Nepo baby with very famous rock star dad spotted in New York – can you guess his musician dad?
While the musician is best known for his long-association with California, the 62-year-old traded the West Coast for East for a day in the son with his 17-year-old boy.
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Anthony Kiedis, front man for iconic band Red Hot Chili Peppers, spent the day in Washington Square Park catching up with his model-in-the-making son, Everly Bear Kiedis.
The 17-year-old looked just like his dear old dad, with both wearing black jeans and white shirts.
While Anthony wore a red and white trucker cap on his head, Everly was seen beaming as he they sat in the park and caught up.
Born in October 2007 to Kiedis and model Heather Christie, Everly is the Californication singer's only child.
The singer said in 2014 "being a father is the coolest trip I've ever taken" during an interview with Louder Sound.
Kiedis has been open about his past drug addiction from a young age, and was raised in Hollywood alongside his father Blackie Dammett, born John Kiedis.
Blackie, who played a drug dealer in Lethal Weapon, would later admit in BBC1 documentary ONE life: Help! My Kid's a Rock Star that he introduced his son to sex and drugs from a young age.
"It wasn't so unusual that I let him take a little bit of acid, or a little bit of marijuana," he said in the doc.
Kiedis would later develop a crippling heroin addiction, which in itself became an inspiration for songs including Under The Bridge.
Performing with the Chili Peppers since 1982, Kiedis credits being a dad to Everly for "teaching him patience" and keeping him clean.
Sober since 2000, Anthony previously said: 'As every heroin addict will know, temptation is always there. But becoming a father has given me a reason to live and stay clean for good.'
By 2015, Everly followed in his mom and dad's footsteps, becoming the face of a Marc Jacobs campaign alongside Kiedis.
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Daily Mail
12 minutes ago
- Daily Mail
Liam Neeson looks back on 'falling in love' with late wife Natasha Richardson amid new Pamela Anderson romance
Liam Neeson looked back on how he fell in love with his late wife Natasha Richardson in a new profile published Thursday. While speaking with the New York Times, the 71-year-old Oscar nominee recalled falling under the late actress' spell when they starred together on Broadway in a 1993 revival of the play Anna Christie. Richardson, who married the Taken star the following year, tragically died in 2009 from a traumatic brain injury she sustained from a skiing crash. Neeson's sentimental reverie about his marriage comes amid his burgeoning romance with Pamela Anderson, whom he got close to while filming his upcoming spoof revival The Naked Gun. According to the Times, Neeson's voice nearly dropped to a whisper when he brought up his earlier love with Richardson. 'It was great doing it every night with her and falling in love,' he said of their time on stage. Liam Neeson looked back on how he fell in love with his late wife Natasha Richardson while speaking with the New York Times on Thursday. Richardson died in 2009 from a traumatic brain injury she sustained from a skiing crash; pictured together in 2007 in NYC Neeson's sentimental reverie about his marriage comes amid his burgeoning romance with Pamela Anderson, whom he got close to while filming his upcoming spoof revival The Naked Gun; pictured together on Wednesday in NYC Their Anna Christie production proved to be an auspicious event, as it not only set Neeson and Richardson's romance in motion, but it also led to Neeson being cast in Steven Spielberg's Academy Award–winning Holocaust drama Schindler's List. Spielberg saw a performance of the Eugene O'Neill play and offered the role of Oskar Schindler to Neeson on the strength of his stage performance. Despite earning an Oscar nomination for his performance in Spielberg's film which went on to win seven Academy Awards, including Best Picture and Best Director — Neeson admitted that he struggled for years to appreciate his work in the film. 'A lot of times, I could see myself acting. Up until quite recently, I'd always think that we should have cast this or that actor,' he said. 'I just see myself acting, and I didn't like that.' As Neeson has been showing off some sweet PDA on red carpets with his new girlfriend Pamela Anderson, a friend of his late wife weighed in on the burgeoning relationship. The Naked Gun stars appeared together at SiriusXM studios in Manhattan on Wednesday for a Town Hall with host Andy Cohen, who confessed that he had been 'dear friends' with Richardson. 'I, and all of the friends in this circle, are very much stanning whatever this is,' Cohen gushed. 