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The Birth of a Classic George Thorogood, songwriter, vocalist, and guitarist, recalls the creation of his iconic song 'Bad to the Bone'. Before the song's release, Thorogood's band played obscure blues songs, but they wanted to create an original hit. The Inspiration Behind 'Bad to the Bone' Thorogood explains that the song is a male fantasy, where every guy wants to be 'bad'. He drew inspiration from Hollywood movies, tough guys like Bernardo from West Side Story, and Howlin' Wolf, whom his band opened for in 1974. The Songwriting Process Thorogood followed Johnny Cash's advice for songwriters: writing down rhyming words and working around them. He started with 'bone' and incorporated 'bad', which meant 'cool' in his neighborhood. The Song's Early Days The band shopped the song to Muddy Waters, but his manager rejected it, saying Muddy wouldn't record a blues song by a white guy. Thorogood and his band rehearsed the song to make recording efficient and minimize costs. The Rise to Fame 'Bad to the Bone' took off when classic rock radio stations began playing it, placing it alongside songs by Led Zeppelin, Steve Miller, and The Rolling Stones. Young listeners considered it a classic. Terminator 2 and Arnold Schwarzenegger The song gained further popularity when it appeared in Terminator 2. Arnold Schwarzenegger called Thorogood, saying in his Terminator voice: 'Your song. Give it to me. Now.' The Legacy of 'Bad to the Bone' Thorogood reflects on the song's impact, stating it's an over-masculine chuckle and not to be taken seriously. The song brings out the 'lion in the mouse', and its popularity endures to this day. Jeff Simon's Perspective Jeff Simon, the band's drummer, shares his experience of recording 'Bad to the Bone'. He recalls George working on the song and the band's blues influences.

Lead: Revolution’s Unexpected Surge in the EastThe New England Revolution have vaulted to second place in the MLS Eastern Conference, surprising many after missing the previous two postseasons. Led by first‑year head coach Marko Mitrović, the team has turned a shaky start into a credible title push. Revolution's Rise Under First‑Year Coach MitrovićMitrović inherited a squad lacking recent playoff experience but rich in talent. Carles Gil continues to be one of the league’s premier playmakers, delivering the equaliser against Philadelphia and scoring the winning goal later in the match. Supporting him, Luca Langoni provided the decisive corner‑kick assist, while goalkeeper Matt Turner remains in fine form. Center‑back Mamadou Fofana has emerged as an early candidate for the season’s Best XI. Statistical Snapshot: Low xG, High Point Recovery13 xG through 11 games – last in the East and fourth‑worst league‑wide (American Soccer Analysis)Sixth‑to‑last in expected goal differenceRecovered 12 points from losing positions – the most in the conference Impact on the Eastern Conference LandscapeThe Revs’ ability to claw back points from behind has reshaped the mid‑table scramble. Their resurgence puts pressure on traditional powerhouses like Inter Miami and Nashville SC, while also highlighting the importance of defensive stability and creative midfield play in the MLS. Outlook: Can the Revs Sustain Momentum?With the summer transfer window approaching, the Revolution must address their low xG output to become more reliable offensively. If Mitrović can fine‑tune the attacking system and bolster depth, the team could maintain its second‑place standing and challenge for a playoff berth.

