US rock star drops out of huge band's gigs for the rest of the year to have surgery to stop ‘permanent damage'
Fall Out Boy guitarist and founding member Joe Trohman, 40, revealed he is stepping back from touring in a bid to prevent permanent damage to his hand.
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He wrote on Instagram, "After years of managing ongoing issues with my right hand, it's become clear that I need surgery to avoid permanent damage.
'Unfortunately, this means I'll have to take the rest of the year off from playing with the band.
'The silver lining is that I'm on track for a full recovery. The band will still be playing all scheduled shows.
'I'm looking forward to recovering so I can get back out there with the guys. Thanks so much for the love and support.'
The band is playing in Calgary, Canada tonight and have festival dates in Japan and Brazil over the summer.
Fans sent their well wishes, with one writing, "It's okay Joe, we love you and I hope everything goes well, take all the time you need."
Another said, "I just fell to my knees in Walmart. Wishing you luck Joe."
In 2023, Trohman took several months off the road to focus on his mental health. His guitar tech Ben Young stepped in on that occasion.
Speaking at the time, Trohman said, "Neil Young once howled that it's better to burn out than to fade away. But I can tell you unequivocally that burning out is dreadful. Without divulging all the details, I must disclose that my mental health has rapidly deteriorated over the past several years.
'So, to avoid fading away and never returning, I will be taking a break from work which regrettably includes stepping away from Fall Out Boy for a spell. It pains me to make this decision, especially when we are releasing a new album that fills me with great pride (the sin I'm most proud of).'
The guitarist spoke of his "severe" mental health issues in his 2022 memoir, None of This Rocks.
Trohman has been in and out of therapy since the age of 10 and said he often sees things "through dark-tinted lenses a little bit".
Fall Out Boy achieved underground success in 2003 after they released their debut album, Take This to Your Grave.
They skyrocketed to worldwide fame in 2005 after the release of the album From Under the Cork Tree, with its lead single Sugar We're Goin' Down reaching number 8 on the Billboard Hot 100 charts.
In 2006, the band was nominated for Best New Artist at the Grammy Awards.
A year later, their third album, Infinity On High, topped the Billboard 200.
The band went on an indefinite hiatus in 2009, citing exhaustion as the key reason.
"We were being pushed too hard, we were working too often, and I think we had no grounding. There was no, 'This is where I live, this is my family, this is my house, here's where I get mental health assistance, I take my medication this many times a day,'" Trohman shared in an interview with Kerrang.
"None of that stuff was happening, it was all just go go go, different places, different things, if you have to succeed you've gotta do this.
"And it got to a point where — I can only speak for myself here — but I thought, 'I think we've succeeded… can we stop for a minute? I need to go to my house.'"
They reunited in 2013 with the release of the album Save Rock and Roll.
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Telegraph
40 minutes ago
- Telegraph
Britain should be thanking Thatcher for the Oasis reunion
With the much-anticipated Live '25 reunion tour by a newly-peaceful Oasis spectacularly kicking off at Cardiff's Principality Stadium last weekend, there is an unlikely heroine linked to the Mancunians' meteoric success, the birth of Britpop and the 90s Cool Britannia movement which exploded in its wake. Labour's Tony Blair may have basked in the morning glory of Cool Britannia, hailing its protagonists in Downing Street in 1997 and riding the wave of a creative tsunami which saw music, art, fashion, film, the media, politics and football coalesce in an unimaginable way. Yet there is an improbable political figure who some might say deserves acclaim for the popular culture juggernaut which raced through Britain almost exactly 30 years ago. Step forward Margaret Hilda Thatcher. Thatcher and the Gallagher brothers may seem implausible bedfellows and Lady T may have exited her stage in 2013, but without one of her government's 1980's policies in particular, Britpop – and thus this momentous Oasis Live '25 tour – may have never birthed. The reunion is projected to gross £400m and takes Liam and Noel across Britain, to the Americas, Japan, South Korea and Australia. Working for The Sun in the 1990s and becoming editor of its show business column, Bizarre, I had a ringside seat for the group's – and the accompanying movement's – explosion onto the front pages. I witnessed the band's bombastic live shows from 1994 in London and via Tokyo, California, Oslo, Milan, Majorca and Exeter, but peaking at Manchester's Maine Road and Knebworth in 1996, around the time of The Sun's highest ever daily full-price sale of 4.78m, in March of that glorious year. Musical, media