Latest news with #IanDury
Daily Mail
14-05-2025
- Entertainment
- Daily Mail
EXCLUSIVE Ian Dury's musician son Baxter reveals he lost his licence... after Jeremy Vine filmed him using a mobile phone while driving - as presenter dubs situation 'unfortunate'
Ian Dury's son has admitted he lost his driving licence after he was filmed using his phone while driving by Jeremy Vine - who has called the situation 'unfortunate' and expressed his 'love' for his father's music. Musician Baxter Dury, 53, said he was caught red-handed by Vine as he was driving back to his west London home from producer Paul Epworth's studio where the pair were working on his new album Allbarone. Speaking to BBC 6 Music's Roundtable host Huw Stephens, Baxter said: 'Do you know what? This is a tragic story, but I drove there for the first half (of making the record) and then lost my license.' The son of the late 70s punk-rock icon added: 'I got caught in a traffic jam, and Jeremy Vine took a film of me looking at Instagram, which he deserves to, I'm not arguing about (it). Shouldn't probably say that publicly, he's probably in the other room, isn't he?' BBC Radio 2 presenter Vine is a keen cyclist who has been described as 'willing to die in defence of the Highway Code' for filming dodgy drivers with his helmet camera on his daily commutes through London's congested roads and reporting them to the police. Responding to Baxter's comments, Vine, 59, today told MailOnline: 'This is very unfortunate. I would like Baxter to know that I love his dad's music. 'I'm afraid mobile phone use in cars in London, particular the posher parts, is an absolute curse. So I am quite tunnel-visioned about it. 'We have 1700 road deaths a year. Sorry to be serious about it. Best wishes to Baxter.' Until April, Vine spent years posting videos of drivers endangering themselves, others and cyclists online 'to get all of us who drive to think about the dangers of trying to move around cities on a pushbike'. However, he decided to stop uploading them due to the relentless abuse from critics who accused him of persecuting motorists and the theft of his £620 bicycle. In his announcement on X, the TV personality wrote: 'I'm stopping my cycling videos. The trolling just got too bad. They have had well over 100 million views but in the end the anger they generate has genuinely upset me.' He said a 'regular theme' from haters was to see him 'crushed by a truck' and posted screenshots of nasty comments, including one which said: 'Surely this "man" has to be England's biggest a***hole. It mad be terrible but I hope he falls under the wheels of five cars that reverse and make sure the jobs done'. The Channel 5 debate show host has even received death threats for his controversial activism with two currently being investigated by the police. In 2017, a driver who honked her horn and shouted abuse at Vine was convicted of threatening behaviour and a driving offence. He caught the incident on his camera and uploaded it to Facebook where it was viewed over 15 million times. 'I know I've sometimes got a little cross when a driver has, say, pulled out without looking, but I only ever uploaded the film to show the danger,' he added in his X post. Whilst he no longer posts his footage online, Vine, who 'never made a penny' from the videos, continues to film and report law-breaking drivers in an effort to improve safety on London's dangerous roads. He said will miss the 'creative freedom' that he had in making the videos - which became more elaborate in their edits as he got better at making them. 'Some of the biggest videos were actually about the smallest incidents, like someone turning left in front of me,' he said. 'People are happy to discuss it and I actually think that we'd all be safer if we all understood each other. 'People are going to drive 4x4s in Kensington and whatnot but they need to have a bit of care for me on a bicycle. 'You might be in total control when you pass close by but the person on a bicycle doesn't know that. I just hope I was part of a dialogue about it.' Vine does believe the level of cycle awareness in the capital has actually improved in the years since people began shaming drivers online - likely because more and more people are taking to the roads on two wheels. 'It's a remarkable thing, and London has made astonishing progress. In the City of London there are more cyclists than drivers,' he said. A recent official Corporation study that found bikes make up 56 per cent of peak time traffic. One in six of those bicycles are dockless hire bikes, such as those operated by Lime and Forest. The upturn means the City smashed a 2017 target to boost cycling by 50 per cent by 2030. It has already increased by 70 per cent as of 2024. Despite this, Vine does think that there will still be arrogant drivers who see the roads as theirs and theirs alone. He joked: 'The key thing to remember is that there is no amount of bad driving anywhere that can't be blamed on a passing cyclist.'