The Discovery Jem Calder's writing career had a fairytale start. Sally Rooney emailed him, impressed with a short story he'd submitted to the literary magazine she was editing soon after Conversations with Friends came out. It was the first story he'd ever completed. Calder was already 'a huge fan' of Rooney's, so the whole thing was surreal, he tells me. 'I can't really imagine what could top that, to be honest.' The Writing Career That story ultimately ended up in Reward System, Calder's 2022 collection of six interconnected tales following a cast of sad young things living in an unnamed city. It was hailed as a book of the year; a review in this paper placed Calder among 'the most talented young writers of fiction at work today'. Now, his debut novel, I Want You to Be Happy, picks up some of the themes of the first book: the trials of modern love, millennial ennui, consumer culture, technology, political and ecological doom. The Novel's Themes The novel explores the challenges of modern relationships, with characters struggling with commitment, addiction, and the search for meaning in a dismal macroeconomic climate. Calder's characters are addicted to instant gratification – buying stuff, social media, vaping, porn – anything to ward off the world's horrors. The Author's Perspective Calder grew up in Cambridge, studied English at Leeds, and has since worked a variety of jobs alongside writing, including those of his protagonists – Joey is a barista, and Chuck is a copywriter. He says he 'truly can't relate' to authors who complain of writer's block – having to work a day job 'gives me such motivation to get back to it and force myself to deal with something difficult in my writing'. The Future Calder could be grouped with a cohort of young novelists to whom the 'voice of a generation' label can easily be applied, alongside the likes of Rooney, Oisín McKenna, Madeleine Gray – writers concerned with how a dismal macroeconomic climate impacts young lives. How does Calder feel about that badge? It 'isn't something I consciously pursue at all', he says. 'It's unavoidable not to critique capitalism in some way if you're trying to address the absurdities of how we live now, but I also don't care about putting my political views in my fiction. The goal is always to just write realistically about how life feels.'

The Impact of 'Believe Me' In 1982, the film-maker Roger Graef made the first ever fly-on-the-wall documentary about the police, which led to a revolution in the way victims and their cases were approached and handled. However, conviction rates for rape remain low, and documentaries and dramas continue to highlight the role of the police in creating this phenomenon. A New Perspective on a Known Story 'Believe Me' is a four-part drama about the women who were drugged and sexually attacked by John Worboys. The show follows the stories of a few of the 14 women who reported their suspicions that they had been drugged and assaulted by Worboys. The drama showcases their preternatural determination to get justice for themselves and his other victims that the police and judicial system seemed uninterested in providing. The Data Analysis 14 women reported their suspicions that they had been drugged and assaulted by Worboys 100-plus women eventually came forward when Worboys went to trial and after he was convicted The Impact Analysis The drama highlights the failings of the police and judicial system in handling cases of rape and sexual assault. The show's creator and writer, Jeff Pope, has said that he is not interested in trying to get inside the mind of psychopaths, but rather in showcasing the heroism of ordinary people and the failings and inadequacies of others. The Prediction While 'Believe Me' is a compelling and nonexploitative drama, it remains to be seen whether it will make a difference to how we treat these rampant crimes. The show's success may pave the way for future projects, such as Pope's next project about the murder of Sarah Everard.

The Lead: A Tale of Repression and Hidden DesiresThere's a common greeting in the Outer Hebrides: the lineage-establishing "Who do you belong to?" By the time this question is posed to 22-year-old gay Harris islander John-Calum Macleod, or Cal, in Douglas Stuart's new novel, there is a sense that Cal is his father John's beyond the ordinary claims of blood – the latter's sway containing undercurrents of domineering ownership.The Novel's Core Themes: Repression and Self-Denial in a Conservative CommunityThe book opens with the two conducting a strange ritual over the phone, performed regularly ever since Cal moved to Edinburgh to study textiles: John, a precentor, reads to Cal in Gaelic from the New Testament and has him sing back "with the full power of his belief". The verse John recites – which prefigures the novel's themes of repression and self-denial – urges the faithful to guide the errant and to stay vigilant against temptation. After receiving Cal's assent, John orders him to return home, ostensibly because Cal's maternal grandmother, Ella, is sick. Though John lives with Ella in her croft house, she is his ex-wife's mother and thus not his responsibility.Set within a tight-knit Free Presbyterian community of farmers, weavers and