Bombshell book claims Jeffrey Epstein called Prince Andrew a ‘serial sex addict'
The shocking allegations appear in ' Entitled: The Rise and Fall of the House of York ', which the British royal reportedly tried to block, The Sun reports.
According to the Daily Mail, late pedophile financier Epstein is quoted in the book as saying: 'We are both serial sex addicts.
'From the reports I've got back from the women we've shared, he's the most perverted animal in the bedroom.
'He likes to engage in stuff that's even kinky to me – and I'm the king of kink!'
The explosive revelations come alongside fresh allegations about Andrew's conduct on royal tours.
A Reuters correspondent reported that, during the King of Thailand's diamond jubilee celebrations in 2006, more than 40 women were taken to Andrew's Bangkok hotel room.
'Often, as soon as one left, another would arrive,' the reporter said.
Hotel staff were reportedly stunned that 'more than 10 a day' were going to the Duke's suite.
The exposé portrays the 64-year-old royal as a man consumed by sex, with claims from an investigative journalist that he has bedded over a thousand women, ranging from porn stars and actresses to palace staff and bartenders.
One 20-year-old model, who says she twice slept with Andrew before being whisked to Mustique, recalled: 'He wanted me to engage in kinky sexual activity.
'He had no boundaries. He told me he had an open marriage arrangement with his wife.
'After returning to London, I never heard from him again. I felt like he used me for a few days, so he could live his wildest fantasies.'
Masseuse Emma Gruenbaum, who worked on him at Royal Lodge, alleged Andrew was a 'constant sex pest,' insisting on being naked for massages and making crude remarks.
'That's just not normal behaviour for a professional sports therapy session,' she said.
The book also recounts disturbing tales from palace insiders.
One former staff member claimed: 'When I started, I was warned to stay away from him.
'He would sometimes enter the staff quarters.
'It seemed everyone was aware of his behaviour, but little was done about it.'
From his 'Randy Andy' schoolboy reputation to being accused of bullying aides and humiliating women at society events, Andrew is painted as both sex-obsessed and arrogant.
Aides alleged he once had an employee moved because of a mole on his face, while another was sidelined for wearing a nylon tie.
The York family reportedly tried to block the book, warning contacts not to co-operate and enlisting the Foreign Office to discourage diplomats from speaking.
Despite legal threats, the exposé has gone to print — leaving Andrew once again at the centre of a scandal.
It comes as a top lawyer warned that Andrew may not be in the clear despite the FBI dropping its probe into his ties with Jeffrey Epstein.
Spencer Kuvin, who has represented five of Epstein's alleged victims, said the Duke of York, 65, still has reason to worry after six years of avoiding travel abroad for fear of arrest.
'I still don't think Andrew can sleep soundly,' Mr Kuvin said.
'With the quick change of administration or new leadership at the Department of Justice, the investigation could be reopened or continued.
'Andrew needs to visit the US to answer questions from the FBI. Avoiding this merely makes people think he's guilty.'
Andrew has always denied claims by Virginia Giuffre that he abused her when she was 17, insisting he never saw or suspected Epstein's crimes.
Giuffre died in Australia in April at the age of 41.
There is no statute of limitations for federal sex crimes in the US, meaning allegations could be revived at any time.
Andrew has not set foot in America since meeting Epstein in New York in 2010.