and technological landscapes have fractured so significantly over the past decades that I cannot envisage any British group hereafter emerging with such impact and cultural significance. But, according to leading figures from that era, the seeds for the Gallaghers' rise and resurrection may have been sown back in 1983, when Thatcher launched the Enterprise Allowance Scheme. The brainchild of her Chancellor Geoffrey Howe, its aim was to stimulate entrepreneurship, with the jobless rate standing north of 11 per cent. Recipients were provided with £40-a-week for up to a year and claimants needed to prove £1,000 in savings and to have been unemployed for at least eight weeks. The scheme supported 103,000 people annually at its peak, but received criticism from those who felt it was simply shielding true jobless figures. It is, however, credited with helping 325,000 people to become self-employed. But an unanticipated side effect of the policy was its stimulation of the creative sector with many key Cool Britannia figures taking advantage. One man the PM helped was somebody firmly on the other side of the political divide – Creation Records' Alan McGee, the man who discovered Oasis in 1993. He admits: 'Say what you like about Thatcher, may she rot in hell, but her enterprise allowance helped me and a lot of others who probably wouldn't want to put their hand up to it. It's what funded most people at Creation Records to begin with.' Young British Artist Tracey Emin, synonymous with Cool Britannia, thinks Thatcher should be credited for her role in the creative industries – and the artist's own career, insisting: 'How did I get here today? The Enterprise Allowance: thank you Margaret Thatcher. It was a really difficult time, but whatever Margaret Thatcher was or wasn't, she obviously did some things right. It was f---ing brilliant. You set up your own business and got a guaranteed income for a year. Life on the enterprise allowance was so much better than life on the dole. The majority of us were really grateful for every little bit we were given from the government.' Other Thatcher beneficiaries include Pulp's Jarvis Cocker, back at Number One in the album charts last month, Portishead, Chris Donald, the founder of Viz magazine, Julian Dunkerton of fashion label Superdry, and Turner Prize-winning artists Jeremy Deller and Rachel Whiteread, its first-ever female recipient. Another was Keith Jeffrey, who used the funds to establish Newcastle's legendary venue The Riverside where Kurt Cobain's Nirvana played their first ever non-US gig in October 1989. So, Thatcher brought grunge to Britain, too. Happy Mondays frontman Shaun Ryder is adamant that Britpop and his role in the Madchester scene, which predated and inspired it, would not have happened without Maggie's Magic Money Tree, admitting: 'We probably wouldn't even be in a band if it wasn't for her, she started us up with the Enterprise Allowance Scheme. So when we was on it, it was guys setting up their shoe-selling business or people going into selling flowers and we was setting up a band. Because there was no jobs around at the time, you either went into crime or into making music.' When asked whether Thatcher saved him from jail, Shaun answered: 'I guess so.' Tory stalwart Lord David Willetts believes Thatcher would have been proud of her creative legacy: 'She liked the idea of get-up-and-go, encouraging entrepreneurialism. The benefits bill was surging so much that you could justify relatively modest schemes like this. I'm sure that's how it was sold to her. It wouldn't have been her taste in music, but she was a fan of anything that made Britain prominent. I'm sure she'd have found their politics juvenile, but as long as they didn't end up back on benefits, that was fine.' And Thatcher's successor John Major concurred: 'Success is economically good for our country. Ian McKellen's skills as an actor or Tracey Emin's as an artist, and so on. It's not only the great captains of industry or the politicians, or the big companies that build our national success. It's also the aggregate importance of individual effort that adds to the diversity, the culture of our country, and this our national economic well-being.' And the Oasis dates will certainly benefit a struggling UK economy with experts estimating they will generate £940 million in fan spending. According to research from Novuna Personal Finance, almost 1.4 million fans will spend an average of £682.80 per person on tickets, travel, food, drink, accommodation, and shopping. Most is expected to stay within local communities, with 57.9 per cent of the total spend – equivalent to £544.9 million – projected to flow directly into the economies of the four host cities – Cardiff, Manchester, London and Edinburgh. Fellow Mancunian Morrissey of The Smiths, an Oasis hero and influence, once sang about his dream of seeing Thatcher on a guillotine. But, according to the cast of Cool Britannia, the controversial leader helped fashion a musical and artistic legacy which will live forever and continues to stimulate the UK economy today.