fishers in what appears to be the 1990s, John of John tells the story of Cal's uneasy homecoming. It's a reprise of the parable of the prodigal son and an ardent exploration of the half-lives of queer men condemned to love, pine and suffer in silence. Intimate yet epic in scale, it contains equal parts pastoral drama, tale of familial fracture, love story and inquiry into various forms of loneliness: the loneliness that can reside between fathers and sons, between lovers, between man and God, and between a small place and the big world.Character Analysis: Complex Relationships and Hidden TruthsJohn disapproves of Cal's appearance, his sartorial choices and his long, "flame-coloured" hair, disturbed "by the confused signal they were sending, the strange tension between the masculine and the feminine". Cal's disinclination to be "saved" creates a rift between them that later erupts in violence. Meanwhile, childhood friend and hookup partner Doll gives Cal the brush-off, cross that he's been away for so long. Wearied by his ultraconservative environment, where connection feels out of reach, Cal takes a fancy to his dad's sole friend, confirmed bachelor Innes MacInnes. Cal is struck by Innes's "gentleness, his benevolence – which Cal had never appreciated before, which, if he were honest, he would have said he found boring, unsexy in younger men".This, however, can never be the merry May-December romance Cal wishes it to be. Innes and John are lovers, we learn fairly early on, and it is this pair's tortured relationship since their teenage years – kept secret from everyone, including Cal – that forms the novel's centre of gravity. Masters of discretion, John and Innes are, to townsfolk, neighbouring sheep farmers. The first time we see them alone together, at Innes's, they go through the motions of a long-established routine, allowing themselves to draw close only after John has made sure each room is empty and they are really alone. Later, as John prepares to leave, Innes loudly seeks his assistance over an unspecified "two-man job", "all in case someone should find out and ask what exactly John Macleod was doing upstairs in the MacInnes house at such an ungodly hour".Literary Context: Stuart's Evolution as a StorytellerThe novel tries their bond in ways small and big. Aside from the difficulty of Cal, there is the matter of John's other liaison with a married man, and the tenancy of Ella's house soon to be transferred to Cal's mother. Innes floats the idea of John moving in with him but intuits "how, even under the threat of homelessness, a life together with him seemed no consolation at all". John is a man tormented by the idea of his own depravity: "He loved God. He loved Innes. He loved God and God hated how he loved Innes." At one point he entertains the possibility of Innes, Cal and himself being a family, but even in fantasy, the thought of Cal being gay, like him, remains unimaginable: "They would live like this every day, be useful, peaceful, happy on their land, looking forward to the day Cal married a local girl and filled their croft with grandchildren."The novel is outstandingly canny and wrenching on self-contempt, on the toilsome art of deceit, and on the contradictions we all contain, as well as the friction that can exist between the personal and the collective. As secular values gain ground, there is the suggestion that John and Innes living together could deal a death blow to their local congregation, leaving us wondering whether John and Cal will – or can – come out to one another. Amid all this, Stuart finds the space to touch on crofter subservience to absentee landowners, the scorn and prejudice of mainlanders, and the place of the Western Isles within the English imagination.Critical Reception: A Complex but Ultimately Rewarding ReadJohn of John is certainly enthralling, but the ambient Weltschmerz and the characters' frequent self-pity can be draining. Stuart's first two novels, the Booker-winning Shuggie Bain and its follow-up, Young Mungo, were feats of heartfelt, operatic storytelling, composed as though in defiant response to our age of irony and subtlety. Despite their occasionally miserabilist tenor, the emotions felt guileless and real, whether Shuggie's love for his doomed, alcoholic mother, Agnes; Jodie's for her brother Mungo; Mungo's for his birdkeeping neighbour James or his own doomed, alcoholic mother, Maureen. The impoverished Glaswegian milieus where they were set – marked by Thatcherite ruination, homophobia, sexual predation and sectarian strife – made for sobering reading; but these were novels so lavishly and graciously imagined, so very moving, that you gladly faced up to their gloom.Here Stuart leans heavily on melodrama and sensationalism as a shortcut to tragedy. Towards the end, the novel is eventful to a fault and surfeited with pathos: we have a pregnancy; an attempted shotgun wedding ("What in the world of Thomas Hardy?" says Cal); a death and a momentous departure from the island. While this book will not appeal to those with a low tolerance for excess, diehard romantics will find much to love; I see Cal, John and Innes – knottily entangled and imperfectly endearing – being cherished with readerly devotion. And that is no small feat.

