Confessions of the Royal butler: What Harry, Kate and William are really like. The wicked practical joke the Queen played on her family. And why I had to hide in a cupboard when I saw Charles. Intimate revelations by GRANT HARROLD
'Oh, very good,' she said and immediately started walking with me along the corridor leading to the dining room.
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Scotsman
5 hours ago
- Scotsman
Covermounts: How a simple marketing tool led to the soundtracks of our lives
This article contains affiliate links. We may earn a small commission on items purchased through this article, but that does not affect our editorial judgement. Whatever happened to those CDs we used to get on the front of magazines, and why did the marketing tool die out? Sign up to our daily newsletter Sign up Thank you for signing up! Did you know with a Digital Subscription to Edinburgh News, you can get unlimited access to the website including our premium content, as well as benefiting from fewer ads, loyalty rewards and much more. Learn More Sorry, there seem to be some issues. Please try again later. Submitting... They were the means by which many music fans discovered what would become their favourite acts. The covermount, the CD on the front of magazines, saw a golden age in the '90s, yet digital technology once again affected a physical format. Benjamin Jackson looks back the the history of the marketing tool, and offers his 'holy bible' CD he's kept for nearly 30 years. It was the foremost way before digital technology that we ended up discovering our favourite new acts without sitting through commercial breaks on the radio and television. And for those of us who used to grab old cassette tapes and cover the holes at the top, it was one of the ways we could have our favourite songs without the start or end being interjected by a radio host. Advertisement Hide Ad Advertisement Hide Ad Yeah, home taping was killing music, but having a DJ ask you to 'sing along' live on air before the drop to 'Bohemian Rhapsody' was a worse crime in our minds. The irony being you're piecing together a Queen album to replace the one you copied over with Bone Thugs -n-Harmony and Skee-Lo. That probably is just me on that occasion. Sorry, mum – didn't want you to find out this way. But I digress; covermounts are those CDs that you would find on the front of, well, every magazine in the '90s and early '00s, be it the best that the metal world had to offer or retrospectives on 'Cool Britannia' and the artists that influenced a newer generation of artists. They, ultimately, were a promotion tool, though in hindsight, at the time, some of us felt it was altruistic in our young age that record labels would give us music, for free, without commercial interruptions. Advertisement Hide Ad Advertisement Hide Ad They were a means to discover new music before file sharing came around; so what happened to the covermount CD and how popular was the format at its peak? | Canva/Discogs But it worked – those acts that graced the covers of the CDs on the covers of magazines did end up getting a lot more attention than, say, those within the back pages of the NME and the like. Some of us still own those very CDs that became a formative experience in a world of musical discovery, something cranks like me complain doesn't feel like that experience really exists anymore. Excuse me while I shake my fist at the sky. Now I'm in my 40s. So, how did the covermount first come to fruition? Why did it die out, and Benjii – what is the CD sampler that you still own from way back in 1998 that you considered your 'holy bible' when it came to the metal scene? Join me as we wade through the excessive amount of plastic and revisit the halcyon days of the covermount. That is, unless you had it taken from the front of the publication before even purchasing said item… Advertisement Hide Ad Advertisement Hide Ad C86 and the dawn of covermount stars Though the boom of the covermount occurred much later, its roots can be traced back to the late '70s and early '80s, but at that stage, they weren't used for music. Instead, during the dawn of the home computer, magazines such as Your Sinclair or Amstrad Action would regularly provide covermounts that were vital for hobbyists and programmers. Though they were not compact discs, they were instead in the form of cassette tapes (remember loading those up on the Commodore 64?) and then later floppy disks. Unlike record labels, which often gave away samplers, publishers would offer full versions of games, applications, and utilities. Considering that learning programming like BASIC was often a tedious, trial-and-error approach, these covermounts served as a kind of guaranteed 'day-one' working version, a far cry from the patches and updates gamers expect today. The success of the early computer covermounts didn't go unnoticed, as the music press saw the potential in using a similar model to promote new and often obscure artists directly to their readers. The first iconic example of this was the C86 cassette, released by the British music magazine NME in 1986 - hence the 'punny' name. Advertisement Hide Ad Advertisement Hide Ad What started as a simple compilation of independent British bands became an accidental landmark; featuring 22 tracks including the likes of Primal Scream and The Wedding Present, it was meant to be a snapshot of the emerging underground guitar pop scene. Instead, it was a massive success, and the collection of jangly guitars, melodic hooks, and a distinctly DIY aesthetic became