Hashtags
Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
ABC News
6 minutes ago
- ABC News
You Need To Hear: Luude - 'Darlin'' (feat. Sean Paul & Brodie)
Australian producer Luude isn't playing around with 'Darlin'', a DnB track so huge he's landed dancehall legend Sean Paul on the beat. With help from UK up-and-comer Brodie, the track's all blistering breaks and relentless, festival-ready fire. For fans of: Summer raves Summer raves Hyper-speed Hyper-speed Finding the right temperature Finding the right temperature Sheltering from the storm
ABC News
6 minutes ago
- ABC News
Booming Asian music markets provide new opportunities for aspiring musicians
For generations of aspiring Australian musicians, there was a simple recipe for success: pack your bags and move to the UK or US. This rite of passage helped forge the careers of many Australian superstars, from AC/DC and Nick Cave to Sia and Iggy Azalea. But the dominance of Western markets is being challenged by the growing prestige and influence of the music business in Asia. The shift can be seen on streaming service Spotify, where the most-followed artist is no longer US pop superstar Taylor Swift, but Indian singer Arijit Singh. And it's changing how artists and educators think about where the opportunities lie for international acclaim. At the Australian Institute of Music in Sydney, the curriculum has been shaped with Asia in mind. The college has spent years building ties with institutions in countries including South Korea, Malaysia, Singapore and India. They bring in practitioners from across Asia to hold workshops; there's even talk of a trip to Seoul to learn about K-pop. Senior academic lecturer Chris Fields said music education in Australia was catching up with long-standing industry trends. "So moving away from the Western classical system necessarily, especially amongst jazz curriculums." At a practical level, students explore core musical concepts through multiple, multicultural lenses. "Rhythm and melody, these things are kind of universal but the way that traditions deal with them can be vastly different," Mr Fields said. Huge populations, rising incomes and increased digital connectivity are all helping the music business across Asia grow. In 2024, 45 per cent of all global revenue from the physical sale of recorded music, such as CDs and vinyl, came from Asia, according to the International Federation of Phonographic Industry's Global Music Report. North America and Europe still remain the biggest regional markets once digital products, such as streaming and downloads, are included. The US is still the biggest single market but Asian countries have cracked the top 10, with Japan ranked second in the world, China fifth and South Korea seventh. Music labels such as Warner and Universal are investing in the region, while Western artists collaborate with Asian idols. In the past two years, Lady Gaga performed with Korean girl group Blackpink, Ed Sheeran with Singaporean singer JJ Lin and Usher with Malaysian artist Yuna. Several Australians or those with strong ties to Australia have also built careers in Asia, particularly in the K-pop scene. Rose from Blackpink grew up in Melbourne; Bang Chan and Felix from Stray Kids, lived in Sydney; and Jake from Emhypen moved to Brisbane when he was nine. Pop singer-songwriter Satsuki moved from Sydney to Osaka, Japan, almost a decade ago. Big cities and good transportation make touring much more economical in Japan and artists can also rely on a revenue stream that has dramatically disappeared in the West: CD sales. "I didn't have any CDs at the start because I didn't have any use for them," Satsuki said. "The fact that we still sell them, that we still have CD stores is, I think, incredible. "People love having physical media and physical cover art, lyric books and all that kind of stuff." Satsuki said Japan also had an "incredibly interesting and very diverse" music industry. "Take BabyMetal, for example," Satsuki said. "They're fronted by these three, very cutesy girls that sing in a cutesy way, but also have this very, authentic metal band supporting them. "That kind of combination, I don't think you really see in the West and I think it allows people to explore different types of genres and looks and images." Asia also has opportunities for those who want to build a career behind the scenes in the music business. The film and TV industry is blossoming in many Asian countries, and someone needs to compose the soundtrack of the latest K-drama or Bollywood hit. Mr Fields said there were also opportunities to write for video games. "And if you think about the diversity of environments, playing scenarios and all these types of things, having a global perspective on sounds and ideas and these other things is critical," he said. "I've done some session work for movies in India. I know people that compose here for movies being released in India, in the US, in Brazil. "Composition and performing is global now." First-year student Ivana Yue is looking to build a career in sound design, especially for musical theatre. Her cross-cultural work reflects her background; she grew up in Hong Kong but attended an Australian International School. "My favourite thing to do is to take patterns and melodic repetitions and themes from Asian-inspired music and put it into Westernised orchestral pieces. "I also love using different Chinese scales as well, and even Japanese scales." Finding success as a musician is rarely easy, regardless of whether you look East or West. Cultural barriers, language constraints and protectionist attitudes can make it tough to crack into a foreign market. And while some countries may be reluctant to embrace outsiders, cultural exchange helped shape one of the biggest success stories in the region: K-pop. University of Malaya associate professor Jimmyn Parc said when modern K-pop emerged in the 1990s, it incorporated many elements from Western music. "There were a lot of things from United States, hip hop and reggae, and people actually complained a lot," he said. "They said, 'This is not Korean. We should not accept these kinds of things.