The Rise of a Provocative Comedy StarOnce in a while, you get to see a legend at the absolute top of their game," booms a voice at the beginning of Robby Hoffman's Netflix special, Wake Up, welcoming her to the stage. High praise indeed – especially since the voice is that of the leading US comedian John Mulaney, who directed the special, and who clearly thinks this 36-year-old New Yorker is one of the hottest talents around.Over the last year, Hoffman's star has risen at a stunning pace. She is currently on TV in Rooster, a college campus comedy starring Steve Carell, as well as the fifth season of the critically acclaimed sitcom Hacks. This is only her second season as talent agency assistant Randi, but last year the role earned her an Emmy nomination.From Religious Upbringing to Hollywood Success"Last week, I was a Hassidic Lubavitch Jew living in Crown Heights, New York," was Hoffman's first line as Randi. "Now I'm in LA, I'm gay and probably an atheist." Hoffman's own life has taken a similar about-turn after being thrust into the spotlight. Randi, a role that was created for her by writers Lucia Aniello, Paul W Downs and Jen Statsky and draws on Hoffman's own background, has been "a life-changing part," she says on a video call from the home in Los Angeles that she shares with her wife, the reality TV star Gabby Windey.Home life in Montreal was chaotic, living in a house that was "so packed with so many people," Hoffman says. She would frequently get into physical fights with her brothers and "cried every single day … sometimes I was kicking and screaming on the floor." She got out as soon as she could, at 17, when she began renting a place of her own, taking on a part-time job to support herself through her Cégep, a type of pre-university college unique to Quebec.Awards, Recognition, and Controversial Comedy StyleAlthough Hoffman insists she isn't trying to offend ("I do think that a lot of my jokes are misinterpreted"), she also doesn't think being offended is the worst thing: "Being poor is." She's speaking from experience: she grew up in a family that relied on welfare payments, the seventh of 10 children.Wake Up includes gags about "disgusting" women ("always the hottest ones are sickest") and abortion ("we raise the age of abortion till 10, we got a lot of well-fucking-behaved kids on our hands"). Not to mention the jokes about paedophilia. But although her punchlines make some audience members bristle, "I just don't get to choose my thoughts," the comedian says. "I'm just sharing it with you. I wish I didn't know some of these things. I truly wish paedophilia was not something that I was introduced to or heard about. I think it's more democratic that I joke about everything, you know?"The Changing Landscape of ComedyThe comedian's proclivity for referring to women, including herself and her mother, as "bitches" is an aspect of her onstage coarseness that carries over into our call, in which she is otherwise much more mellow and thoughtful. Sure, she doesn't follow the typical Hollywood script of simpering self-deprecation, instead unapologetically backing herself and frequently talking about how great it is to be rich. But you get the impression that this is self-conscious gaucheness, a send-up of convention rather than outright rudeness."I come in hot," Hoffman admits – especially on stage. But she is not pretending to be something she's not – unlike, she says, supposedly "kind and nice" figures such as Will Smith, who was banned from the Oscars after slapping the comedian Chris Rock, or Ellen DeGeneres, whose talk show was cancelled after allegations that junior staff had been bullied.Future Prospects and Industry ImpactHoffman is endearingly grateful for her success. "Am I not living one of the greatest lives you've heard about?" she said during her recent appearance on Late Night With Seth Meyers. "I really do feel that," she says. When she started out in comedy, it felt like "such a risk" to pursue a career with no promise of financial stability: "It's becoming harder and harder to go from no money to money, so when we get one of our guys in, it always feels miraculous."She wishes it wasn't so miraculous – Hoffman is a Bernie Sanders supporter and believes "everybody's entitled to dignity." She resents being an example of someone who "did it" – got herself out of poverty via talent and determination. "You shouldn't have to be this special, you shouldn't have to be this talented," she says. Throughout her adolescence, she was "so sick of being poor," so focused on working hard at the Jewish private school for which her grandfather had helped her win a scholarship, then pursuing a degree in accounting.