'As I was telling him at the [Naked Gun] premiere party, I go, "Liam, [Pamela] is an independent woman, just like Tash was. She loves to cook. She has her own thing going on. She has two boys. I mean, this just works, and you know?" The 71-year-old Oscar nominee recalled falling under Richardson's spell when they starred together on Broadway in a 1993 revival of Eugene O'Neill's play Anna Christie; seen together in 1993 in LA 'It was great doing it every night with her and falling in love,' he said as his voice dropped nearly to a whisper; pictured together in 1999 in NYC Their Anna Christie production proved to be an auspicious event, as it not only set Neeson and Richardson's romance in motion, but it also led Steven Spielberg to cast him in Schindler's List (pictured) after the filmmaker saw a performance 'She is a formidable human being, Pamela Anderson. She really is. Like what she's been through and how she kind of reclaimed herself and redefined herself.' The Bravo host added that Neeson might be ready to move on with a new love 16 years after the death of his wife. The latter-day action star is only known to have had one other relationship after Richardson's death, a two-year fling with Freya St. Johnston that ended in 2012. Neeson and Anderson opened up about the sweet start to their new relationship during the interview. The 58-year-old Baywatch star and her new beau affectionately held hands during the chat as they shared their first impressions of each other while joined by other stars of their new comedy The Naked Gun, Danny Huston and Liza Koshy. The two had stirred up rumors of a romance recently after sharing an unexpected amount of PDA on red carpets to promote The Naked Gun — which hits theaters on Friday, August 1 — and a source confirmed to the Daily Mail on Tuesday that they have been dating 'for a while.' During the broadcast on SiriusXM's Radio Andy, Neeson recalled being instantly charmed by his costar when they started work on the film, which is a sequel and reboot to the Leslie Nielsen-starring series of police-procedural spoofs. 'Well, you know, we had never met before and I remember thinking, "Wow, she is gorgeous," but she had this wonderful sense of silliness and just humanity about her,' Neeson said. 'I don't want to blow her head up, but it was like I just felt an ease with her, you know, and we discovered a silliness with each other, which was terrific, you know?' Anderson, 58, and Neeson opened up about the sweet beginnings of their new relationship at a SiriusXM Town Hall in New York City on Wednesday with Andy Cohen The two had stirred up rumors of a romance recently after sharing an unexpected amount of PDA on red carpets to promote The Naked Gun, and a source confirmed to the Daily Mail on Tuesday that they have been dating 'for a while' Anderson admitted that she was 'nervous to meet [Neeson], of course and you're always nervous the first day on the set.' However, she described the film shoot and 'just easy going and very silly, which puts you at ease and very silly, on and off.' In a clip from the Town Hall, Anderson and Neeson described how they bonded over her baking on set. The Barb Wire beauty revealed to Cohen that she tends to keep to herself in her free time and focuses on her writing — including poetry and journaling — as well as working in her garden and baking sourdough bread, which became a staple on the film set. Neeson interjected to praise the sourdough as 'phenomenal.' 'I brought sourdough bread to Liam and cookies and muffins and kept me busy. Kept me outta trouble,' Anderson shared. She spoke about a 'very special recipe' for muffins that Neeson became a fan of, but Cohen couldn't tell if she was being serious or was trying to slip in a naught double entendre. 'It's a very special recipe. It's very good for you. Let's just say that,' Anderson added with a smile. The two had never met before, but Neeson was blown away by Anderson's beauty. 'She had this wonderful sense of silliness and just humanity about her . . . it was like I just felt an ease with her, you know, and we discovered a silliness with each other, which was terrific' Anderson admitted that she was 'nervous to meet [Neeson], of course and you're always nervous the first day on the set' However, she described the film shoot and 'just easy going and very silly, which puts you at ease and very silly, on and off' Anderson and Neeson star in The Naked Gun (pictured), a legacy sequel and reboot of the police-procedural spoof series that starred Leslie Nielsen Earlier in the day Pamela was seen out and about in New York as she waved to fans The star wore an elegant pale yellow dress with lace trim detailing She was seen struggling not to get caught in her dress as she made her way out of the car 'A lot of bran,' Neeson added, grinning, while Anderson said the muffins were also made with molasses. 