a defining moment for a new sound. It inadvertently gave a name to an entire subgenre: 'C86 indie pop'. However, unlike those found on the front of magazines in the future, readers instead had to order the cassette by mail, sending in a coupon and a small fee. But the idea was a hit, and it proved that a magazine could not just write about a musical movement, but actively create and define it by putting the music directly into the hands of the fans. The Golden Age of the Covermount The success of C86 proved that the covermount was a powerful tool, but it was the arrival of the compact disc that truly ushered in its golden age. In the late '90s and early 2000s, the CD was the dominant music format, and magazines seized the opportunity, plastering them onto the front of nearly every publication imaginable. Advertisement Hide Ad Advertisement Hide Ad Magazines like NME, Q, and Mojo were the pioneers, turning the free CD into an art form. These weren't just collections of random tracks; they were often meticulously curated compilations that served as a musical education. They could be a tribute to an iconic artist, a "best of the year" roundup, or an introduction to a new wave of bands, giving readers a tangible snapshot of a moment in music history. For a generation of fans, a covermount CD from a trusted magazine was the fastest and most efficient way to discover a new favourite band or genre. This was a win-win for everyone involved. For publishers, a covermount could instantly boost sales—a Sunday newspaper once sold an extra half a million copies with a single Beach Boys compilation. For record labels, it was a low-cost, high-impact way to promote new acts and sell albums. And for us, the readers, it was a gateway to new musical worlds, a physical object that became a cherished part of our collections and, ultimately, the soundtrack to our lives. Advertisement Hide Ad Advertisement Hide Ad But the concept was not without its detractors; one of the biggest concerns was, as we all became environmentally conscious, the sheer volume of single-use plastic was seen as a wasteful burden, with the production of the CDs and their non-recyclable elements becoming difficult for consumers - and therefore publishers - to ignore. Some arguments giving away music merely 'devalued' it, and by bundling the hottest hits to come our way, music became 'throwaway' rather than the piece of art people paid for. This sentiment grew especially fierce as artists were hit by a double blow; while covermounts offered little in the way of royalties, the dawn of digital piracy in the late '00s was seen by some as an even greater threat than the practice of giving away music had only helped enable. In an age where people craved something new and shiny, covermounts just weren't cutting it anymore. The thrill of having a new album on a disc was quickly replaced by the even greater excitement of album leaks, which became more and more prominent. Advertisement Hide Ad Advertisement Hide Ad These weren't just new; they were incredibly "shiny"—unpolished files not yet fit for human consumption, a form of contraband that felt more valuable than the perfectly curated CD. The digital age and the decline of the Covermount The final nails in the covermount's coffin were logistical and technological. The production and distribution of millions of CDs became an increasingly expensive and cumbersome burden for publishers. As the convenience of digital downloads and eventually streaming services like Spotify took over, the sheer volume of single-use plastic became an unsustainable and wasteful burden that was difficult for both publishers and consumers to ignore. Magazines that would regularly feature covermounts, such as NME or Q Magazine, eventually stopped giving them away in the early 2010s. Advertisement Hide Ad Advertisement Hide Ad Publishers, seeing that CDs had become a simple expense no longer tenable in a digital landscape, decided to shift their focus more toward digital platforms than print. After all, where would you mount a CD on a newsletter in your inbox? Answers on a postcard, please. While the golden age of the covermount is now a distant memory for most, it never truly died. For some, like those who still buy Classic Rock magazine, the practice lives on as a nostalgic nod to a bygone era, and there are still publications out there that offer covermounts, be it to celebrate a musical occasion or as part of a special edition of a publication. But for everyone else, it remains a memory of a time when the music you loved was delivered to your door or from a corner shop once a month, a physical object that served as a gateway to the soundtracks of our lives. What was on that covermount CD that made you keep it, Benjii? Thanks for making it all this way, and glad that you asked – though I'd have mentioned it anyway. Chekhov's covermount, am I right? Advertisement Hide Ad Advertisement Hide Ad The CD in question, though, would be Kerrang! 1998, from issue #728, which featured System of a Down, Limp Bizkit, Korn, and Garbage... pretty much, all the bands I still listen to and love today. Check out the Deezer playlist above to get a feel for just how important that covermount was for me and other like-minded metalheads of the time Did you have a favourite sampler CD or covermount that influenced the music that you would end up still listening to years later? Drop the writer of this article an email to share your experiences and maybe collaborate on a great 'Now That's What I Call A Covermount CD' in the near future.
