Wimbledon's US power couple take aim at British icons: Ben Shelton brands English breakfasts 'garbage', as soccer star girlfriend hits out at Andrew Castle for comments about her VERY famous father
Potential men's singles champion Ben Shelton, who plays Jannik Sinner in the quarter-finals on Wenesday, denounced the staple of kitchens and pubs across the land as 'garbage'.
The No 10 seed is going out with Trinity Rodman, a football player and daughter of basketball legend Dennis Rodman, who has also hit out at Andrew Castle and the BBC for their coverage of her support.
Number 10 seed Shelton risked the wrath of traditionalists as he gave fry-ups a grand score of 0/10 when quizzed by BBC Sport about quintessential aspects of British life.
Fish and chips? He's alright with that - 7.5/10. A cup of tea? He went for a 9/10 there. But Shelton, 22, did not hold back when it came to assessing a traditional full English breakfast.
'It's terrible,' he said. 'Nah, English breakfast is garbage. Who puts beans in?'
Rodman, a football player and daughter of basketball legend Dennis Rodman, has hit out at Andrew Castle and the BBC for coverage of her presence - including getting her name wrong
'Oh, so you don't like beans on toast?' his interviewer asked. Shelton hit back: 'What are we doing? It's terrible.'
The Georgia-born hitter also finds England lacking in another sense beyond his disgust over its beloved breakfast.
In a swipe many fans could probably get on board with, he rated the roads in England a 0/10.
'I think this is the worst place to drive in the world,' he said.
'You make the road and you let people park on the side of the road, so there's only room for one car, but then you say it's a two-way street.
'So then you have to pull in and parallel park so one guy can go past, and then the other goes past. It takes you like 35 minutes to go three miles.'
Back in the United States, Shelton's profile is rising on and off the court as he is also dating football star Rodman. The Washington Spirit forward and the tennis star publicly revealed their relationship in March.
And while she has had plenty to cheer at SW19, Rodman, 23, has also had a frustrating time and she has hit out at how her presence has been covered by the BBC.
She previously said on a podcast: 'He's not a dad. Maybe by blood, but nothing else'
She called out commentator Andrew Castle for repeatedly calling her 'Tiffany' and for the fixation on her being Rodman's daughter.
Trinity has previously stated how strained her relationship is with her father, an NBA Hall of Famer who became known for living an outlandish, womanising lifestyle.
Dennis divorced from Trinity's mother Michelle Moyer in 2012 and went long periods without speaking to his daughter.
Trinity said last year that she does not even have his number saved on her phone, but she fields his occasional calls.
'I answer the phone now for my conscience, to be like, he needed to hear my voice before anything else happens. That's why I answer the phone, not for me,' she told the Call Her Daddy podcast. 'He's not a dad. Maybe by blood, but nothing else.'
At Wimbledon this year, she hit out at coverage of her support for Shelton on Instagram.
'For those who don't know, my name is TRINITY not Tiffany,' she wrote on Instagram.
'Also, for Ben's matches he has his family there as a support system, which includes his dad.
Shelton has been as far as the semi-finals in the the Australian Open and the US Open
He and Rodman went public with their high-profile sports relationship back in March
Shelton will face Jannik Sinner in the quarter-finals of the men's singles on Wednesday
Wimbledon commentator and former British No 1 Castle has taken the heat for his error
'My dad is not even in MY life, no need to bring him up during HIS matches when I don't even want him talked about during mine. It's him and his loved ones' moment. Thank you.'
Outside of these barbs, powerful server Shelton has been in the headlines this tournament for his tongue-in-cheek remarks and jokey relationship with the crowd.
After beating Lorenzo Sonego in four sets in the last 16, he mocked the Wibedon crowd for their lack of American football knowledge.
Asked about his background as a quarterback in the sport, he quipped: 'I'm not sure many people in the crowd know what that is. They use that brown, oval-shaped ball, sometimes they kick it between the uprights,' Shelton hilariously remarked.
'And probably the only thing that's a great correlation with tennis is the serve, as you guys can probably see. And so, yeah, that's kind of the one thing that I took from football onto the tennis court.'
