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Billy Livsey, an American musician who arrived in England in the 1970s, transitioned from touring with Slim Chance and Gallagher & Lyle to writing hits for Shakin’ Stevens, Elkie Brooks and Paul Young before being tapped to write for the teen pop group Five Star. In the mid‑80s Livsey co‑wrote the chart‑topping single “System Addict” with Gary Bell, and a few months later his publisher suggested a partnership with lyricist Peter Sinfield. After a brief exchange of a rough melody, Sinfield asked Livsey to pen the words over the phone, resulting in the lyric sheet for what would become “Rain Or Shine.” The demo featured the renowned session vocalist Tessa Niles, whose résumé includes touring with The Police and singing on Eric Clapton’s “Layla” on his Unplugged album. Livsey recalls that her effortless delivery set the tone for the final recording. Recording took place at London’s iconic Mayfair Studios, a venue that had hosted legends such as George Michael and Tina Turner. Livsey admits he “stole” a sequencer fragment from Donald Fagen’s “New Frontier” to give the track a subtle, progressive‑pop edge. Five Star’s lead vocalist Deniece Pearson remembers the demo’s female vocal as a revelation compared to an earlier male‑sung version of “All Fall Down.” Her father and manager, Buster Pearson, urged her to “listen to the lady on the demo and articulate your words.” Because she was wearing braces, Deniece deliberately over‑enunciated to keep the metal from sticking to her lips – a quirky detail she still laughs about. Studio sessions were far from smooth. Frequent electrical glitches prompted Livsey to joke, “Gremlin. Gremlin.” Yet he remained confident, insisting that such hiccups often precede a hit record – a prediction that proved accurate. Upon release, “Rain Or Shine” became a staple of Five Star’s live repertoire, earning spots on Top of the Pops, the Royal Variety Performance and the Miss World stage. During a tour, a fan pulled Deniece into the audience pit, only to be rescued by her “hunky Italian” security guard, a moment she now recounts with affection. Today the song closes the group’s concerts as an encore, with audiences singing along and often moving Deniece to tears. She credits Livsey’s melodic craftsmanship, noting that the 80s songwriting formula – a strong melody followed by soaring vocals – remains the song’s enduring charm.

Raiders of the Lost Ark (1981) continues to serve as a cinematic comfort food, delivering a relentless parade of perils—jungle treks, venomous creatures, double‑crossing allies, and larger‑than‑life set‑pieces—while never losing its playful spirit.The film’s charm lies not only in its nonstop thrills but also in a deep‑seated nostalgic longing for an imagined era when “the good guys always won.” Its creators—George Lucas, co‑writer Philip Kaufman, and director Steven Spielberg—crafted an homage to the 1930‑ and 1940‑year‑old serial B‑movies they grew up watching, such as Buck Rogers and Zorro’s Fighting Legion. Those serials, broken into bite‑size chapters before the main feature, taught a formula of relentless action that Raiders replicates with modern polish.Beyond childhood reminiscence, the film offered early‑1980s America a respite from the lingering shadows of the Vietnam War and Watergate. By resurrecting the mythic Greatest Generation—who triumphed over the Great Depression and World War II—the movie positioned its hero, Harrison Ford’s Indiana Jones, as a symbol of moral clarity in a time of “great moral obscurity,” marked by political turmoil, economic recessions, and the so‑called “war on terror.”For many viewers, the experience of watching Raiders on weekend television added another layer of comfort. The film’s frequent rotation on cable and syndication turned it into a ritual: a lazy Sunday, a remote‑controlled channel‑surf, and the inevitable arrival of Indy battling Nazis or escaping deadly traps. That sense of surrendering control to the “all‑knowing cable programming gods” amplified the film’s soothing effect.Ultimately, the story’s resolution—where a divine‑like intervention saves Indy and Marion—mirrors the audience’s desire for reassurance that, no matter how chaotic the world, a protective force is watching over us.Available for streaming on Paramount+ (US), Now TV (UK), and Disney+ (Australia).