'Wow. 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'He actually gets involved.' On Tuesday, a source told Daily Mail that Anderson and Neeson are dating. The two have been in a romance 'for a while,' and they started having 'sparks' when they began filming their Naked Gun movie in May 2024; seen on July 28 in NYC Now the lovebirds have been kissing on the red carpet. 'Pam is very drawn to Liam because he is totally open to her way of thinking and living, and especially her approach to fame which is impressive,' the source told Daily Mail; seen July 22 in London Daily Mail has reached out to Anderson's and Neeson's representatives for comment. On Monday evening at their New York premiere, Anderson suggested they were an item when she went in for a kiss on Neeson's lips before she pulled back during their joint ET interview. And they both talked to Extra, Pamela said of building their relationship, 'We just like each other.' Liam added, 'It just grew naturally. We didn't force it, just allowed it to grow.' She also wrote on Instagram, 'Love is in the air.' The full post read: 'A beautiful evening at the NYC Naked Gun premiere… thank you to everyone who came out to laugh with us… love is in the air.' Eyebrows were raised in October 2024 when Neeson said he loved the former Playboy model. He told People: 'With Pamela, first off, I'm madly in love with her. She's just terrific to work with. I can't compliment her enough, I'll be honest with you. No huge ego. She just comes in to do the work. She's funny and so easy to work with.' Anderson said that Neeson is 'the perfect gentleman' and he 'brings out the best in you … with respect, kindness and depth of experience. It was an absolute honor to work with him.' And she told EW: 'We definitely have a connection that is very sincere, very loving. He's a good guy.' 'She has been telling friends that he is smitten and does a lot of sweet things for her, like sending her flowers, and spending time with her sons and dogs,' said the source The insider said they've managed to keep the long-distance romance private by spending time at her house in Canada. 'Pam cooks and gardens at her home, it's wholesome and appealing and very un-Hollywood and Liam loves that, he actually gets involved,' said the insider They can't keep their hands off each other even in the film's poster This comes after Neeson has joked his favorite part of The Naked Gun was filming 'the sex scenes' with Anderson. The actor stars as Frank Drebin Jr. opposite Anderson as nightclub singer Beth in the upcoming comedy reboot, and Neeson has now teased he particularly enjoyed shooting their love scenes, which were made with the help of an intimacy coordinator. The Sun newspaper reports Liam joked the best bit of the shoot was 'the sex scenes', and he added of the intimacy coordinator: 'I'd never had one before. But she was in the background. There was no kind of: "Ok! Excuse me!"' The publication went on to report Liam claimed the intimacy coordinator threw her hands in the air and exclaimed: 'I can't take this! This is too hot for me. I'm going for coffee.' In The Naked Gun — which is a new take on the original Leslie Nielsen 1988 comedy movie — Detective Frank Drebin Jr. (Neeson) takes on his first big case, determined to solve a high-profile murder and save the police department from closure. Following in his father's hilariously clumsy footsteps, he stumbles through outrageous situations while trying to solve the mystery. Neeson recently said he didn't want to 'emulate' Nielsen in the new film, which was directed by Akiva Schaffer and hits screens on August 1. He told Empire magazine: 'I wouldn't say nerve-wracking, but every day I would go up to Akiva after we wrapped and say, 'How was it?' Because I just didn't know. The two could not keep their hands off each other when at Cineworld Leicester Square 'I did not want to emulate the wonderful Leslie Nielsen, but the only thing I grabbed from him, was, 'Be serious. Don't try to be funny. Just stick to being a serious cop who is a bit of a doofus.' The Taken actor also admitted he wasn't sure if he was funny enough for The Naked Gun, which also stars Paul Walter Hauser and Danny Huston. Speaking with Entertainment Weekly, Neeson said: 'During the whole shoot — I'm being very honest — I still did not know, when we wrapped at the end of each working day, whether it was working for me. 'Pamela, Paul, Danny, everybody else, I thought, were very funny. I just couldn't put a verdict on myself, on my own performance. 'I'd always ask Akiva, "Are you sure it's working?" That continued from day one till we finished.'