His sister Emma has also gone viral after convincing her bosses at Morgan Stanley in the United States to give her another week off to support Shelton.
After his third-round victory over Martin Fucsovics on Saturday, Shelton called on his sister's bosses to extend her break in his post-match interview.
'I've been playing well this week,' he said. 'It's not just me here, I have a great team. My parents are here, my girlfriend is here. Also, my sister is here – she's been here for every match I've played at this tournament so far, she's been a lucky charm.
His sister and 'lucky charm' Emma, has been in the headlines after getting her holiday extension approved by Morgan Stanley to support Shelton for more matches
'But she has work back in the US starting Monday. She works for Morgan Stanley' - a comment at which the crowd started booing' so he continued: 'Hey! Come on now!
'She works for Morgan Stanley, so if any of y'all have connects and can get her a couple more days off so we can keep this rolling, that'd be great!'
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BBC News
23 minutes ago
- BBC News
Mid-Suffolk Light Railway celebrates track extension
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The Independent
25 minutes ago
- The Independent
Would Jake Paul stand a chance against Anthony Joshua?
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Height and reach Should the two ever meet, the starkest difference between them would be the enormous five-inch height discrepancy paired with a six-inch reach difference. 'AJ' stands at a towering 6'6' compared to Paul at 6'1'. This presents a well-documented set of problems. To be able to have any success over a man of Joshua's skill and size, Paul must be able to get himself close enough to land. Because of his amateur pedigree, Joshua has well-schooled footwork and a long, sharp jab, which, if Paul cannot get past, will leave him at the end of a volley of heavy artillery. But this is not a challenge unique to the American; such is the breadth of the heavyweight division, with no weight limit, fighters come in all shapes and sizes. Examples of fighters who have been able to overcome similar height and reach disadvantages are David Haye and Mike Tyson. 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Weight Joshua has been consistent in his weight throughout his career, usually tipping the scales between 240 and 250lbs, putting him toward the upper end of the division. Paul usually weighs between 190 and 200lbs as a cruiserweight. But when he fought Mike Tyson, he bulked up to an impressive 228lbs to match the former heavyweight champion. But this steep increase in weight saw Paul perform sluggishly against Tyson and struggle with his endurance, something he cannot afford to do against an athlete like Joshua, who has been conditioned at his weight for well over a decade. If we draw a comparison to Oleksandr Usyk, who holds a similar frame to Paul, the way in which he was able to find success, at his size, against Joshua was with constant upper-body and lateral movement. If Paul can condition himself at 220lbs to be able to maintain that constant motion and work rate, then he might be able to overwhelm Joshua in the early going, but he must be proactive. Experience Experience cannot be substituted – thousands of hours of drilling, sparring, studying and most importantly, fighting all carve an elite level fighter out of the stone of a plucky amateur with dreams of one day holding a world title. This is an insurmountable disadvantage for Paul that would, without a doubt, show if the two were to fight. AJ had a glittering career as an amateur fighter, winning multiple national championships, a silver medal at the world championships and a famous gold medal at the 2012 Olympic Games in London. Across over 50 fights, Joshua will have had access to the best coaches and sparring partners at the Performance Institute in Sheffield, honing his skills to eventually turn over as a professional. Paul has no amateur background to speak of, having only one white collar fight before becoming a pro and has since accumulated 13 fights, boxing a total of 70 rounds. Joshua is more than double Paul's total in both total fights and rounds. This gives him not just the benefit of more time in the gym, but also more experience with different styles and the ability to stay composed in times of trouble. Recent form Momentum and activity are essential components for a fighter to be able to build confidence and trust their ability to perform. Paul certainly has the benefit of both, coming off a career-best win against Julio Cesar Chavez Jr and being undefeated in his last six fights, putting himself in with increasingly staunch opposition. Both of the American's last fights have gone the distance, with Paul walking away as the clear winner, showing a man full of confidence in his ability to see out a contest. A knockout defeat against Daniel Dubois has punctuated a downturn in Joshua's career, started by back-to-back losses to Usyk. Joshua has not beaten a fighter resembling elite level since Andy Ruiz in 2019. It is important to mention that 'confidence' is an intangible asset and cannot be measured, but if Paul enters the ring with the belief to go at the former champion and ignore the obvious physical disadvantages, then he might just stand a chance at being competitive. A DAZN subscription provides access to over 185 fights a year across a range of combat sports from the world's best promoters.