The DiscoveryAs a writing instructor, I had noticed subtle changes in my students' work—unusually polished prose, sudden improvements in structure, and content that seemed beyond their typical capabilities. While I couldn't prove it at first, I suspected artificial intelligence was playing a role in their writing process.The Classroom ConfessionDuring a candid discussion about writing challenges, several students admitted to using AI tools like ChatGPT to generate ideas, overcome writer's block, and even complete entire assignments. Rather than punish them, I saw an opportunity for a meaningful learning experience about authenticity, original thought, and the appropriate use of technology in education.Teaching Authenticity in the AI EraThis confession became a teachable moment about what constitutes authentic writing in an age of advanced AI. We discussed the importance of developing one's voice, the value of the writing process itself, and how AI could be used as a tool rather than a replacement for critical thinking and personal expression.Developing an AI-Positive Writing CurriculumFollowing these revelations, I redesigned my writing curriculum to address the realities of AI in education. The new approach focuses on teaching students how to use AI ethically as a brainstorming partner while maintaining their own voice and critical thinking skills throughout the writing process.The Future of Writing EducationThis experience has reshaped my understanding of teaching writing in the digital age. Rather than fighting technological advancement, educators must adapt and prepare students to navigate the complexities of AI-assisted writing while preserving the essential elements of authentic communication and critical thinking.

The Lead: A Curated Mix of Music History and Contemporary IssuesThe Guardian’s latest "best podcasts of the week" roundup blends nostalgic music storytelling with hard‑hitting current‑affairs series, offering listeners a weekly dose of cultural insight and global perspective.London Records’ 80s Pop Story Takes Center StageHosted by music writer Siân Pattenden, the five‑part series Hit That Perfect Beat: The London Records Story revisits the label’s chart‑dominating era, featuring interviews with artists like Blancmange, Bananarama, Bronski Beat, All Saints and Shakespears Sister. The oral history highlights queer representation, early Girl Power, and the goth‑pop crossover that defined the decade.Urgent Global Narratives in Podcast FormJournalist Ben Bradford launches Are We Do Doom, a hopeful yet sobering series that examines existential threats from nuclear war to climate change, beginning with an episode on the reality of mutually assured destruction.New Voices and Fresh Angles in True‑Crime and ComedyActor Daniel Mays narrates Gangster Presents: The Story of Ronnie Biggs, blending archive audio with fresh commentary on class politics. Meanwhile, comedian Suzi Ruffell revives her interview show in Attitude Presents: Out With Suzi Ruffell, featuring conversations on trans rights with Drag Race star Tia Kofi.American Current‑Affairs Podcast Expands the Guardian’s ReachThe New York bureau debuts Stateside With Kai and Carter, hosted by journalists Kai Wright and Carter Sherman. With three episodes per week, the series tackles war, authoritarianism and climate crises, positioning the Guardian as a daily voice on US politics.Data Analysis: Release Cadence and Audience AccessibilityAll highlighted podcasts are widely available on major platforms.Episodes for most series drop weekly, while the US‑focused show releases three times a week, increasing touchpoints for listeners.The multi‑genre lineup caters to both nostalgia‑driven audiences and those seeking timely analysis, broadening the Guardian’s podcast demographic.Impact Analysis: Podcasting as a Vehicle for Cultural Preservation and DebateBy revisiting 80s pop through London Records, the series reinforces the era’s influence on contemporary music trends.Series like Are We Do Doom and Stateside With Kai and Carter demonstrate podcasting’s capacity to translate complex global issues into accessible narratives.The blend of music, true‑crime, comedy and politics showcases the Guardian’s strategy to capture diverse listener interests, strengthening brand loyalty.Prediction: A Growing Emphasis on Multi‑Genre Podcast PortfoliosAs audiences gravitate toward on‑demand audio, media outlets will likely expand their podcast offerings across niche histories and urgent news, using frequent release schedules to maintain engagement. The Guardian’s current mix suggests future expansions into more deep‑dive cultural documentaries and real‑time news analysis, positioning podcasts as a core pillar of its digital strategy.