ABC News
2 hours ago
- ABC News
Australian creatives still have copyright – don't hand it to Big Tech
Ever since she was barely a teen, the only quarrels I have ever had with my adored niece, Winnie, have been over the royalties payable on intellectual property. I'm aware that sentence makes weekends at Auntie Virginia's sound like a real barrel of laughs. To be honest, such weekends could often include impromptu lectures on the only acceptable cheese for making cheese on toast, and the importance of making sure one's undies are actually on before going out ("doesn't matter", was usually her airy reply) but as she got older and brought her own worldview on movies, music and TV shows into my world — that's when we'd clash. She was a fine representation of her generation and stood up with great gusto for the things that matter to them — to whit, ripping as much content as possible online and from streaming platforms without paying for it. I was aghast. "But you love those musicians! If you don't actually pay for their music, and pay them a living, how do you imagine they're going to be around to keep making the music you love?" The answers usually involved something about Sony/Apple/Netflix/Universal "being able to afford it." Why should her friends care when they were broke teenagers staring into the content-rich maw of the mega-corporations? Maybe it was their version of sticking it to the man, the man being the billionaire nerd who now controlled their every means of communication. And she wasn't copping from me what she regarded as some gen X hypocrisy: "You taped songs from the radio and copied songs onto 'mixed tapes' — what's the difference?" (You and I know that radio stations pay royalties for playing those songs, and you had to have the hard copy of the music in your hands in the first place to make the mix … but let's leave it there.) She and her generation had been trained by experts to take and share content, and to unhesitatingly share their data and privacy back: what's yours is mine, what's mine is yours. My philosophical battle with Winnie is on my mind because we stand at the brink of a generational fight over the importance of IP and its value to the creator, and I have a terrible feeling that if you are 50 or older, then we are going to be fighting this on our own. In an interim report released this week, the Productivity Commission has put forward a bold proposal: a text and data mining exception to the Australian Copyright Act. Put simply, this would legalise using Australian copyrighted material to train AI large language models — ChatGPT and the like. The proposal aims to slot AI training into the existing "fair dealing" exceptions already built into copyright law. Why is this on the table now? Because the commission sees a potential windfall for the Australian economy — an estimated $116 billion over the next decade — fuelled by developments in AI and digital tech. Harnessing data this way isn't just about innovation, the commission says, it's about a very real shot at economic growth. Ah, growth! The sole defining feature of a successful modern economy. Even at a time with the failures of late-stage capitalism collapsing around us like the special effects of a Marvel movie we cling to this as the only ideal, the only aim. And, in service to this ideal, the commission would like us to be comfortable with trading away the few financial benefits that come from original creativity. Once again, I'm aghast. Artists have already had to make the worst deal of their lives with streaming services, trading away what would have been worth a fortune, even during the "bad" old days of big, bad record labels. Please watch this interview with songwriter Julianna Zachariou, who adds up live on air what she makes from a Spotify stream, and you'll never feel the same about your music streaming services: she's talking about numbers that, as sold records as part of a decent contract, would have made her an actual millionaire in the 1970s. This new proposal means taking away, for free, the one and only thing that creatives make and from which they can make money. We should all be astonished at the suggestion. I know I'm not surprising you with this point of view: you would expect someone like me who spends their time celebrating original creativity to be appalled at the notion that the copyrighted work of creatives can be used as literal free food into the aforementioned maws of Big Tech to enable them to get even richer. As someone who struggles mightily with the existing "fair dealing" provisions in producing the ABCTV show Creative Types — we have to tie ourselves in knots justifying the use of 45 seconds of a film even when it's part of a relevant, thoughtful, highly analytical discussion about the detail of said copyrighted work, and mostly we can't get there because of the law's restrictions. It infuriates me that content-making like mine will remain hard, while self-enriching will get easier for the behemoths. The move seems so foolish that opposing seems self-evident. That's when you know it'll probably get through. On countless subjects, including even the safety of children, Big Tech has escaped unsanctioned and unregulated. Of course, they've managed to persuade institutions like the Productivity Commission that getting more for nothing is in everyone's interests. Since those childhood days, younger Australians like my Winnie have stepped back from total absorption by the online world: she is protective of her privacy. And she is also as angry as me at how little this digital world has benefited the hard work of the musicians she loves. But the machines and those who run them have the whip hand now. Decades after Isaac Asimov predicted his happy world where "machines will do the work that makes life possible and that human beings will do all the other things that make life pleasant and worthwhile" we have finally made the trades that allow it. But it looks like we may have forgotten his most important qualifier. Asimov had a condition for this reality: "a properly automated and educated world." In our rush to hand off the work that we imagine to be a waste of our time, we've failed to educate ourselves on the real consequences. Asimov never wanted the consequences of his predicted world to be one without art. This weekend we have some wonderful writing for you on maps, gold, libraries and there's new music to share too — just make sure you pay for it at some stage. Have a safe and happy weekend and here's some new music, a dream-pop song, from that true original, Chappell Roan, who isn't the kind of person to hand off any of her work for free — maybe the generation worm will turn. Go well. Virginia Trioli is presenter of Creative Types and a former co-host of ABC News Breakfast and Mornings on ABC Radio Melbourne.