The Independent
25 minutes ago
- The Independent
The Maccabees on reuniting: ‘There were years when it was like a stranger messaging'
I n a dank rehearsal room in New Cross, bathed in an eerie green light that clings to the walls like moss, The Maccabees are easing back into each other's orbit. A headline appearance at All Points East is still months away. Nearest me is their guitarist Felix White, dressed all in black. 'Any requests?' he asks me. Soon the air is thick with nostalgia. Guitars twitch and flicker. Drums roar. Then in comes the choirboy vocal, clear yet quivering, as if frontman Orlando Weeks is on the verge of an apology: 'Mum said no/ To Disneyland,' he sings. 'And Dad loves the Church. Hallelujah.' It's the first time I've heard 'Lego', from their 2007 debut album, since the south London band bowed out eight years ago. But here are all the early Maccabees hallmarks: staccato riffs, adolescent romance, tenderness wrapped inside tension. Back then, in the harried sprawl of mid-Noughties UK indie – a scene of skinny jeans, dirty dance floors and MySpace pages – they briefly seemed to be just another charming, successful young band, writing cool, funny songs about wave machines and toothpaste. Yet they were always headed somewhere else, evolving, their sound increasingly adventurous on their way to a Mercury Prize nomination, an Ivor Novello award, a No 1 record and a headline performance at Latitude. Then it stopped. Seemingly out of nowhere, in August 2016, the group announced they were to be no more, save for a series of farewell celebration shows at Alexandra Palace the following year. 'We are very proud to be able to go out on our own terms, at our creative peak,' a statement read. 'There have been no fallings out.' Fans were bereft. In the years since, details of the split have remained hazy: by all accounts, it was not so much a blow-up as a simmering of fractures and differences. The pieces didn't fit together any more. While Weeks told The Independent in 2020 that the band 'just ran out of steam', blaming the creative frustrations of working as a group, it's clear a cooling-off period was needed. 'With Orlando,' says Hugo White, a guitarist in the band like his older brother Felix, 'there were a few years we didn't speak. You'd send one text maybe in six months.' They had been together their entire adult lives. 'I was 16 when I started the band,' Hugo notes. 'I was 30 when we split up.' Keeping five people together at that age 'locked into a diary that's scheduled for the next year, all intertwined in [each other's] lives', is difficult, he says. 'And I think that kind of broke in a way.' At that point, the five of them all agree, the idea of ever getting the band back together seemed inconceivable. 'It felt final,' says Weeks, who has now released three excellent solo records. 'Extremely final,' Felix jumps in, amid laughter. 'We needed it to be like that in order to move on,' says Hugo. 'It couldn't linger around.' Felix White during The Maccabees' set at the 2009 Isle of Wight Festival (Getty) We're 10 minutes in, and the group dynamic of The Maccabees is already unmistakable – a familial rhythm of in-jokes, unspoken cues and roles that feel shaped over years. If Weeks is the reluctant frontman, softly spoken and meditative, Felix is the band's ebullient cheerleader. Brooding opposite him is Hugo, with a jaw as sharp as his humour, cracking a number of close-to-the-bone barbs about the breakup. Drummer Sam Doyle and bassist Rupert Jarvis are here, too, quieter, more enigmatic. Though the mood is celebratory, there's no doubt the split was a difficult pill to swallow. 'It was so weird because you've made such a commitment to each other from a young age,' Hugo later tells me. 'So the idea that someone wants to make music outside of that group, with other people – it's almost like a betrayal... Even though it isn't.' For Felix, the way it ended, just as The Maccabees had finally earned their place at indie's top table, was, by his own past admission, 'heartbreaking'. 'We were mid-thirties and there was a real sense of saying goodbye to a part of your life,' he told us last year. The Maccabees wasn't the only breakup Felix was going through. At the same time as those bittersweet Alexandra Palace shows, he was also parting from his girlfriend Florence Welch, of Florence + the Machine. There was so much change in the air, Felix says, that it was difficult to navigate. 