Telegraph
an hour ago
- Telegraph
The troubled genius who flirted with Garbo and popped pills with Garland
'There is a fine line between genius and insanity, I have erased that line,' said Oscar Levant. Feted through the 1940s as both the highest paid concert pianist in America and one of the wittiest voices on the nation's radio, Levant charmed everyone from George Gershwin (with whom he often shared a piano stool) through Harpo Marx and Dorothy Parker (with whom he traded wisecracks) to Judy Garland (who regularly raided his bathroom for the prescription pills to which they were both addicted). Doug Wright's Tony Award-winning play, Good Night, Oscar, reminded audiences in New York earlier this year that Levant was also the first American celebrity to speak frankly on 1950s chat shows about his severe struggles with 'a regularly laundry list of mental health issues'. Pivoting on a virtuosic performance from actor and pianist Sean Hayes (best known for the sitcom Will & Grace), the play is based on a real event in 1958 when TV producers checked Levant out of a psychiatric unit for four hours to make an appearance on The Johnny Carson Show. The play's spine-tingling climax sees Hayes (in character as Levant) seated at the piano to perform Gershwin's Rhapsody in Blue in its entirety, revealing the brilliance and melancholy lurking beneath his erratic and self-deprecating humour. 'I think one can draw a direct line from Levant's television appearances in the 1950s to the modern craze for reality TV,' says Wright over the phone between rehearsals for the London run. 'Because although a lot of what Oscar said shocked a culturally conservative audience, he also proved that a real person could be as compelling as any fictional character. Some would argue he exploited his problems for entertainment value. Others claim he was de-stigmatising them and bringing them to a greater public awareness. But I don't think those aims were mutually exclusive and Oscar preferred being on television to living his real life.' Born in Pittsburgh in 1906, Oscar Levant was the youngest of four sons of aspirational Russian Jewish immigrants. 'I paid thousands of dollars to psychiatrists to forget my childhood,' he would later say. His autocratic father, Max, was a watchmaker who disdained emotion and expected his sons to take up middle-class professions. His more rebellious and charismatic uncles and older brothers – the eldest of whom defied their father to become a professional violinist – took him to brothels. Meanwhile his mother Annie – a devotee of romantic music and elegant performers – insisted that her boys all learn instruments. She took them to see her brother conducting the then-20-year-old George Gershwin in 1918 and little Oscar – tutored in strict, classical style – was bowled over by the young composer's 'fresh, free, inventive' style. He was also pierced for the first time by an agonising jealousy that he would nurture for the rest of his life. Oscar's electric talent at the keyboard had been evident from the first but he loathed practising. He had to be dragged from games in the streets and literally tied to the piano stool and forced to play. Because his physical appearance – with his knock knees, big ears and general clumsiness – did not conform to her ideal of an elegant pianist, Annie would often turn her biting wit on her youngest. After the sudden death of his father when Oscar was 15, Annie sent him to New York to study a strict classical method. By the time he turned 18, he'd made a name for himself in the Big Apple's louche, arty salons as both a pianist (increasingly influenced by jazzier composers such as Irving Berlin) and a wit. He dropped bon mots with the quick-tongued intelligentsia who gathered around the Algonquin Round Table including Robert Benchley, George S Kaufman and Dorothy Parker (of whom he said 'at her cruellest her voice was most caressive – she was one of my favourite people'). But he fretted that he was sabotaging his career by playing court jester: 'I don't want to be known as a wag… I want to be known as a serious musician. But there I go. Jokes. Silly stories. It's a disease. Beethoven was deaf, Mozart had rickets and I make wisecracks.' He would also find himself distracted by the glamour of Hollywood, where he worked as a jobbing composer and dated a series of starlets. In 1930, he began a passionate affair with Virginia Cherrill while she was also being courted by Cary Grant (whose film I'm No Angel was breaking box office records at that time). Grant (who would later marry Cherrill) was so furious with Levant that he repeatedly rammed his car into the pianist's while it was parked outside the house where the lovers slept. 