BBC News
7 hours ago
- BBC News
Roman army descends on Birdlip for festival
A recreated Roman army has marched on a quiet Cotswolds village - as part of a new festival celebrating the history of the area. Sunday morning saw the first ever Birdlip Roman Festival transform the village, with historical costumes and displays put on show by enthusiasts. Gloucestershire's Roman heritage was also on display, with archaeological activities put on by a number of organisations including the Museum of Gloucester and Coronium Museum. Festivalgoer Martin Smith told the BBC he was "super excited" about the event, adding: "I like [learning about] their day-to-day life and learning how they would have lived in this landscape during the period." Fellow attendee Kate Peake, who visited with her daughter and her mother Angela - who made her costume - said it was "brilliant" to have a Roman festival in the area. "We live just down the road, we love history and we thought we'd dress up to come and visit today," she added. Re-enactment group the Ermine Street Guard took a starring role in Sunday's festival, marching through the village in authentically recreated military wear. The area boasts a rich Roman history, with the ancient civilisation making Gloucester a key site for its empire, and many important archaeological finds have been uncovered throughout the years. Hundreds of people attended the festival, with a number of stalls selling local products, antiques and food also forming part of the event. As well as local museums putting on displays, Cotswold Archaeology and Chedworth Roman Villa were also on site with family-friendly activities.
The Sun
8 hours ago
- The Sun
We pay male escorts up to £300 an hour for mind-blowing sex – people think it's sleazy but there are so many benefits
SICK of disappointing dates or boring bedroom action? For countless women, the thought of another uninspired romp is enough to make them scream into their pillows. But what if the most extreme solution was also the smartest? Forget waiting for romance — increasing numbers of women are now taking matters (and pleasure) into their own hands, by paying for exactly what they want, when they want it. In fact, one in 20 married women over 50 are now so unhappy with their sex lives, they would consider turning to male escorts to spice things up. It's not just fed-up wives, either — younger women are also ditching dating apps, swapping swipes for guaranteed satisfaction with gigolos. Type 'male escort' into TikTok and thousands of videos pop up, with clean-cut hunks explaining why smart, successful women fork out for their services. And far from keeping it quiet, young women are now openly sharing their escort experiences. PA Laura Fox, 29, from Walsall, West Midlands, turned to escorts after her last relationship fizzled out. 'I've always been fascinated by escorts,' she says. 'When I was 19, I found out my friend's mum used to hire them to accompany her to events. 'Until that point, I'd assumed escorts were something men used — not women. 'But seeing how she carried herself changed my view.' Far from being sleazy or taboo, Laura suddenly saw escorts as 'the ultimate power move', with women in control. So when, aged 26, she was newly single after the end of a three-year relationship, using an escort seemed a no-brainer. 'I just wasn't ready for the faff of dating apps — the endless scrolling, the awkward messaging, the guys who want to sext but never meet,' she says. 'Then I remembered my friend's mum and had a real eureka moment.' Curious, Laura chatted to some pals who directed her to Gentlemen4hire, the UK's longest-running male escort company. From the hundreds of men on offer, she selected a well-groomed man in his thirties called James. 'NO GAME-PLAYING' 'Since I didn't have a work do or wedding to attend, I looked into 'boyfriend experiences' — basically male escorts who'll take you on dates and act the part, no questions asked,' she says. 'James was tall, dark and handsome and we had similar interests, such as good food and loving animals. 'We discussed fees — escorts typically cost from £220 per hour — and boundaries, such as what's included, what's not. 'It was strangely reassuring and James was clear, polite and respectful.' Laura arranged to meet her date in a local gastropub, but admits she was a bag of nerves beforehand. She says: 'I almost didn't go in. "But James instantly put me at ease, asking lots of questions and being friendly and kind. "It felt like a normal date — except I knew exactly how the night would go. 'There was no game-playing, no awkward 'will-he-won't-he?' tension. 'And the fee even covered the meal, so it was like I was out with a guy who'd paid for dinner, too.' Laura says her first escort experience was like a 'typical first date', with a kiss on the cheek at the end of the night, not red-hot passion. 'I didn't want to be worrying about sex the first time,' she explains. 'But after that I just booked what I fancied that day. 