish called lasagne that we'd never heard of or one where rice was no longer a milk pudding but a savoury experience with peas."
Bono described how he got to taste a vast array of delicious food once he found fame with U2.
He said: "We were blessed with the gift of getting a manager who loved food and wine as much as he did music. Record companies would give us per diems, which means they pay for you to stay in a hotel up in Manchester or wherever after we had played.
"But we wouldn't stay in the hotel and we would drive back and save up our per diems and use them in nice restaurants."
Meanwhile, Bono revealed that he once ate a meal meant for his dog as he craved meat when his wife Ali Hewson turned vegetarian.
The Irish singer recalled: "I recall coming home on the weekend and she was cooking. And I remember getting this beautiful smell of beef.
"I thought, 'Oh my God, she's cooking beef for me and she's vegetarian. This is amazing.'
"And I walked in and said, 'What are you cooking?'
"She said, 'That's not for us. That's the dog's dinner'... And I ate it."
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Amanda Knox: 'Twisted Tale' asks, 'in the wake of trauma, how do you rebuild your life?'
Amanda Knox: 'Twisted Tale' asks, 'in the wake of trauma, how do you rebuild your life?'

USA Today

timean hour ago

  • USA Today

Amanda Knox: 'Twisted Tale' asks, 'in the wake of trauma, how do you rebuild your life?'

Before her first speaking engagement in early 2017 at a private conference in her hometown of Seattle, Amanda Knox wore a blanket of nerves. It'd been nearly 10 years since Knox, then a 20-year-old student at the University of Washington, traveled 5,600 miles to study abroad in Perugia, Italy, about two hours north of Rome. Knox moved into an apartment, which she'd share with Meredith Kercher, a 21-year-old British student. The two had become friends, but police arrested Knox and charged her with murdering Kercher. Knox spent nearly four years in an Italian prison before being acquitted in 2011. She'd be found guilty (again) in 2014 and finally exonerated in 2015. The nightmare saga and its aftermath inspired Hulu's eight-part scripted series 'The Twisted Tale of Amanda Knox,' starring Grace Van Patten as Knox. The limited series premieres Aug. 20 with two episodes, followed by weekly installments on Wednesdays. Knox, now 38, remembers being 'terrified' before that 2017 speech. 'This was at a moment in my life where I still felt limited and diminished, like nothing I could say would ever bring people to believe me," she says in an interview. "I felt trapped in the identity and the story, the narrative that had been built around me, of the girl accused of murder. Even though I had been exonerated, that didn't go away.' Amanda Knox: Exoneration is just the beginning Among fellow speakers, Knox spotted another woman whose narrative had gotten away from her like a bouncing spool of thread, weaving an uncontrollable trail: Monica Lewinsky. The media painted the former White House intern, who had an affair with President Bill Clinton in the 1990s while he was in office, as a 'little tart' (The Wall Street Journal) and 'a ditsy, predatory White House intern' (The New York Times). Lewinsky's articles and her 2015 TED talk on shame made Knox believe 'there was perhaps a path forward for me in this world.' So Knox asked to meet, and Lewinsky invited Knox to her hotel room. 'I didn't necessarily feel like someone who had so much wisdom to share about the process,' says Lewinsky, 52. She'd only attempted to regain authorship of her story a few years earlier. Lewinsky asked how Knox was doing and if she was in therapy, which Lewinsky found helpful, along with advice from a former professor. Over coffee, Lewinsky lamented 'how I couldn't find a job and how hard it was to move forward.' The professor told her that 'narratives that had been created and imbued with power and by powerful people need to have a competing narrative,' Lewinsky says. 'I had no competing narrative out there, not intentionally, but it had run away from me.' When Lewinsky learned four years later that Knox wanted to adapt her 2013 memoir, 'Waiting to Be Heard,' Lewinsky reached out. (She also was a producer on FX's 'Impeachment: American Crime Story' and signed a first-look deal with its studio, 20th Television.) She's an executive producer on 'Twisted Tale.' 'She held my hand through this experience,' Knox says, 'because she's been a trailblazer in this regard of a woman who had her worst experience used to bury her and turn her into a punchline. And she had come back and reclaimed her sense of self and her purpose in life and didn't allow all of these external forces to diminish her.' Lewinsky wishes she could provide an 'easy three-step simple solution' to reclaiming her story, she says. 'From my own experience, the first step was surviving. Holding on to the hope that things can change. It won't be as bad as it is in the eye of the storm forever.' 'Twisted Tale' opens with Amanda's 2022 return to Perugia to meet with prosecutor Giuliano Mignini (Francesco Acquaroli), portrayed as one of the Italian authorities who believed firmly in Knox's guilt. After Meredith's murder, Amanda and her boyfriend, Raffaele Sollecito (Giuseppe De Domenico), are early suspects, and eventually convicted. With a 26-year sentence looming, Amanda goes on a mission to prove her innocence with the help of her family, including her mother, Edda Mellas (Sharon Horgan). Even after being exonerated, Amanda still faces public scrutiny, despite the conviction of a man named Rudy Guede. (Guede was released in 2021 after serving 13 years.) 'It's not just a courtroom drama,' Knox says. 'It's not just a tragedy that I and many others were a victim of. It's a story of, in the wake of trauma, how do you rebuild your life and reclaim a sense of agency when it was stolen from you?' Van Patten, 28, feels honored that Knox trusted her with her story. "Of course I felt pressure to tell her story in the right way," she says, "but I tried to do that by just asking her how she felt in the moment, moment to moment and trying to show her emotions as much as possible, as opposed to trying to do some impression of her. 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Norwich Castle's Majestic Medieval Keep Reopens After Restoration
Norwich Castle's Majestic Medieval Keep Reopens After Restoration