'I thought it was a peculiar way of any one showing his strength, even though I sympathised with his mood,' said Levant. His way with women (who found him a tender lover, although requiring extensive mothering) saw him able to charm even the most elite of beauties. Once, when spotting the famously aloof Greta Garbo dining alone in a restaurant, he summoned a waiter: 'Please tell Miss Garbo to quit staring at me…' She was so amused she invited him to join her. Levant's obsession with Gershwin's music quickly developed into a 'neurotic love affair' and the two became close friends. He was the first pianist after the composer to record Rhapsody in Blue with many preferring the giddy panache of his version, so the rivalry was fierce. Doug Wright categorises their relationship as 'fraternal. Profoundly loving, intimately connected and a little sadistic, Gershwin always had the upper hand and Levant submitted to that like a lapdog.' Only one of Levant's songs – 'Blame it On My Youth' had become a standard and at parties where Gershwin was playing piano, he liked to invite his young lapdog of a friend over to 'play a medley of your hit'. In revenge, Levant would quip: 'If you had to do it all over again, George, would you still fall in love with yourself?' Both men accepted that while Gershwin had 'genius', Levant had only 'talent'. Levant tried to cash in his superior classical education by studying with Schoenberg, under whose tutelage he wrote a piano concerto. But he continued to self-sabotage and 'inserted a boogie-woogie strain in the middle of it. It spoiled the whole thing.' Levant enjoyed a more casual friendship with Harpo Marx, inviting himself to the comic's Hollywood home in 1936 for just over a year during which he ran up huge phone bills and monopolised Marx's guests. 'He was a leech and a lunatic – in short a litchi nut,' recalled Marx. 'But I loved the guy… for all his sarcasm and sullen cracks [he] didn't mean to hurt anyone except himself.' In the mid-1930s, Levant met the actress June Gale, who would become his second wife (his first, another actress, Barbara Woodell, had lasted less than a year), but their on-off courtship was threatened when the young Judy Garland – then filming The Wizard of Oz – developed a crush on him. Their affair was not consummated and they remained friends – confiding in each other about stage fright and swapping prescription pills. Levant would later joke that, 'If we had ever married, she would have given birth to a sleeping pill instead of a child – we could have named it Barb-iturate.' Levant finally married Gale in 1939 and their marriage (during which they raised three daughters) would become the bedrock of his life as his phobias multiplied and depression deepened. In Wright's play the audience sees the couple's snarky repartee as Levant jokes that 'marriage is like retail – you break it, you bought it' while June rallies back 'Marriage is about commitment – it's just a question of who commits whom first.' Wright says he felt qualified to dramatise their relationship because 'my own beloved father was bipolar and a large part of my mother's life was taken up in navigating that, trying to create a normal environment around a very abnormal temperament. After my father died, my mother said: 'I never told you children this, but for 55 years I kept a secret suitcase packed in the boot of the car. I was always ready to leave.' Levant was at his most successful across the 1940s, working as a touring pianist and making regular appearances on popular radio panel show, Information Please (on which witty and well-read panellists attempted to answer questions submitted by listeners). But his mental health was in free-fall. A desperate June turned to Dr Greenson – the psychiatrist who also treated Marilyn Monroe – but the medic appears to have increased his reliance on prescription drugs. 'He was getting everything,' June later recalled. 'Demerol, paraldehyde and handfuls of pills, when he couldn't even find his mouth.' His daughter Lorna later recalled him as 'a kind of spooky figure in pyjamas'. Levant would spend the rest of his life in and out of psychiatric institutions – 'a sad sack in a dressing gown who could barely get out of bed,' says Wright. Although he could still turn on his charm when pressed: he began appearing on chat shows in 1950 after moving to California. He appealed to a new generation of Hollywood stars and in their 1996 biography A Talent for Genius Sam Kashner and Nancy Shoenberger describe a night on which Elizabeth Taylor, Joan Collins and James Dean dropped in to visit with Dean staying much later to discuss music. In her autobiography Collins later wrote that: 'James Dean and Oscar Levant got along famously. Each relished the other's unusualness.' Levant remained friends with Taylor throughout her first four marriages, joking she was 'always a bride, never a bridesmaid'. Chat shows like the one dramatised in Good Night, Oscar often saw Levant, in his own words, 'saying something outrageous enough to get me thrown off air'. He also hosted his own show, Oscar Levant's Words about Music, which was cancelled in 1956 after he led off on Marilyn Monroe's conversion to Judaism joking that: 'Now Marilyn Monroe is kosher, Arthur Miller can eat her.' A second show, The Oscar Levant Show saw him sparring with writers such as Christopher Isherwood and Aldous Huxley, with whom he discussed hallucinogenic drugs and the best musical accompaniment for suicide. The last decade of Levant's life saw him slow down, swapping pharmaceutical addictions for sudden obsessions with various sweet foods, from chocolate to tapioca. He last appeared in public at an event honouring Charlie Chaplin in 1970 and died at home in Los Angeles in 1972, aged 65. 'Writing about such a witty man was a challenge,' admits Wright. 'He gave me some terrific lines to use and I had to write my own to match. It brought out all my writerly insecurities. There are nights when I've stood in the back of the theatre keeping score: two for Oscar, one for Doug.'