The Guardian
12 minutes ago
- The Guardian
Authority: Essays on Being Right by Andrea Long Chu review
Andrea Long Chu stands accused of not playing by the rules, of appraising works of fiction as if they were essays or confessions rather than aesthetic objects. 'It is true that I tend to treat a novel like an argument', she writes in the introduction to Authority, a collection of essays and reviews published between 2018 and 2023 in outlets such as N+1, Bookforum and New York Magazine. Long Chu – who won a Pulitzer prize for criticism in 2023 – believes 'all novels refract the veiled subjectivity of their authors', and to pretend otherwise is to indulge a 'pernicious form of commodity fetishism'. In her reviews, books betray their authors, invariably revealing some kernel of inadequacy – be it immaturity, myopia or just terminal dullness. This approach borders on the psychoanalytical, and makes for fun reading. Long Chu diagnoses a case of 'Munchausen by proxy' in Hanya Yanagihara, whose bestselling novels A Little Life (2015) and To Paradise (2022) are powered by 'the misery principle': 'horrible things happen to people for no reason', and the author is 'a sinister kind of caretaker, poisoning her characters in order to nurse them lovingly back to health'. She notes a troubling tendency towards 'infantile' idealisation of mothers and girlfriends in Tao Lin's autofiction, and finds 'something deeply juvenile' about the scatological motifs in Ottessa Moshfegh's novels. Moshfegh's medieval gore-fest Lapovona (2022), fails to shock, because 'You cannot épater le bourgeois without an actual bourgeoisie'; 'the leading coprophile of American letters' is trying too hard to convince us she's not a prude. Reviewing Bret Easton Ellis's 'deeply needless' 2019 essay collection, White ('less a series of glorified, padded-out blog posts than a series of regular, normal-size blog posts'), Long Chu bemoans his descent into fogeyish paranoia, and suggests the author of American Psycho is starting to resemble his most famous creation. 'At some point,' she quips, 'one must ask if a man who sees Nineteen Eighty-Four all around him is really just stuck in the 80s.' A takedown of Curtis Sittenfeld's 2020 novel, Rodham, which imagines an alternative universe where Hillary Clinton never married Bill, is a withering indictment of hollow girl-boss feminism: this is 'an unpolitical book by an unpolitical author about … an unpolitical person'; Sittenfeld's complacency mirrors that of her protagonist, a woman whose 'true talent lies in persuading college-educated people that her ambition, and by extension theirs, is a genuine expression of competence'. A recurring figure in these essays is the successful author with a gripe about oversensitive lefty youngsters and social media mobs. These include Ellis, Moshfegh, Maggie Nelson – whose complaints about art-world censoriousness in On Freedom are dismissed with a huffily italicised 'boring' – and Zadie Smith, whose 'habit of sympathizing with the least sympathetic party in any given situation frequently drives her to the political center'. Long Chu provocatively suggests this tendency is a bit of an act, compensating for Smith's failure to produce a touchstone work of social realism: since Smith has 'never actually excelled at constructing the kind of sympathetic, all-too-human characters she advocates for', she makes up for it with a lofty bothsidesism she thinks becoming of a serious, above-the-fray liberal humanist. Long Chu is similarly unsparing in her critique of the publishing industry's patronising and counterproductive tendency to over-hype minority voices in order to atone for past wrongs. ('This is to respond to pigeonholing by overstating the value of being a pigeon.') In a refreshingly clear-sighted essay on Asian American fiction, she questions whether the experiences depicted in a glut of diaspora novels have anything significant in common beyond their 'diffident, aimless, frustrated' protagonists and a vague melancholy; the much-laboured theme of identity manifests as little more than 'a sensation, a mild, chronic homesickness', and 'the acute experience of racial indeterminacy has diffused into something more banal'. Alongside the literary essays, Authority features dissections of TV shows and video games, and a wryly funny meditation on Andrew Lloyd Webber's musical shortcomings. (His winning strategy as a composer is 'not to persuade but to overwhelm'.) There are also several personal pieces including an essay on vaginoplasty, a fictionalised account of undergoing transcranial magnetic stimulation (a treatment for depression), and On Liking Women, a widely shared 2018 essay about the author's gender transition that kickstarted her writing career. Here Long Chu draws a connecting line between the gender separatist ideology of 1970s political lesbianism and today's anti-trans activists, whom she accuses of laundering 'garden-variety moral disgust'. In another era, such personal material would have sat uneasily in a volume of criticism, and it says something about our cultural moment that it doesn't seem particularly out of place here. As Long Chu observes in the title essay, the subjectivity of the critic is an increasingly visible presence these days. Tracing the vexed debates around critical authority from the 18th century to the present day, she concludes that the concept has always been 'an incoherent, inconsistent, and altogether empty thing'. The job of today's critic is not so much to impart expertise but to become a storyteller in their own right: 'The critic has become a witness, one whose