Scottish Sun
08-05-2025
- Entertainment
- Scottish Sun
Inside the old tube station being converted into a Wetherspoons with original ticket hall
YESTERDAY JD Wetherspoons announced a number of new pubs opening across the UK in the upcoming years - one of which will be in an old tube station entrance. The pub will be located in one of the former entrances of Fulham Broadway tube station, that closed in 2003. 6 The Market Hall used the ticket booth as a bar Credit: Market hall 6 The Edwardian ticket hall originally opened in 1880 Credit: Market hall 6 In 2018, it was converted into a Market Hall food court Credit: Alamy The site currently includes the original Edwardian ticket office, including a vintage 'To The Trains' sign. It is thought the original features will be kept and the pub will include a new beer garden roof terrace. It is also understood that the pub will be named Walham Green and open on June 17. Having originally opened in March 1880 as Walham Green, the station used to operate the District Railway, which is now known as the District Line. The original station building was then later replaced in 1905 with a new entrance designed by Harry W Ford, the architect to the District Railway, to accommodate larger crowds heading from the newly built Stamford Bridge Stadium. The name of the station was then changed in 1952. The Grade II listed even featured in the 1978 Ian Dury song 'What a Waste'. In the early 2000s, a new ticket hall was built, as well as a station control room and step free access. A 'match day' staircase was even added to the far end of the station for when fans attended Chelsea F.C. games. One of the UK's prettiest Wetherspoons is in an up-and-coming seaside town Following the closure of the historic entrance in 2003, the original station building has been refurbished but many of the original station signs and architectural features were retained. The venue stood empty and abandoned for several years before Market Hall Fulham opened at the site in 2018 as a food court, with the bar in the Edwardian ticket office. The venue was home to nine food operators and a communal dining area with a capacity of 180 people. There were also six British craft beers on keg draught, plus a range of bottles and cans available. The food court would rotate the beers from top UK breweries. 6 The pub is believed to be opening as the 'Walham Green' Credit: Market hall 6 Original features include vintage signs and architectural features Credit: Alamy 6 The original entrance was closed in 2003 Credit: Historic England Following the Market Hall's closure in 2021, the site is now being converted into a new Wetherspoons venue, over two floors. A total of 15 new Wetherspoons pubs will be coming to the UK, with two new pubs already unveiled this year in Marlow, Buckinghamshire, and at London Waterloo station. Six locations have opening dates already and a further nine sites will open by July 2026. The Sun's Kara Godfrey went to prettiest Wetherspoons in the UK – it's right by the beach with huge stained glass windows Plus, the UK's 11 prettiest Wetherspoons from former opera halls to Victorian bath houses.