'Lots of endings happening in lots of different versions of life.' But then change has always been reflected in The Maccabees' music. Just as they became more expansive sonically, with gauzy guitar textures and swirling atmospherics reminiscent of Arcade Fire, so their lyrics matured. Gone were the chewed-up Lego pieces, replaced by introspection and songs concerned with the vicissitudes of ageing. Enjoy unlimited access to 100 million ad-free songs and podcasts with Amazon Music Sign up now for a 30-day free trial. Terms apply. Try for free ADVERTISEMENT. If you sign up to this service we will earn commission. This revenue helps to fund journalism across The Independent. Enjoy unlimited access to 100 million ad-free songs and podcasts with Amazon Music Sign up now for a 30-day free trial. Terms apply. Try for free ADVERTISEMENT. If you sign up to this service we will earn commission. This revenue helps to fund journalism across The Independent. Orlando Weeks performs during the band's 2013 Isle of Wight set (Getty) On a personal level, growing up with The Maccabees, all of us more or less the same age, I've always felt a strange sense of ownership over them, as if they are my band, a soundtrack to my coming of age. I was 20, still flinging myself across sticky, student dance floors in torn Levi's, when a mutual friend played them to me just before the release of debut album Colour It In. Then, two years later, nursing a broken heart, I found myself near Felix in the crowd as Blur played the Pyramid Stage at Glastonbury. 'I fell in love to your first album,' I told him. There were other encounters, too, running the gamut from cringe to extremely cringe. Backstage at the Isle of Wight Festival in 2011, introduced to Hugo by a PR, I careened into fanboy overdrive, explaining more than once that 'your band changed my life'. Professionally speaking, I couldn't be trusted to be objective, either: I spent years wearing down a late, great music editor who refused to let me write about them. Eventually, she caved, and I reviewed them at Brixton Academy, not knowing it would be one of their last shows. (Headline: 'Is it time The Maccabees headlined Glastonbury?') Of course, they're not just my band. Recently, at a stag do in the Scottish Highlands, I derived immeasurable joy from watching the groom-to-be insist on playing four vintage Maccabees songs back-to-back at 3am, those time-capsule choruses still a bottomless font of bonhomie. To me, in an era of swaggering, hyper-macho indie landfill, with bands such as Razorlight and The Rifles, their music always stood apart, shimmering with warmth and depth. Evidently, Danny Boyle thinks so too. For a pivotal scene in his film Steve Jobs , he turned to the sweeping, crepuscular tones of 'Grew Up at Midnight', lifted from the band's critically acclaimed 2012 record Given to the Wild. 'We thought that was going to make us f***ing massive in America,' says Felix. 'They used the whole song at the end and we were like, 'Oh my God, we're going to America, people…'' He pauses… 'F***ing nothing. If anything, we were smaller after the film came out.' The Maccabees at the NME Awards in 2016, shortly before their split (AFP/Getty) Be that as it may, there's no downplaying the magnitude of those farewell shows, which felt part celebration, part elegy. I was there and can attest to just how emotional they were. 'There was a real sense when those last Maccabee shows happened that everyone had been, was a particular age, and it became sort of symbolic for saying goodbye to a certain part of your life – sort of early thirties,' says Felix. 'That idea of real adulthood was upon everyone, that you're definitively ending a stage of your life – and it felt like it was inside all of the rooms when we played those shows. It felt like everyone was pouring their own collective sense of goodbye into it, whatever that might be – relationships, being young, people that couldn't be there, all that kind of stuff. So it felt very heavy.' For a while, it seemed that Felix would not look back as he set off on new paths. He launched Yala! Records, wrote the cricket-themed memoir It's Always Summer Somewhere and started a cricketing podcast called Tailenders with radio host Greg James and England's all-time leading wicket-taker Jimmy Anderson. But as time passed, he realised, 'you do get to a point where you're like, actually, life doesn't last forever. If we want to do this, it could be a really beautiful thing.' There was a recognition that it would likely feel that way for their fans, too, who had felt the poignancy of their parting, and had since perhaps been doing a lot of the things that the band had been doing, like starting families and spending more time at home. 