'And every time we did 'do the deed', it certainly lived up to expectations.' Since that first date, Laura has paid for more than ten experiences — sometimes because she's wanted male company, other times because she's craved a night of satisfying sex. Escorts tend to be experienced, attentive and entirely focused on my pleasure — a rare combo these days Laura Fox 'Some nights end with a goodbye hug, others with fireworks,' she smiles. 'Honestly, sex with an escort is often better than a one-night stand. "Escorts tend to be experienced, attentive and entirely focused on my pleasure — a rare combo these days. 'And you skip all the usual emotional admin that comes with dating. 'There are no mixed signals, no awkward texts the next day, no-one nicking your duvet at 3am.' Given all the benefits, Laura says it's no wonder so many ordinary women are paying for pleasure. 'I totally get why more and more of them are doing this,' she says. 'It's not just a man's world any more — we're taking control of our pleasure, our time, and our expectations. It's win-win.' 'NO PRESSURE' Despite the considerable costs, Laura plans to continue using escorts until she meets Mr Right. And despite her glowing reviews of the men she's hired, she's never been in danger of getting emotionally attached. She says: 'I guess some people do, but I don't because one of the reasons I started paying for escorts was because I wasn't ready for a serious relationship.' Like Laura, Natasha Greenwood, 34, from London, says booking escorts has been a game-changer. The PR executive, whose last long-term relationship ended seven years ago, reveals: 'For me, engaging with male escorts has become a way to explore my sexuality and seek companionship on my own terms. 'I turned to escorts after growing tired of the dating scene — boring men, boring sex and endless swiping on apps. "So I thought: 'Why not?'' Despite feeling on edge in the build-up to her first encounter, Natasha says her jitters were short-lived. 'Surprisingly, I felt very relaxed and enjoyed the whole experience,' she says. 'I had to pay a ten per cent deposit up front, which felt a bit strange. "But this was to cover the dinner. 'Afterwards, we went to a hotel for sex. It wasn't cheap — £300 per hour — but it was worth every penny.' For Natasha, who says passion dwindled two years into her last relationship, getting her needs met between the sheets is a huge plus of using gigolos. 'When I'm with a male escort, I feel free to ask for exactly what I want in bed. "There's no shame, no second-guessing and no pressure to be anything but myself. I can be bolder, kinkier and more experimental. 'I get to enjoy sex with a hot, confident man, with no strings attached. It's like dating on steroids.' Natasha admits there is still a stigma around women 'and particularly black women' using escorts, but stresses there's nothing sleazy about the practice. 'I appreciate the professionalism and discretion these men bring,' she explains. 'It allows me to fully enjoy the moment without the emotional minefield that can come with relationships. 'I keep male escorts on rotation, too. It's like having a fun new plaything every couple of months.' Using escorts doesn't come cheap and Natasha is spending less on holidays and other luxuries. Her friends and family are well aware of her escort use, as she often hires them as a 'plus one' for events or dinners. But she prefers to enjoy her escort experiences away from her own home. 'SEXUAL FREEDOM' 'We always end the night at a hotel. I prefer it that way,' she says. 'My space is mine and the fun stays just where I want it.' While some may raise eyebrows at the idea of so many women enjoying escorting services, both Laura and Natasha say that when it comes to intimacy, paying for what they desire has opened up a new world of sexual freedom. 'Everyone has the right to seek pleasure, intimacy and connection in ways that feel right to them,' says Natasha. 'This isn't about being desperate or giving up on love — it's reclaiming my pleasure and prioritising fulfilling, joyful experiences, in and out of the bedroom.' Names have been changed BUT REMEMBER: STAY SAFE SAFETY should always come first, says Sun sexpert Georgie Culley. When booking an escort, stick to reputable agencies. Too-good-to-be-true prices are a red flag. Generally, escorts from legitimate agencies will cost £150-plus per hour. Before meeting, arrange a video call first, so you can verify who they are and set clear boundaries. Ask to see their ID, too. Always meet in a public place such as a restaurant or bar first. And let a trusted friend know where you'll be and who you're meeting. Avoid sharing personal details like your home address until you feel comfortable. Never transfer money in advance, unless it's through a trusted agency platform. If you do make it to the bedroom, always practise safe sex. Due to the nature of their job, escorts will likely be sleeping with lots of people, so always use condoms. Most importantly, trust your gut. If anything feels off, walk away. Your safety and comfort are key.