The Artemis II astronauts are on course to set a new distance record on Monday when they fly by the moon without stopping, then swing around for planet Earth. The crew consists of Reid Wiseman, Victor Glover, and Christina Koch of NASA, and Canadian Space Agency astronaut Jeremy Hansen.During the flyby, the astronauts will travel 5,000 miles (8,047km) beyond the moon, exceeding the distance record set by the ill-fated Apollo 13 mission in 1970. The Apollo 13 astronauts reached a maximum of 248,655 miles (400,171km) from Earth before making their turn, while the Artemis II crew is expected to exceed that by about 4,000 miles (6,437km).The Orion capsule's roughly six-hour flyby on Monday promises views of the moon's far side that were too dark or too difficult to see by the Apollo program astronauts who preceded them more than half a century ago. A total solar eclipse also awaits them as the moon blocks the sun, exposing snippets of shimmering corona.“We'll get eyes on the moon, kind of map it out and then continue to go back in force,” flight director Judd Frieling said. The astronauts will take turns capturing the lunar views out their windows and will be able to make out “definite chunks of the far side that have never been seen” by humans.Once the capsule rounds the moon, it will take four days to return to Earth. NASA is aiming for a splashdown in the Pacific Ocean near San Diego on 10 April, nine days after its Florida launch.

President Donald Trump issued a stark warning on Sunday, giving Tehran until Tuesday night to reopen the Strait of Hormuz or face U.S. strikes on Iranian power plants and bridges. The message, posted on his Truth Social platform, was laced with profanity and a deadline of 8:00 P.M. Eastern Time. Iran’s parliament speaker, Mohammad‑Bagher Ghalibaf, responded on social media, accusing the United States of “reckless moves” that would set the entire region ablaze and turn it into “living hell.” The latest escalation follows the rescue of a second U.S. crew member from a downed F‑15E fighter that crashed in southwestern Iran, an operation that saw American special forces and Iranian troops racing against each other in mountainous terrain. Trump has repeatedly shifted the deadline for Iran, extending it at least twice. In his expletive‑laden post he warned, “Open the Fuckin’ Strait, you crazy bastards, or you’ll be living in Hell – JUST WATCH!” Financial markets reacted instantly: the U.S. benchmark West Texas Intermediate rose 1.86 % to over $112 per barrel, while Brent crude climbed above $110. The surge underscores how geopolitical flashpoints can quickly translate into higher energy costs for consumers worldwide. Trump also hinted at a possible diplomatic breakthrough, telling Fox News there was a “good chance” of an agreement on Monday. Yet he added, “If they don’t make a deal and fast, I’m considering blowing everything up and taking over the oil.” Legal scholars warned that targeting civilian infrastructure would breach the Geneva Conventions. Yale professor of international law Oona A. Hathaway noted that the president offered no justification to reclassify power plants, bridges, or steel factories as legitimate military targets, and that any such attacks would likely constitute war crimes. Iranian authorities estimate that the ongoing U.S.–Israeli campaign has damaged roughly 81,000 civilian sites, including 61,000 homes, 19,000 commercial facilities, 275 medical centres, and nearly 500 schools. Israeli Prime Minister Benjamin Netanyahu claimed that the coalition has destroyed about 70 % of Iran’s steel production capacity, citing its alleged use in missile manufacturing. In retaliation, Iran has intensified attacks on Gulf shipping and infrastructure. Over the weekend Iranian drones struck a petrochemical complex in Bahrain, igniting thick black smoke, and hit multiple Kuwait Petroleum facilities, causing fires and “significant material losses” at power and desalination plants. The most dramatic recent strike was the demolition of Iran’s unfinished 136‑metre B1 suspension bridge, a $400 million project meant to link Tehran and Karaj. The attack killed 13 people and injured 95, prompting the bridge’s engineer to lament the loss of a symbol of national pride. Trump posted a video of the bridge’s destruction, framing it as a response to Iran’s alleged unwillingness to negotiate. He later told Axios that the U.S. had been “close to an agreement” but that Iran’s demand to meet “in five days” was a pretext for the attack. Domestic criticism was swift. Senate Minority Leader Chuck Schumer denounced the president’s rhetoric as “unhinged” and warned that such threats could alienate allies and amount to war crimes. International law experts reiterated that civilian objects—such as power plants, bridges, and hospitals—are protected under the Geneva Conventions. Any deliberate targeting of these assets for bargaining leverage would violate the conventions and could trigger legal accountability for the United States and any cooperating parties.