The Sun
2 hours ago
- The Sun
Katie Price reveals surgery scars in busty bikini as she shows off 17th boob job after botched BBL and recent facelift
KATIE Price has revealed scars from her surgery in a very busty bikini as she showed off the results of her 17th boob job. The former Page 3 icon took to social media to show off the results of her latest procedure, but with unintended consequences. 4 4 Katie, 46, wore a very revealing burgundy and white striped bikini top as she showed off the results of her latest procedure. She posted a faceless selfie onto her Snapchat profile where her assets were completely on show. The former Celebrity Big Brother star practically busted out of the already skimpy swimsuit. However, scars underneath the bottom of her breasts from the various operations could clearly be seen as she attempted to relax. Her stomach horse tattoos were also on show as she soaked up the sun on a towel in her garden. She previously went under the knife for her 17th boob job in Brussels, Belgium after she admitted wanting to downsize. This was after she wanted to have the "biggest boobs in Britain", and she got massive 2120 CC implants in her her 16th operation. It comes after she previously admitted that her botched Brazilian butt lift left her in agony. Although she previously swore off having surgery in the UK for good, the mum-of-five had a £1,500 bum filler procedure in May. Two surgeons injected 500ml of filler into Katie's rear end which she revealed in a livestream on TikTok. Katie Price moans 'oh my god I'm so ugly' as she shows off BALD eyelids after removing fake lashes and make-up She told fans at the time: "I've just had Endo laser and filler, I'm having it put in my bum. 'It will dissolve over time, but it can last up to two years. Something can always go wrong. "Anaesthetic is always a risk, but I haven't been put to sleep for this — I'm awake, talking to you guys." She underwent her third Brazilian Butt Lift (BBL), where she also had up to 800ml of dermal fillers pumped into her cheeks. Katie Price's Surgery: A Timeline 1998 - Katie underwent her first breast augmentation taking her from a natural B cup to a C cup. She also had her first liposuction 1999 - Katie had two more boob jobs in the same year, one taking her from a C cup to a D cup, and then up to an F cup 2006 - Katie went under the knife to take her breasts up to a G cup 2007 - Katie had a rhinoplasty and veneers on her teeth 2008 - Katie stunned fans by reducing her breasts from an F cup to a C cup 2011 - Going back to an F cup, Katie also underwent body-contouring treatment and cheek and lip fillers 2014/5 - Following a nasty infection, Katie had her breast implants removed 2016 - Opting for bigger breasts yet again, Katie had another set of implants, along with implants, Botox and lip fillers 2017 - After a disastrous 'threading' facelift, Katie also had her veneers replaced. She also had her eighth boob job taking her to a GG cup 2018 - Katie went under the knife yet again for a facelift 2019 - After jetting to Turkey, Katie had a face, eye and eyelid lift, Brazilian bum lift and a tummy tuck 2020 - Katie has her 12th boob job in Belgium to correct botched surgery and a new set of veneers 2021 - In a complete body overhaul, she opts for eye and lip lifts, liposuction under her chin, fat injected into her bum and full body liposuction 2022 - Katie undergoes another brow and eye lift-and undergoes 'biggest ever' boob job in Belgium, her 16th in total 2023 - Opting for a second rhinoplasty, Katie also gets a lip lift at the same time as well as new lip filler throughout the year 2024 - Katie has her 17th boob job in Brussels after revealing she wanted to downsize. She performed at Dublin Pride just days later and surgeons warned the lack of recovery posed a risk of infection Earlier this year, she went under the knife yet again as she shared a video on Instagram promoting CBD oil. Fans couldn't help but nice how her face looked extremely tight as she opted for tweakments abroad after being unhappy with her latest £10,000 facelift. Back in January, she posted a series of gruesome photos on Snapchat, showing the sides of her face and cheeks all taped up. The Pricey has famously had hundreds of plastic surgery ops and aesthetic treatments over the years. This has included over a dozen boob jobs, hundreds of syringes of lip filler. 4 4