The Sun
08-05-2025
- Entertainment
- The Sun
Inside the old tube station being converted into a Wetherspoons with original ticket hall
YESTERDAY JD Wetherspoons announced a number of new pubs opening across the UK in the upcoming years - one of which will be in an old tube station entrance. The pub will be located in one of the former entrances of Fulham Broadway tube station, that closed in 2003. 6 6 6 The site currently includes the original Edwardian ticket office, including a vintage 'To The Trains' sign. It is thought the original features will be kept and the pub will include a new beer garden roof terrace. It is also understood that the pub will be named Walham Green and open on June 17. Having originally opened in March 1880 as Walham Green, the station used to operate the District Railway, which is now known as the District Line. The original station building was then later replaced in 1905 with a new entrance designed by Harry W Ford, the architect to the District Railway, to accommodate larger crowds heading from the newly built Stamford Bridge Stadium. The name of the station was then changed in 1952. The Grade II listed even featured in the 1978 Ian Dury song 'What a Waste'. In the early 2000s, a new ticket hall was built, as well as a station control room and step free access. A 'match day' staircase was even added to the far end of the station for when fans attended Chelsea F.C. games. One of the UK's prettiest Wetherspoons is in an up-and-coming seaside town Following the closure of the historic entrance in 2003, the original station building has been refurbished but many of the original station signs and architectural features were retained. The venue stood empty and abandoned for several years before Market Hall Fulham opened at the site in 2018 as a food court, with the bar in the Edwardian ticket office. The venue was home to nine food operators and a communal dining area with a capacity of 180 people. There were also six British craft beers on keg draught, plus a range of bottles and cans available. The food court would rotate the beers from top UK breweries. 6 6 6 Following the Market Hall's closure in 2021, the site is now being converted into a new Wetherspoons venue, over two floors. A total of 15 new Wetherspoons pubs will be coming to the UK, with two new pubs already unveiled this year in Marlow, Buckinghamshire, and at London Waterloo station. Six locations have opening dates already and a further nine sites will open by July 2026.
The Irish Sun
08-05-2025
- Business
- The Irish Sun
Inside the old tube station being converted into a Wetherspoons with original ticket hall
YESTERDAY JD Wetherspoons announced a number of new pubs opening across the UK in the upcoming years - one of which will be in an old tube station entrance. The pub will be located in one of the former entrances of Fulham Broadway tube station, that closed in 2003. Advertisement 6 The Market Hall used the ticket booth as a bar Credit: Market hall 6 The Edwardian ticket hall originally opened in 1880 Credit: Market hall 6 In 2018, it was converted into a Market Hall food court Credit: Alamy The site currently includes the original Edwardian ticket office, including a vintage 'To The Trains' sign. It is thought the original features will be kept and the pub will include a new It is also understood that the pub will be named Walham Green and open on June 17. Having originally opened in March 1880 as Walham Green, the station used to operate the District Railway, which is now known as the District Line. Advertisement The original station building was then later replaced in 1905 with a new entrance designed by Harry W Ford , the architect to the District Railway, to accommodate larger crowds heading from the newly built Stamford Bridge Stadium. The name of the station was then changed in 1952. The Grade II listed even featured in the 1978 Ian Dury song 'What a Waste'. In the early 2000s, a new ticket hall was built, as well as a station control room and step free access. Advertisement Most read in News Travel A 'match day' staircase was even added to the far end of the station for when fans attended Chelsea F.C. games. One of the UK's prettiest Wetherspoons is in an up-and-coming seaside town Following the closure of the historic entrance in 2003, the original station building has been refurbished but many of the original station signs and architectural features were retained. The venue stood empty and abandoned for several years before Market Hall Fulham opened at the site in 2018 as a The venue was home to nine food operators and a Advertisement There were also six British craft beers on keg draught, plus a range of bottles and cans available. The food court would rotate the beers from top UK breweries. 6 The pub is believed to be opening as the 'Walham Green' Credit: Market hall 6 Original features include vintage signs and architectural features Credit: Alamy Advertisement 6 The original entrance was closed in 2003 Credit: Historic England Following the Market Hall's closure in 2021, the site is now being converted into a new Wetherspoons venue, over two floors. A total of 15 new Wetherspoons pubs will be coming to the UK, with two new pubs already unveiled this year in Marlow, Buckinghamshire, and at London Waterloo station. Six locations have opening dates already and a further nine sites will open by July 2026. Advertisement Read more on the Irish Sun The Sun's Plus, the The new Wetherspoons pubs coming soon WHETHERSPOONS is gearing up to open pubs in six brand-new locations, with the first set to welcome the public in just a few days. Douglas, Isle of Man - May 14 Fulham, SW London - June 17 Kenilworth, Warwickshire - July 30 Tooley Street, London Bridge - August 28 Basildon, Essex - September 23 Merchant Square, Paddington - late summer The pub giant is also planning to launch an additional nine pubs over the next year.