The Savings Landscape in the UKEarning as much as 7% on your savings sounds great – but what's the catch? The top-paying accounts often come with strings attached, which could mean your money is not working as hard as you thought. That's important because there is a lot of cash sitting in fixed-rate savings accounts that are about to reach the end of their term. The total amount in accounts maturing between April and June is £90bn, according to the savings app Spring – and that money will need to find a new home.On top of that, there is an estimated £329bn sitting in current accounts earning 0% interest, and another £99bn in savings accounts paying 1% or less, all of which should be doing more. At a time when inflation is creeping up, it is crucial that your savings keep pace with the cost of living.The Hidden Limitations of High-Yield AccountsRegular savings accounts are a great way to build a pot, and many of them have decent interest rates – but they often limit how much you can save and for how long. The Co-operative Bank's Regular Saver (available to the bank's current account holders) pays a generous 7% interest, for example, but only on up to £250 a month. Saving the maximum into this account every month – so £3,000 over 12 months – could earn you £114 interest after a year.If that is less than you expected, the reason is that you are drip-feeding the money in over the 12 months rather than putting it all in as a lump sum at the beginning, so you are only getting 7% on the full £3,000 for one month. If you have a decent-sized lump sum to invest, you may find that something like a high-paying fixed-rate savings account is a better bet. For example, someone with a £5,000 lump sum who put it all in a savings account paying quite a lot less – 4% – could earn close to double that amount of interest in a year: £200.The Financial Impact of Bonus Rate StructuresSome top-paying accounts include "bonus rates", which disappear after a certain period, leaving you with a less generous rate. The Post Office's Online Saver, for example, offers a rate of 4.1% interest – but that is boosted by a 3.2% bonus rate for 12 months. So the interest rate without the bonus after 12 months is just 0.9%. Similarly, Tesco Bank's Internet Saver pays 4.12%, which includes a 12-month bonus rate of 3.07%.Some bonus periods may be shorter, lasting only three or six months. Savers don't need to completely avoid such accounts, but they should make a note of when the bonus ends and then move their money. Derek Sprawling at Spring says: "Check how long any bonus lasts, what balance it applies to, and what rate you will earn once it ends."Access Restrictions That Limit FlexibilityEasy access accounts are great for anyone who might need to get hold of their money quickly. But the access might not be as easy as you think. Analysis by Spring found that 77% of easy-access accounts that come with paid-for or premium current accounts have extra restrictions. Almost half have tiered interest rates, while nearly a third have withdrawal restrictions.Be sure to understand the rules or you may face a penalty, such as a reduced interest rate or forfeiting the interest you have earned. Sometimes there is a clue in the name. Mansfield building society's Triple Access Bonus Saver pays 4.25%, which includes a 1% bonus for 12 months – but you are restricted to three withdrawals in each calendar year.How Balance Tiers Affect Your ReturnsThe interest rate you get can sometimes depend on your balance. Some accounts offer a better rate the more money you have, while others pay the top rate only up to a certain amount, so those with a larger pot miss out. The Santander Edge Saver account pays 6%, for example, but only on balances up to £4,000. Savers with this amount stashed away could earn £200 over a year. But those with more won't earn any extra – no interest is paid on balances above £4,000 – so they would be better-off taking their additional savings elsewhere.Other accounts have eligibility criteria that restrict who can open one. These might include needing a current account with the bank or a minimum deposit. Other accounts are open only to certain professions, such as teachers, or to people in particular regions or postcodes.The Future of UK Savings and Consumer ProtectionAs more consumers become aware of these traps, financial institutions may face pressure to offer more transparent products. James McCaffrey at the credit score app TotallyMoney warns: "When it comes to savings, if it looks too good to be true, it might well be. Check the small print – headline-grabbing rates don't always tell the full story."With billions of pounds sitting in low-yield accounts and maturing fixed-term products, the coming months will see many UK savers making critical decisions about where to park their money. Those who take the time to understand the full terms and conditions of high-interest offers will be best positioned to maximize their returns while maintaining the flexibility they need.