The transition from live piano accompaniment in silent cinemas to recorded soundtracks marked a turning point for movie‑goers; the Vitaphone disc system of 1926 and the optical Movietone process that followed gave films a reliable, repeatable musical identity.Sunrise: A Song of Two Humans (1927) was the first feature to have its music and sound effects printed directly onto the film strip, allowing audiences to hear orchestrated pieces by Chopin and Gounod in perfect sync with the picture.King Kong (1933) showcased Max Steiner’s pioneering use of the orchestra to drive narrative, mood and scene transitions, laying the groundwork for the symphonic Hollywood score that dominated the mid‑20th century.Citizen Kane (1941) gave Bernard Herrmann a platform to break from the lush, “Hollywood” sound, delivering a stark, atmospheric score that emphasized psychological tension and set a new standard for dramatic underscoring.Blackboard Jungle (1955) introduced Bill Haley’s Rock Around the Clock as the film’s musical spine, proving that popular rock could boost a movie’s commercial appeal and ushering in the era of song‑driven soundtracks.Forbidden Planet (1956) featured the first entirely electronic score, created by Louis and Bebe Barron using magnetic‑tape techniques; the pioneering use of the theremin and other electronic textures opened a fresh sonic frontier for sci‑fi cinema.Breakfast at Tiffany’s (1961) highlighted Henry Mancini’s “symphonic pop” style, marrying a timeless hit – Moon River – with a jazzy, contemporary score that demonstrated how pop sensibilities could coexist with traditional orchestration.2001: A Space Odyssey (1968) is remembered more for its curated classical pieces than Alex North’s original score, yet the film’s bold juxtaposition of Ligeti, Strauss and Khachaturian proved that pre‑existing music could become an integral narrative force.American Graffiti (1973) assembled over 40 period songs, weaving them into the story’s fabric and proving that a soundtrack could function as a cultural time‑capsule, influencing countless later productions.Star Wars: A New Hope (1977) revived the full‑orchestra tradition when John Williams delivered a heroic, leitmotif‑rich score that re‑ignited audience love for symphonic film music and set a template for blockbuster scoring.Crimson Tide (1995) marked Hans Zimmer’s breakthrough, blending aggressive electronic pulses with a powerful orchestral choir to create the modern, hybrid sound that now defines many high‑budget action films.These ten milestones illustrate how film music has continually evolved— from live accompaniment to electronic experimentation—while retaining a core purpose: to deepen storytelling and shape audience emotion. The legacy of these scores is celebrated each April at the London Soundtrack Festival, underscoring their lasting influence on both cinema and popular culture.

British law enforcement detained seven individuals on suspicion of backing the outlawed Palestine Action movement during a peace encampment situated just outside the RAF Lakenheath airbase in eastern England, a facility regularly used by United States forces. The group, comprising five men and two women, joined other activists on Sunday to denounce the base’s alleged role as a launch point for U.S. aircraft participating in the ongoing US‑Israeli war against Iran. The protest was organized by the Lakenheath Alliance for Peace, which reported that those arrested were wearing apparel emblazoned with the slogan: “We oppose genocide, we support Palestine Action.” Police statements indicated the arrests were made “on suspicion of supporting a proscribed organisation,” referencing the Labour government’s decision last year to label Palestine Action a “terrorist” organisation, thereby criminalising any affiliation. Although a February court ruling deemed the ban “disproportionate” and an infringement on free‑speech rights, the government has appealed the decision, leaving the prohibition in force for the time being. According to the protest network Defend Our Juries, the crackdown on Palestine Action supporters has already resulted in **more than 2,700 arrests** and hundreds of charges, underscoring the scale of the UK’s enforcement campaign. Police emphasized their duty to apply the law “as it currently stands, not as it might be in the future,” while noting that two additional demonstrators were taken into custody on Saturday for allegedly obstructing public thoroughfares. In a related diplomatic flashpoint, former US President Donald Trump has publicly rebuked Prime Minister Keir Starmer for what he describes as insufficient backing of the US‑Israel war on Iran, straining the historically close UK‑US alliance. Meanwhile, the United Kingdom has granted the United States permission to employ British bases for “defensive” operations aimed at Iran and to safeguard the strategic Strait of Hormuz, a chokepoint through which roughly 20 % of global oil supplies transit during peacetime.