'As a Maccabee through the ages, I think you can really hear that in the music: you can hear that we're 19, you can hear that we're 24 and so on. And the gigs used to feel like that, like when we were first playing, and there used to be people hanging from the ceiling and shoes flying everywhere and all that kind of thing. And then, as we got older, it changed into something more introspective.' As we got older, it changed into something more introspective Felix White Cut to Glastonbury this year and there The Maccabees are, headlining the Park Stage, with a comeback set that weaves all those elements together. Yes, there's introspection, but also that frenetic energy; if there'd been a ceiling, you can be sure people would have hung from it – perhaps without their shoes. 'We never thought we'd be playing these songs again to anybody,' Felix said to the crowd. So how come they are, I ask? The catalyst, Hugo says, was his wedding to the author and poet Laura Dockhill in lockdown. After hiring out a pub in Battersea, he invited Weeks on the condition, he jokes, that he would sing. 'And just for the after party,' Felix chimes in, laughing. 'It's not an open invite!' And so, for the first time since Alexandra Palace, all five of them were in the same room. Their friends Jack Peñate, Jamie T, Florence Welch and Adele all performed that night. Crucially, so, too, did The Maccabees. Reuniting, says Weeks, 'didn't feel forced, because after the end of something like The Maccabees, to coordinate a meeting felt sort of contrived. Then, suddenly, there was this event that was a very obviously uncomplicated reason to all be together.' After Covid, he explains, there were tentative conversations about a reunion. Slowly, the pieces aligned. The White brothers' new band 86TVs were forced to pause their plans after Stereophonics called back their drummer, Jamie Morrison, for a tour. 'So, suddenly, there was this fallow year for them,' Weeks continues, 'and I had finished my stuff with [his 2024 album] Loja. So it was just a natural hiatus there. If there hadn't been an All Points East that felt so good, then it might easily have just drifted and not happened. But it just felt very uncomplicated again.' The boys are back in town: The Maccabees at Glastonbury 2025 (Jill Furmanovsky) Certainly, their Glastonbury set had a natural ease and coherence. 'The thing that I was really noticing was that me, Land [Orlando] and Hugo all used to do this thing where we'd all move at the same time, like unintentionally choreographed,' says Felix, when I meet him and his brother again a few weeks after the festival. 'You'd do two steps forward, stand still, three steps back, and you feel everyone do it at the same time. Like, weird, telepathic, synchronised. And here we were doing it again.' Falling unconsciously into step with one another without even speaking, he says, was 'so weird... even beyond the playing, like it was in your body somewhere'. Beforehand, though, 'I was f***ing nervous,' says Felix. 'And the TV thing really does heighten the whole experience.' 'You can't really get a more high-pressure scenario,' agrees Hugo. They'd been calm in the days leading up to it, but that changed on the day, explains his brother. 'Land had this thing in his head where he was saying randomly, sporadically, with no context, how nervous he was out of 10. So you'd be having a chat, and he'd suddenly go 'seven', and then half an hour later, it'd be 'six', and then 'nine'.' Nerves aside, the band were thrilled with how it went. 'I didn't come down from it for days,' says Felix. The set was capped by an appearance from Welch, now back with Felix, for a rendition of her galloping 2008 hit 'Dog Days Are Over'. 'It was a rehash of what we did together at the wedding,' says Hugo. 'As soon as she sings in a room, it changes. She has that thing where she changes the atmosphere in the inner space, and it's really rare.' The whole process was very different from the classic rock cliché of 'putting the band back together' – rebuilding relationships took time. 'We'd meet up with our kids on the South Bank,' says Hugo. 'Stuff that is so far from how we would have spent every day. After a year of not speaking or whatever, you know, you go for a coffee and walk for an hour. Hugo White: 'Florence has that thing where she changes the atmosphere in the inner space, and it's really rare' (Getty) 'Obviously, it's different now,' he adds, 'because Land lives in Lisbon, but things are just back to how they were. And there were years where it was like a stranger messaging you.' Of course, there have been seismic shifts in the musical landscape since The Maccabees formed in 2004 over a love of The Clash and the BBC series Old Grey Whistle Test, which featured punchy, angular performances by the likes of Dr Feelgood and XTC ('You can see why it looked fun to play fast,' says Felix). These days, the industry is 'less focused on bands', says Hugo. 