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The 'rascal' and the radical: How Michael and Emily Eavis have shaped Glastonbury

The 'rascal' and the radical: How Michael and Emily Eavis have shaped Glastonbury

Sky News4 hours ago

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Around 200,000 music fans have descended on Worthy Farm in Somerset for this year's Glastonbury Festival.
Days before this year's event began, its owner Michael Eavis announced he was transferring most of his financial stake in Glastonbury to his daughter Emily Eavis.
So, who is the new owner of Glastonbury?
Host Niall Paterson is joined by Sky's arts and entertainment editor Claire Gregory as they look back at the unlikely transformation of Michael Eavis, from dairy farmer to festival mastermind, and ask how Emily Eavis may shape Glastonbury's future. Niall also speaks to artist Joe Rush, who has known Mr Eavis since 1985.

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How trendsetting Brit Anna Wintour became fashion's ultimate force at Vogue – with NO ONE safe from her sharp tongue
How trendsetting Brit Anna Wintour became fashion's ultimate force at Vogue – with NO ONE safe from her sharp tongue

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  • The Sun

How trendsetting Brit Anna Wintour became fashion's ultimate force at Vogue – with NO ONE safe from her sharp tongue

SHE came, she saw the fashion world from behind her Chanel sunglasses, she conquered. After 37 years as the formidable force on US Vogue, Anna Wintour is stepping aside as Editor-in-Chief. 6 6 The move marks the end of an era, in which the UK-born power player ruled the fashion industry with a perfectly manicured fist. One flick of her hair or glance and your fate was sealed. Dame Anna, honoured by Queen Elizabeth II in 2017 in full Chanel couture, turned unknown models into stars, transformed 'trashy' celebs into tastemakers, and set trends the high street copied. Her signature razor-sharp bob — which she has had since the age of 14 — needs two daily blow-dries (morning and evening) and near-constant trims. Her attitude is equally polished — and feared. Nicknamed Nuclear Wintour for her icy reputation, she remains fashion's most enigmatic personality. The documentary The September Issue offered a rare peek inside Vogue's Manolo Blahnik-strewn corridors, capturing the chaos of assembling an 840-page edition of the magazine in 2007. Debuting in 2009 at Sundance and grossing around £7million, the film cemented Anna's status as the ultimate force in fashion. Surrounded by 'thin, rich and young' people Her frosty persona inspired The Devil Wears Prada's Miranda Priestly — Meryl Streep's pursed lips and cutting glares were taken straight from the Wintour playbook — and even The Incredibles' eccentric designer Edna Mode was modelled on her. But inside Vogue, Anna's power wasn't a scowl or stare. It was a yellow Post-it note stuck to the bottom of a printout, bearing the a seal of approval 'AWOK' — Anna Wintour OK — which could make or break careers. One star Anna truly legitimised was Kim Kardashian. When she boldly put Kim and then-fiance Kanye West on Vogue's cover in 2014, the fashion elite gasped. 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Rod Stewart urges voters to 'give Nigel Farage a chance' as he reveals what he really thinks about Keir Starmer
Rod Stewart urges voters to 'give Nigel Farage a chance' as he reveals what he really thinks about Keir Starmer

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Rod Stewart urges voters to 'give Nigel Farage a chance' as he reveals what he really thinks about Keir Starmer

Rod Stewart has urged voters to give Nigel Farage a chance as he criticised both Sir Keir Starmer and the Conservatives. The singer, who is well known for hits such as Baby Jane and Maggie May, said he thinks the Reform UK leader is coming across well. Meanwhile, Sir Rod, 80, was critical of the Prime Minister's decision to cut off fishing in Scotland and give it back to the EU, saying this move has not made him popular. He also thinks the nation is fed up of the Tories. The rock legend told The Times: 'We've got to give Farage a chance. He's coming across well. Nigel? 'What options have we got? I know some of his family, I know his brother, and I quite like him.' Sir Rod, who is due to sing at Glastonbury on Sunday, explained that he doesn't think he is out of touch with ordinary people, even though he his 'extremely wealthy'. His comments on the UK's political landscape come after he previously spoke about about a problem with potholes around his £4.6million Essex mansion. In 2022, he delighted fans as he donned a high-vis jacket to fill in the craters outside his home. Sir Rod had said he was driven to take action 'as no-one can be bothered to do it'. The issue, however, continued to persist even after the local council said it would re-lay the road to fix the issues with the surface. And last November, he announced he was considering selling his Italian supercar collection over the pothole issue. Sir Rod wrote in a post on Instagram: 'I am extremely fortunate and eternally grateful to be the owner of these five beautiful hybrid sports cars, which, in my opinion, are true "works of art". 'Unfortunately, because of the potholes on our roads, I may have to find new owners for them. 'I've been driving these iconic Italian cars since the seventies, and I absolutely love and adore them.' Sir Rod was also quick to nip any criticism of his broadside in the bud. He added: 'This post is for my fans—thank you, as you are the sole reason I own them. And to all the trolls… don't bother; I never read the comments.' Sir Rod is due to perform at Glastonbury Festival at Worthy Farm in Somerset on Sunday. The legend who has not sung at the event since 2002, confirmed that his Faces co-star and Rolling Stones guitarist, Ronnie Wood, will be making an appearance.