Forbes

time3 hours ago

  • Forbes

Norwich Castle's Majestic Medieval Keep Reopens After Restoration

Norwich Castle Keep exterior © Norfolk Museums Service © Lee Blanchflower Photography 2011 After six years of meticulous restoration and a multi-million-pound investment, one of England's most iconic Norman structures has re-emerged into public life. The newly reopened Norwich Castle Keep, at the heart of the ambitious Royal Palace Reborn project, now offers an unparalleled opportunity to step back into the 12th century and experience the grandeur, grit, and daily life of Norman England. Once the seat of royal power and the centerpiece of medieval Norwich, the Keep has undergone its most significant transformation in generations. Thanks to a £13 million grant from the National Lottery Heritage Fund and additional support from various partners, Norwich Castle now stands not only as a monument to England's Norman past, but also as a benchmark in accessibility, historical storytelling, and immersive museum experience. A Royal Vision Reborn The core vision behind Norwich Castle: Royal Palace Reborn was bold: to peel back centuries of modifications and rediscover the Keep as it might have appeared in 1121–the year King Henry I, son of William the Conqueror, completed its construction. The result is nothing short of extraordinary. The imposing stone fortress, long admired for its scale and history, has now been physically and imaginatively restored to its original role as a royal palace. For centuries, the building served as a prison and later a museum. Now, it has once again assumed its place as a jewel of Norman architecture and a living exhibit of medieval life. What is perhaps most surprising about the restoration is the vivid colours found on the doors and furnishings–from the bright blue entrance to the Castle Keep to a distinctly Mediterranean palette found on doorways and furnishings in the King's Chamber. The main door of the Castle Keep would originally have been covered in leather, dyed blue with precious Lapis Lazuli pigment. Dr. Pestell gave me a tour of the Castle Keep and explained that the drab grey tones we see in cinematic depictions of the Norman period are not a true reflection of the reality: 'There's a new TV series about William The Conqueror and it's all black and brown clothes and leather, and really monochrome. In fact they used colour. So we have an illustrated manuscript called Liber Floridus from about 1120, which shows what Heavenly Jerusalem looked like, with white doors and blue doors, and we know that they covered their doors in leather. There's good archaeological evidence for this. We know that they tinged the iron work so it looked really silvery and shiny. So it's all historically accurate, but what people have never done is pull it all together and show it in one place, to show how mad and bright these doors were.' A family examine the recreated Bigod Tower Door into Norwich Castle Keep with an actor playing Henry I © Norfolk Museums Service © Norfolk Museums Service A Transformation Like No Other The Keep's transformation is among the largest heritage projects in the UK to open this year. Visitors will notice the changes from the moment they step inside. Gone is the static museum layout of years past. In its place is a vibrant, atmospheric, and deeply evocative recreation of a working medieval palace. Architectural experts and conservation teams have reinstated original medieval floors and chamber layouts based on archaeological and historical research. The stonework has been conserved, and historic interiors have been recreated using period-appropriate materials, textures, and colors. Furnishings, lighting, and soundscapes now breathe life into the space. The clank of armor, the murmurs of courtiers, and the soft glow of candlelight transform the castle into a truly immersive time capsule. The thrones in the King's Chamber are based on manuscript evidence and sculptural evidence from the 12th Century, so they are accurate reconstructions of what a throne might have looked like. There is an immersive feeling about the visitor experience, and there were lots of families there when I visited, with children sitting on the 'King's throne' and imagining what the space was like in Medieval times. Regular projections onto the walls tell the story of the Norman Castle, emphasising the educational potential of a visit to the keep. King's Chamber, complete with furnishings, Norwich Castle Keep © Norfolk Museums Service A highlight of the renovated Castle Keep is a stunning wall hanging based on the Bayeux Tapestry–created by a team of fifty local seamstresses who also made the banners displayed throughout the Keep–which decorates the King's Chamber. 