'People are creating these things on computers. Because it's cheaper, it's easier. It doesn't require the same effort as five individuals that connect in a certain way to be able to create something.' Jarvis agrees. 'It's so much more expensive to just be a new band. Back when we first started, we'd chuck in a fiver each to go and spend four hours rehearsing, [but] that doesn't get you anywhere nowadays,' he says. 'I feel very sorry for the new bands because of that, and there's a lot less new bands. You really notice that – there are fewer venues, fewer nights out, fewer things going on for bands to form a scene.' As the fashions of the scene that spawned The Maccabees in the indie sleaze era made a comeback, Weeks saw his past life through a new lens. 'We must be far enough away from that moment to look back at those pictures with a kind of giddiness,' he says. 'The colours and the weird asymmetrical haircuts and plimsoles and acrylic Perspex dangly little earrings and all of those things that, at the time, didn't feel nearly as cool as looking back at photos of The Clash. But we're far enough away from it now that it owns its identity.' The tribalism of the era, when you could tell which aisle of HMV a person would head to just by their hairstyle, holds a romantic pull for the band. 'There was still so much DIY-ness about it all,' says Weeks. 'There was more of a look, a cohesiveness of aesthetic.' Felix recalls being at a metal bar in Camden recently, 'and they've all got a look. That made me feel really nostalgic and jealous thinking, oh, I can't remember being in a place where everyone's got this code that makes them all sort of connected.' Felix White (far left): 'We spent two and a half years in full-on mania making 'Marks to Prove It'' (Jill Furmanovsky) Though the average fan's taste may seem more diverse than ever, Hugo wonders if something was lost in the transition to pick-and-mix fandom in the streaming era. 'You used to buy one album and listen to that until you got another album. [Nowadays] you don't have to listen to one album.' He stops himself and laughs. 'Do they even listen to an album? You just dart between songs like social media, scrolling through things.' The Maccabees seem conflicted about social media generally – especially its demands for self-promotion. 'When Marks to Prove It came out in 2015,' Felix recalls, 'we had a long conversation about whether we should even put on the Instagram that the album's out. We spent two and a half years in full-on mania making this record and it was generally like, is it naff to say the album is out today?' 'When you think what kids like the young artists now are expected to do, it's just, like, mind-blowing in comparison to how things worked for us,' Hugo says. 'We were so fortunate to be able to make stuff as a group of people and not be in this constantly competitive environment.' 'Just being not part of promotion,' Weeks marvels. 'Yeah, it was always someone else in control,' says Doyle. 'Deliver the artwork and they would promote it by getting posters up or whatever it was,' adds Hugo. I'd love to have seen Nick Drake's Instagram. Imagine him asking people to swipe up and share Felix White The sort of 'savviness' that self-promotion requires was not what set them on their way, notes Weeks, picking out current bands he likes – Divorce, Caroline, and Black Country, New Road – who have 'accidental alchemy' but also manage to be engaging on Instagram, without having to lay bare their 'private, inner workings'. 'I'd love to have seen Nick Drake's Instagram,' says Felix, laughing. 'Imagine him asking people to swipe up and share.' It's clear that as they prepare to play All Points East, headlining a bill that includes Irish sensation CMAT and indie stalwarts Bombay Bicycle Club, laughter and good vibes have returned to The Maccabees. 'Everyone's in a good headspace and connecting with each other, and that's allowed it to be stronger,' notes Hugo. Which raises the question: will there be more music from The Maccabees in their forties? 'Do you think that means we would make better music or worse music?' asks Felix. It'll be a different stage of life, for better or worse, I reply. 'It'll be slower,' laughs Hugo. 'There's a good feeling about it,' Felix says, with a wry smile. 'It's tempting…' The Maccabees headline All Points East on 24 August in Victoria Park; last tickets are available here . Reissues of their albums 'Colour It In' and 'Given To The Wild' are released on limited edition vinyl on 22 August. You can pre-order here