Alanis Morissette at Glastonbury review – spectacular sundown set by a unique feminist artist
Alanis Morissette at Glastonbury review – spectacular sundown set by a unique feminist artist

The Guardian

time29 minutes ago

  • The Guardian

Alanis Morissette at Glastonbury review – spectacular sundown set by a unique feminist artist

Alanis Morissette has landed the coveted pre-headliner 'sundowner slot' on the Pyramid stage on Friday, and without any significant clashes, setting her up for a healthy crowd. Just in case you're not familiar with who she is, her set opens with a helpful explanatory video emphasising her cultural impact with testimonials from Kelly Clarkson, Halsey and (actual Glastonbury headliner) Olivia Rodrigo, as well as clips from interviews giving a brief overview on her views (anti-war: 'naturearchy' over patriarchy). This brazen American narration letting you know that you're about to see a seven-time Grammy award-winner and a Very Influential Artist strikes a slightly odd note (or maybe just an un-English one). The spirit of Glastonbury, after all, is one where even the biggest star in the world must profess earnest and heartfelt gratitude for having been permitted to so much as cross the threshold of this holy ground; Morissette's video intro, emphasising her importance – under-acknowledged as it may be – risks setting expectations unattainably high. However, when Morissette takes the stage, she is very quick to show that she deserves them. After a little trill on her harmonica, she introduces One Hand in My Pocket, one of her best-known songs. It's a smart move, not only inviting the audience to join in with its built-in choreography (one hand making a peace sign, one hand holding a cigarette – good luck hailing that taxi cab!) but also signalling that she's setting out to play a crowd-pleasing set, and not planning to hold back on the hits. For anyone who has cared to see beyond her reputation as the Canadian singer of Ironic and/or an angry man-hating feminist – as she was persistently dismissed, even at her career peak – Morissette has always been defined by her voice. It's both incredibly powerful, capable of the octave-jumping acrobatics that define pop's most lauded singers, but also – more unusually – idiosyncratic: you don't have to be very familiar with her back catalogue to be able to do a quickly guessable impression. Thirty years on from her album Jagged Little Pill, no one would fault Morissette if she wasn't able to summon the raw power that made that album so enduring. It's defined of course by You Oughta Know, a song that makes every other song subsequently described as having been 'inspired by female rage' (and there have been many!) sound as if they were written by ChatGPT. But if there were any doubts about her voice among the crowd, Morissette dispels them instantly, really putting some welly into her trademark warble, even for One Hand in My Pocket – one of her lower-intensity hit songs. 'Got some pipes on her, eh,' my sister messages me from elsewhere in the field and I can only agree. The focus of this set is on Morissette as a singer, as much as a songwriter, and it's refreshing – after a decade now of whisperpop, and even the angriest young feminists in pop seemingly struggling to actually raise their voices – to hear what a well-trained diaphragm is capable of. Perhaps relatedly, Morissette keeps the chat between songs to a minimum, thanking the crowd with an ear-to-ear smile then launching into Right Through You. On the screen behind her, a series of stats scroll through highlighting the multi-faceted grim reality for women today, still – from higher rates of depression and anxiety than men, to a tiny share of the world's total wealth, to dismal stats of partner violence. It makes explicit the sexism and disrespect that has dogged Morissette through her career and brings it into the anniversary set, concluding the song with the question: 'Why are we afraid of the divine feminine?' Morissette lets the question hang, or lets her songs speak for her. She introduces her band one member at the time, saving the crowd from the typically long list of names, but otherwise keeps focused on the set. When she launches into Hands Clean, another belter, you may be starting to realise she's got more great songs than you remember. The sheer proliferation of hits, many from Jagged Little Pill alone, keeps the set pacy. Head Over Feet, featuring a harmonica solo, lifts the energy after the earlier sobering messaging. Her charm as a songwriter lies in this duality of perspective, with Morissette being equally capable of razor-sharp clarity and also the feminine right to set it every aside once in a while. A rhythm emerges to the set where, along with the member-by-member introduction to her band, Morissette showcases her vocal skills before launching into the song itself. The life-affirming energy of You Learn is lost to Smiling, a dirge-y ballad most reminiscent of Evanescence, which only Morissette seems to enjoy, twirling around on the stage as though entirely alone. But Ironic is triumphant, a big singalong that gets everyone up and on their feet, even at the very crest of the hill – and You Oughta Know is ironclad, as powerful and shockingly direct as on your-ever listen. When Morissette concludes her set with Thank You – after of course thanking us, the audience, for the 'bucket list' show – she seems to mean it and the feeling is mutual.

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