The Guardian
30-01-2025
- Entertainment
- The Guardian
Marianne Faithfull was a towering artist, not just the muse she was painted as
It is difficult to think of a moment in pop history less receptive to a 1960s icon relaunching their career than in 1979. At that point, British rock and pop resolutely inhabited a world shaped by punk: it was the year of 2-Tone and Tubeway Army's Are 'Friends' Electric?, of Ian Dury at No 1 and Blondie releasing the bestselling album of the year. And it was a central tenet of punk that the 1960s and their attendant 'culture freaks' were, as Sex Pistols manager Malcolm McLaren put it: 'fucking disgusting … vampiric … the most narcissistic generation there has ever been,' and that the decade's famous names should no longer be afforded the kind of awed reverence they had enjoyed for most of the 70s. 'No Elvis, Beatles or the Rolling Stones,' as the Clash had sung. And yet Marianne Faithfull, who has died aged 78, turned out to be the kind of famous face from the 60s that a world shaped by punk could get behind. She was living proof that the rock aristocracy were remote and decadent and ripe for the culling. Never given the credit due to her by her most famous associates, the Rolling Stones, she had to go to court to get her name appended to the credits of Sister Morphine, a song she had co-written. She subsequently spiralled downwards, at startling speed, from having a seat at swinging London's top table to life as a homeless junkie. Her years of addiction on the streets had so ravaged her voice that, by the late 70s, it was completely unrecognisable as coming from the woman who had sung As Tears Go By and Come and Stay With Me. So, while Mick Jagger was nastily dismissed in the theme song to the Sex Pistols' film The Great Rock'n'Roll Swindle, Faithfull was offered a part in it, as Sid Vicious's mother. Her comeback gig was at the Music Machine, a bearpit venue where Bob Geldof had been punched in the face mid-song. Moreover, the ensuing album, Broken English, fitted perfectly. It was filled with enough bile, bad language and provocation (what was the daughter of a baroness doing singing John Lennon's Working Class Hero?) to give Johnny Rotten pause. The songs picked through the wreckage of the decade that had made her famous with unmistakable relish – how the era's penchant for mind expansion and radical politics had curdled into addiction and terrorism – or railed at the way women were treated: the album is populated by a female cast of suicidal housewives, betrayed lovers and oblivion-seekers. It was all performed with conviction: she sounded like she meant it. Of course, Faithfull was an actor, but you could also see why she might be genuinely pissed off, and not merely because of her fall from grace. Her initial burst of fame may have looked good from the outside – she was beautiful, she had hit singles, she was the partner of one of the biggest pop stars in the world. But there was something dismissive and sexist about the way she was treated as if she were 'somebody who not only can't even sing but doesn't really write or anything, just something you can make into something,' she later recalled. 'I was just cheesecake really, terribly depressing'. The Stones' manager Andrew Loog Oldham, who launched her singing career, described her as 'an angel with big tits'. The records she made strongly suggested that music came low on his list of priorities: he saw her as a means of living out his fantasy of becoming a British Phil Spector, and as a light entertainer: a pretty, posh girl whose niche would be essaying folk songs for an MOR, Saturday-night variety show audience. When he got his way, the results were horrendous: her version of Dylan's Blowin' in the Wind is terrible; her version of Greensleeves, larded with a production that saw Oldham doing his best Spector impersonation, is even worse. But Faithfull was smarter than to fall under the sway of a svengali. She had other ideas about pop music, and, as it turned out, they were better than his. Initially, her best records dealt in a very English, very wintry-sounding brand of orchestral pop: on This Little Bird, Go Away from My World, Morning Sun or Tomorrow's Calling, the arrangements twinkled like frost; you can imagine Faithfull's breath forming clouds in front of her face as she sings. The material was lightweight but something about Faithfull's performances injected a note of eeriness: her vocals were more yearning and melancholy than the songs needed them to be. It was a side of