job is to offer up an event within her own experience in such a way that the reader, if she is so inclined, may experience it too.' This checks out. Though Long Chu's writing style is not as overtly chummy as that of her fellow US critic Lauren Oyler, it has a similarly disarming first-person candour, offsetting stridency with spasms of self-effacing humility, and the sort of tentative qualifications more commonly encountered in spoken discourse than on the printed page. ('Perhaps I am being ungenerous'; 'What I mean is that …'; 'My point is that …'; 'I do not mean …'; 'If it sounds like I'm saying … I suppose I am.') These tics can be a bit cloying, and the occasional adolescent turns of phrase feel jarringly regressive: Long Chu uses 'boring' an awful lot; at one point, she introduces a particularly unimpressive quote with 'The following is an actual sentence.' Sign up to Bookmarks Discover new books and learn more about your favourite authors with our expert reviews, interviews and news stories. Literary delights delivered direct to you after newsletter promotion In a postscript to one of the greener pieces in this volume, Long Chu, who is in her early 30s, winces at the prose style deployed by her younger self – 'that kind of bloggy 'voiceyness' was dated even then'. Her anxiety on this score is symptomatic of a generational dilemma for a cohort of American writers who, having been raised to distrust authority – not just as a concept but perhaps especially as a register – and steeped in the highly self-conscious patter of online communities, must now work out how to be publicly clever in a non-overbearing way. In an anti-intellectual media landscape, one way to make yourself legible is to make yourself small. This is the striking thing about Long Chu's authorial tone: she combines the expert and the naif in a single voice, which chimes with a similar dualism in her reader. These essays are essentially journeys – knotty and meandering, with moments of pithy, clarifying insight. If you can hold someone's interest while figuring things out for yourself in real time on the page, you're doing something right. Perhaps the true source of authority is companionable intelligence, and what we think of as sound judgment is just a function of familiarity – comfort in another person's psychic skin. Authority: Essays on Being Right by Andrea Long Chu is published by Hutchinson Heinemann (£20). To support the Guardian, order your copy at Delivery charges may apply.
Times
an hour ago
- Times
Reneé Rapp: Bite Me review — the Joan Jett of modern pop
An odd thing has happened to mainstream pop. We are entering a new era of deathly dull boy-next-door types singing earnestly about their feelings while ensuring that they don't offend anyone in any way whatsoever. See No 1 stars such as Alex Warren, Benson Boone and other perfectly nice young men with a special ability to sit squarely in the middle of the middle. Perhaps, in an age when some silly thing you said as a teenager in a moment of online rashness can be used as evidence of the fact that you are a horrible human being who must be destroyed, these men are so terrified of being cancelled that they have decided the best approach is to be as boring as possible. Yet the new tranche of female pop stars have gone in the opposite direction. From Charli XCX capturing the messiness of a night out to Sabrina Carpenter's submissive sexuality ironically or deliberately setting the cause of feminism back a few decades, via Chappell Roan employing a flamboyance once exhibited by male pop stars such as David Bowie and Marc Bolan, it's the women who are pushing their personas to the limit. Add to this list Reneé Rapp, star of a musical version of Mean Girls and the TV show The Sex Lives of College Girls, who is back with a fun, punky album that throws caution to the wind entirely. 'My manager called me, said, 'Where's the single?'' she moans on Leave Me Alone, a Joan Jett-like litany of complaints about being told what to do, from having to sign NDAs to being ordered to behave in a way that won't damage her career. • Read more music reviews, interviews and guides on what to listen to next Leave Me Alone typifies the new female mood in pop, with its boldness and lack of concern about what people think, which is not easy in an age when technology means that anyone can tell you what they think. Perhaps it helps that Rapp has already made her name playing, as her most famous role suggests, mean girls. She certainly doesn't come across as someone likely to be fretting about checking her privilege. 'Oh Christ, it's getting hard to be nice,' she sighs on Mad, in theory a break-up song but in reality an exasperated critique of a girlfriend who is cross with her. And the mood of the album is best summarised by a summery pop anthem on which Rapp moans about life's annoyances, from agents harassing her to ex-girlfriends still wanting to be with her. It's called At Least I'm Hot. She does show her sensitive side every now and then. On one haunted ballad she laments the 'other woman' destroying her romantic life, but the fact that it is called Why Is She Still Here? suggests she hasn't fully come to terms with her feelings. Amid all this, Rapp's sexuality is never politicised or used as a banner of queer identity, it is simply taken as fact. It means there is something carefree and fresh about the album, even as the songs stick to well-worn formats. Rapp really does come across as someone who is just being herself. And she just happens to be a mean girl. (Interscope)★★★★☆Follow @timesculture to read the latest reviews