'This tell's the story of William's divine right to rule England by putting down the revolt of Herod the Wake and the three Earls in 1075, which are both East Anglian rebellions. A number of the figures and the Knights are directly drawn from the Bayeux Tapestry. It's the same dimensions as the Bayeux Tapestry and it's all in Latin.' The embroidered Kings and Emperors panel made by Tapestry and Textile volunteers on display in the Great Hall at Norwich Castle Keep © Norfolk Museums Service Where once visitors could only look in, they can now walk through. Kitchens, great halls, bedchambers, and storerooms are all recreated in situ, each meticulously curated to provide context and meaning. It's an environment that encourages exploration, questions, and emotional engagement. A projection on the wall at Norwich Castle Keep telling the story of the building of Norwich Castle © Norfolk Museums Service The People's Palace Perhaps the most groundbreaking achievement of this project is its commitment to accessibility. A new bridge designed by Architects Feilden+Mawson provides access to the Castle Keep, and newly installed lifts enable visitors–regardless of mobility–to explore all five floors of the Keep, from its atmospheric basement to the panoramic rooftop battlements. It's a remarkable architectural feat, seamlessly integrated into a historic structure nearly a millennium old. These changes don't just meet modern access standards–they symbolize a democratic vision of heritage as something for everyone. As such, the Keep has been rebranded as The People's Palace –a title that speaks to its newly inclusive approach and broader cultural mission. The transformation encourages people of all backgrounds, ages, and abilities to connect with their shared history in a tangible, personal way. A new bridge designed by architects Feilden+Mawson providing step-free access into Norwich Castle Keep © Norfolk Museums Service The Gallery of Medieval Life A standout highlight of the renovation is the Gallery of Medieval Life , a stunning new permanent exhibition curated by Archaeology curator Dr. Tim Pestell in collaboration with Dr Naomi Speakman, Curator of Late Medieval Europe at the British Museum. The gallery showcases almost 1,000 medieval artefacts–many of them unearthed in East Anglia–some of them internationally significant. Dr Naomi Speakman explains: 'This is the largest display of the British Museum's medieval collection outside of London. We couldn't ask for a better location for this gallery than Norwich Castle Keep, one of the most important Norman buildings in the country, in a city with a rich medieval history. It has been a privilege to work with the medieval collection in Norwich and the new gallery will tell the story of life in this fascinating period through a wide range of objects. We have complemented Norwich's nationally significant collections with over 50 objects on long-term loan, and some of these have royal connections including to Kings Henry V and Richard III.' From ornately decorated manuscripts and finely crafted jewelry to tools, weapons, and religious objects, the gallery paints a richly detailed picture of life in medieval East Anglia and the wider world. It places Norwich in its proper context as a center of power, trade, and culture during the Norman period, when it was considered England's second city. Interactive displays and interpretive storytelling help bring these objects to life. One can trace the journey of a pilgrim, hear the voices of medieval townsfolk, or explore the craftsmanship behind a 12th-century sword. These aren't just relics behind glass–they are active participants in the story the castle now tells. The Gallery of Medieval Life – A British Museum Partnership in Norwich Castle Keep © Norfolk Museums Service A Sensory Journey into the Past What truly sets the new Norwich Castle experience apart is its embrace of multisensory and interactive elements. From the moment visitors enter the Keep, they are encouraged to touch, listen, explore, and play. This is not history at a distance—it's history as a lived experience. Young visitors can try on chainmail or engage in interactive medieval games. Tactile displays, digital projections, and immersive audio scenes enhance the sense of stepping into another time. Scent boxes recreate the aromas of a medieval kitchen or chapel. These elements are not gimmicks; they are carefully designed to deepen understanding and emotional connection. The result is a museum experience that feels alive, relevant, and emotionally resonant–not just educational, but truly transformative. A light sculpture installation in the basement of Norwich Castle Keep © Norfolk Museums Service Community and Cultural Impact The Keep's reopening is more than just a local event–it's a cultural milestone for Norfolk and a beacon for heritage projects nationwide. By combining historical accuracy with modern museum practices, Norwich Castle sets a high standard for how we restore and reinterpret the past. Its focus on accessibility, interactivity, and inclusivity means that more people than ever can engage with a period of history often thought of as remote or elitist. Schools, families, scholars, and tourists alike will find something here to spark the imagination. The project also brings new economic and cultural vitality to Norwich. With increased visitor numbers, renewed national attention, and fresh programming on the horizon, the Keep promises to be a hub of activity for years to come. In an age where many historical sites struggle to remain relevant or financially viable, Norwich Castle's renovated Keep shows what's possible with vision, investment, and care. It reclaims its role not only as a monument to the past but as a living, breathing center of learning and imagination. The newly reopened Keep is not just a return to form–it is a leap forward. Norwich Castle is, once again, a royal palace for the people. If you haven't visited yet, now is the perfect time to witness history reborn. Find more information here. A light sculpture installation in the basement of Norwich Castle Keep Norwich Castle Channel 4 will broadcast The Castle Rebuilding History–a new documentary narrated by Sir Stephen Fry following the renovation of Norwich Castle –on Sunday 24 August at 7.30pm.