her work that might have developed fruitfully in the psychedelic era, but by then Faithfull had lost interest in singing, apparently content to be Mick Jagger's muse. It was a role she was good at – it was Faithfull who got him to read Bulgakov's The Master and Margarita, which inspired Sympathy for the Devil – but it seemed a shame: the first of a number of bad decisions Faithfull made regarding her career. The second was that, having been sharp enough to quickly ditch Oldham as her producer and insist her label simultaneously release two albums – one pop, one folk – she didn't fight harder to stop her record company pulling her 1969 comeback single Something Better. This was far grittier than anything she'd released before – country-ish, with Ry Cooder on slide guitar – but the problem, as her label saw it, was the B-side, her original version of Sister Morphine: so bleak and so obviously written by someone who knew of what she spoke that they balked and withdrew it entirely. As she sank further into addiction, there were more missed opportunities. A 1971 album, Masques, went unreleased. By the time of its recording, her personal situation was desperate and her 60s producer, Mike Leander, had concocted it primarily as a means of helping her. Faithfull later dismissed its contents but it was better than she thought, the material well-chosen and apropos; her performances raw and vulnerable. Her versions of Phil Ochs' Chords of Fame and Terry Reid's Rich Kid Blues were powerful in a way her 60s hits were not. Two years later, she appeared on David Bowie's TV special The 1980 Floor Show, wearing a nun's habit, sounding like Nico and duetting with him on a version of I Got You Babe. She could have reinvented herself for the glam era – her public image certainly had a suitable amount of decadence attached – but Faithfull was visibly still in a bad way, and nothing more happened. It took Broken English to finally re-establish Faithfull, even if it initially looked like a one-off. Its followup albums, Dangerous Acquaintances and A Child's Adventure were less striking and edgy, although the latter's closing track, She's Got a Problem, had some of Broken English's bite. The 1987 album Strange Weather was another triumph, its mood dark and affecting, with Faithfull as a dramatic and gifted interpreter of songs, rather than a writer, on selections ranging from Leadbelly, Tom Waits and Bob Dylan to the Great American Songbook. She repeated the trick with Brecht and Weill songs on the live album 20th Century Blues (1996), and later recorded an entire album of their material, The Seven Deadly Sins (1998). She also began attracting a noticeably hipper class of collaborator than any of her more commercially successful 60s peers. The superb 2002 album Kissin' Time alone featured contributions from Beck, Pulp, Billy Corgan and Blur (the title track, with Blur, very much in the vein of the looser, more experimental music found on Blur's album 13, was a particular highlight). The 2005 album Before the Poison was essentially split between collaborations with PJ Harvey, operating in minimalist garage-rock mode, and Nick Cave. Faithfull self-deprecatingly suggested that younger artists flocked to work with her because they enjoyed hearing her war stories from the 60s, but the reality was that she was willing to take risks, challenge herself and push at the boundaries of public perception: Easy Come, Easy Go reunited her with Keith Richards, but elsewhere on the same album she covered songs by Black Rebel Motorcycle Club and the Decemberists and duetted with Anohni and Cat Power. She would occasionally delve into her history, revisiting As Tears Go By and Broken English's Witches Song on Negative Capability (2018), or underline her place among the rock aristocracy by tapping Elton John, Lou Reed and Pink Floyd's Roger Waters for songs or guest appearances. But you would never accuse her of trading on past glories, or of knocking out an album in order to tour and play the hits, as many of her peers were evidently doing. For someone whose public image was inexorably linked with what she had done 50 years earlier, she seemed artistically intent on pressing forward, in establishing herself in a context that had more to do with Anna Calvi and Mark Lanegan than the Rolling Stones. 'She walked through the whole thing on her own terms,' noted Warren Ellis, Nick Cave's latterday musical foil, who co-produced Negative Capability. It's not hard to imagine Faithfull would have thought that a fitting epitaph.