Israeli air and ground attacks on Lebanon on Sunday claimed at least 14 lives, including four civilians in Beirut’s southern suburbs and ten people in the south, among them a family of six. The strikes also left 39 wounded in the Jnah neighbourhood, just 100 metres from the Rafik Hariri University Hospital, Lebanon’s largest public medical centre. The violence follows a broader Israeli campaign launched on 2 March after Hezbollah fired rockets in response to the U.S.–Israel war on Iran. Since then, Israel has combined aerial bombardments, drone strikes and a limited ground incursion into southern Lebanon. Hezbollah announced on Sunday that it had fired a cruise missile at an Israeli warship stationed 126 km off the Lebanese coast, a claim that the Israeli military has not confirmed. In a separate statement, the Israeli defence forces said they had begun targeting “Hezbollah infrastructure sites” in Beirut’s southern suburbs, though they provided no public evidence of the alleged targets. On Saturday, Israel warned it would strike the Masnaa border crossing – the main trade gateway between Lebanon and Syria. The Lebanese side evacuated the post, and the Syrian authority, represented by Mazen Aloush of the General Authority for Borders and Customs, stressed that the crossing is “exclusively for civilian use” and announced a temporary suspension of traffic. According to Lebanese officials, Israeli attacks since early March have resulted in over 1,400 deaths, including 126 children, and have displaced more than 1.2 million people. In the southern town of Kfar Hatta, an Israeli strike killed seven individuals, among them a four‑year‑old girl and a Lebanese soldier, prompting a forced evacuation order for the area. Lebanese President Joseph Aoun used a televised address to urge renewed negotiations with Israel, pleading to spare the remaining homes in the south from the level of destruction witnessed in Gaza. These developments underscore the escalating humanitarian toll and the strategic pressure on Lebanon’s critical border infrastructure amid an already volatile regional conflict.

NASA announced that the Artemis II crew has now traversed the halfway mark between Earth and the Moon, and the agency released the first photographs of our planet taken from within the Orion capsule.After completing the fourth day of a ten‑day voyage, the astronauts settled in for a brief rest while the spacecraft hovered roughly 322,000 km (200,000 miles) from Earth and about 132,000 km (82,000 miles) from the lunar surface, according to NASA’s live mission dashboard.The newly published images showcase Earth as a luminous blue sphere wrapped in swirling cloud patterns, offering a striking perspective from deep space.Looking ahead, the four‑person team is slated to perform a swing‑by of the Moon’s far side early next week – a maneuver that has not been attempted by a crewed vehicle in more than five decades.The next critical checkpoint arrives overnight from Sunday into Monday (U.S. time), when Orion is expected to enter the “lunar sphere of influence,” the point where the Moon’s gravity overtakes Earth’s pull on the spacecraft.If the trajectory proceeds as planned, the mission will place the astronauts at a greater distance from Earth than any human has ever traveled, setting a new record for deep‑space human flight.Artemis II forms a cornerstone of NASA’s broader strategy to re‑establish a regular human presence on the Moon, ultimately building a permanent base that could serve as a launchpad for future missions to Mars and beyond.

US President Donald Trump has issued a stern warning to Iran, threatening to unleash a severe attack on its civilian infrastructure, including power plants and bridges, if the Strait of Hormuz is not reopened by his stated deadline of Monday.In a profanity-laden social media post on Sunday, Trump repeated previous threats to target vital infrastructure across Iran, saying 'Tuesday will be Power Plant Day, and Bridge Day, all wrapped up in one, in Iran. There will be nothing like it!!! Open the F****** Strait, you crazy b*******, or you'll be living in Hell – JUST WATCH!'The Strait of Hormuz, a critical shipping route for the global energy market, has been closed since the US and Israel first attacked Iran on February 28. Trump set a 10-day deadline for Iran to reopen the strait on March 26.Iranian officials have strongly condemned Trump's threats, with Iran's mission to the United Nations stating that 'the international community and all states have legal obligations to prevent such atrocious acts of war crimes. They must act now. Tomorrow is too late.'Iran's deputy for communications, Seyyed Mehdi Tabatabaei, dismissed Trump's threats as 'a sign of desperation and anger' and stated that the strait would only be reopened following the payment of reparations for damages caused by the war.The conflict has already seen US-Israeli strikes target civilian infrastructure, including bridges, schools, healthcare facilities, and universities. Experts have warned that some of these strikes could constitute war crimes.Trump has also confirmed that a US airman from an F-15E fighter jet shot down over Iran on Friday has been rescued from deep inside the mountains of Iran, describing the operation as 'an AMAZING show of bravery and talent by all!'