Paolo Sorrentino On Maradona's Influence & Why He Doesn't Put Violence In His Movies: 'I Don't Like When A Character Suffers Too Much'
Paolo Sorrentino On Maradona's Influence & Why He Doesn't Put Violence In His Movies: 'I Don't Like When A Character Suffers Too Much'

Yahoo

time4 hours ago

  • Yahoo

Paolo Sorrentino On Maradona's Influence & Why He Doesn't Put Violence In His Movies: 'I Don't Like When A Character Suffers Too Much'

In advance of the Venice premiere of his latest film La Grazia, Paolo Sorrentino touched down at the Sarajevo Film Festival on Sunday where the writer-director talked at length about his career, influences and why movies 'saved' his 'sad life'. Speaking with Serbian filmmaker Ognjen Glavonić at the Bosnian Culture Center, the Italian filmmaker told a packed audience about his great fondness for Diego Maradona, noting that when the late Argentine soccer legend arrived in Naples to play for the city's local club in 1984, it made a huge impression on the young director. 'When I was 14 and Maradona arrived in Naples, for the first time I understood what a show was,' he said. 'Maradona told us – told me, told the Napoiltan people – what is a big, unbelievable show. And I found out the same thing through cinema – the opportunity to put on a big show.' More from Deadline International Insider: Paramount's Week One; Cillian On 'Steve'; Channel 4 Chuckles Books, Gaming & TV Series: How Sarajevo Film Festival's Industry Strand Is Adapting To The Ever-Changing Content Business Sarajevo Film Festival Director Talks Upcoming Edition & Why Culture Must Prevail In Times Of Political Turmoil: "We Have To Be Fearless, Fierce And Safeguard Our Independence" Sorrentino is also set to receive an Honorary Heart of Sarajevo Award this week for his contribution to cinema and will present a retrospective of his films during the festival. When quizzed about how he gets inspiration for his next projects, he said: 'I don't love the idea that I have to do new things. I stay at home without doing anything and then suddenly something comes up in my mind that becomes an obsession and then I say, 'OK, let's do a movie about this obsession.'' The director was asked about the relevance of violence in films and he admitted that while he liked violence at times in other directors' movies, he found it 'very tiring to shoot violent scenes – mostly I'm too lazy.' He added: 'Another reason I don't put violence in is I don't like when a character suffers too much. I like more Disney movies where everything is good. I never put characters in a condition where life is so desperate. It's a little bit desperate but not too much, and violence brings a big desperation.' Sorrentino went on to credit Martin Scorsese as one of his favourite directors and when quizzed about which actors he would like to work with one day, Sorrentino quipped, 'There are many actors and actresses I would like to work with, but the optimum would be a movie without actors and actresses.' When asked about the role that films and audiences can play 'in solving genocide' and the situation in Gaza, Sorrentino remarked: 'No film can prevent these kinds of things.' Born in Naples in 1970, Sorrentino's credits include The Consequences of Love and The Family Friend, both of which competed for the Palme d'Or in Cannes in 2004 and 2006 respectively. His film Il Divo won the Jury Prize in 2008 and in 2011 he returned In Competition in Cannes with This Must Be the Place and two years later with The Great Beauty, the latter of which won an Academy Award, a Golden Globe and a BAFTA award for Best Foreign Language Film as well as three European Film Awards. His last feature Parthenope debuted at Cannes in 2024. When asked whether he was working on anything new, Sorrentino remained vague saying, 'Probably I am going to do worse, like many directors.' The 31st edition of the Sarajevo Film Festival takes place August 15-22, 2025. Best of Deadline Sundance Film Festival U.S. Dramatic Grand Jury Prize Winners Through The Years Deadline Studio At Sundance Film Festival Photo Gallery: Dylan O'Brien, Ayo Edebiri, Jennifer Lopez, Lily Gladstone, Benedict Cumberbatch & More TIFF People's Choice Award Winners Through The Years: Photo Gallery

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