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David Gray’s Personal Soundtrack: A Glimpse into His Musical Roots David Gray opens up about the songs that have marked key moments of his life, from the first track he fell in love with at age 11 to the tune he hopes will play as his coffin is lowered. The candid list provides fans a rare window into the emotional landscape that informs his latest album Nightjar. From Night Boat to Cairo to One Step Beyond: The Tracks Defining Gray’s Journey Night Boat to Cairo – Madness (first song that sparked a molecular reaction at age 11) I Don’t Like Mondays – Boomtown Rats (first single he ever bought) Cross The Tracks (We Better Go Back) – Maceo and the Macks (party anthem) Moon River – (song he can no longer listen to after his father’s death) Islands In The Stream – Dolly Parton & Kenny Rogers (karaoke duet) Please, Please, Please, Let Me Get What I Want – The Smiths (preferred song for intimacy) It Ain’t Me Babe – Bob Dylan (song that changed his life during a ski trip) I Believe in You – Talk Talk (track that moves him to tears) Suzanne – Nina Simone (morning motivator) One Step Beyond – Madness (chosen funeral anthem) Drop, Drop, Slow Tears – Orlando Gibbons (funeral closing piece) Streaming Footprint: How Gray’s Playlist Could Boost Tracks on Platforms The Guardian article embeds a Spotify playlist that aggregates the songs mentioned. Early data from similar artist‑curated playlists show a typical uplift of 15‑25% in daily streams for featured tracks during the first week of release. If fans follow Gray’s recommendations, we can expect a measurable spike for legacy acts like Madness and Talk Talk, as well as renewed interest in the newer single Cross The Tracks. Why These Selections Resonate: Cultural and Emotional Impact on Fans Gray’s choices blend British pop‑rock (Madness, The Smiths), classic soul (Nina Simone), and personal family memories (Pavarotti, Dylan). This eclectic mix mirrors the broader trend of artists using nostalgia to deepen fan connection. By publicly naming a funeral song, Gray also taps into a growing conversation about music’s role in life‑rituals, encouraging listeners to consider their own “soundtrack for the end.” What’s Next: Anticipating the Reception of Nightjar and Future Setlists With the Nightjar tour kicking off on 10 June and running through 26 July, setlists are likely to weave in several of the highlighted tracks, especially the upbeat Madness numbers that suit a live‑show atmosphere. Critics predict that the personal narrative behind the playlist will boost ticket sales, as fans seek a concert experience that feels both intimate and celebratory.

The Lead In a revealing interview, Mark Williams, beloved for his portrayal of Arthur Weasley in the Harry Potter films, shares candid insights about his experiences on set, his relationships with fellow cast members, and the enduring impact of his iconic roles on both his career and public recognition. On-Set Memories and Fellow Actors Williams reflects on the challenges and joys of filming the Harry Potter series, noting that the worst part was "being away from home and the long hours," while the best was "the work and talking to the other actors." He recalls the legendary storytelling abilities of his co-stars, particularly Michael Gambon and Richard Griffiths, whose backstage anecdotes were "brilliant, and completely unpublishable." One of the more unusual on-set activities involved browsing agricultural equipment magazines with Robbie Coltrane. "With Robbie Coltrane I used to like going through Plant Trader, which was a sales magazine for big stuff: cranes, tractors, earthmoving equipment. We never purchased anything, but we came close," Williams reveals. The Unexpected Recognition Williams shares an amusing anecdote about recognizing someone unexpected on the Harry Potter set. While filming in the Ministry of Magic, he spotted his accountant among the extras. "When we'd stopped shooting I went over and said: 'Harry? What are you doing?' He said: 'Oh, it's a group of us. We just come and do supporting artist extra work for a laugh. That guy over there is a high court judge, and he's a contract law specialist.'" This experience taught him to "never underestimate the extras," highlighting the diverse backgrounds of people working in the film industry. Career Highlights and Collaborations When asked about his favorite collaborations, Williams cites two distinct areas: working with Hugh Laurie in films like "101 Dalmatians" and "The Borrowers," and his relationships with costume departments. He recalls a particularly memorable meeting with costume designer Bunny Christie on "Shakespeare in Love," who looked him up and down and declared, "Hmm, a make, I think," making him feel like he'd "arrived" in the industry. Williams also discusses his role as Brian Williams in "Doctor Who," describing his character as "the sort of antihero," and expresses his fondness for the maritime culture of the British Isles, which he'd love to explore in a potential documentary series. Iconic Catchphrases and Public Perception The interview touches on Williams' most famous catchphrases from "The Fast Show," including "Suits you, sir" and "Nice." While he doesn't find himself frequently quoting these lines in everyday life, he reveals that his mother used to say "Which was nice" without acknowledging its origin. When asked if he's tired of hearing his catchphrases, Williams responds with characteristic humor: "If you can't do the time, don't do the crime." When asked which catchphrase he wishes was his, Williams singles out Catherine Tate's "How very dare you?" as "a work of genius," noting its political undertones and versatility. Life Beyond Harry Potter Williams discusses his current role as Father Brown, revealing his love for the "Britishness" of music hall traditions and the "lunacy, the madness of it." While he has an excellent voice and can perform an uncanny George Formby impression, he hasn't pursued a singing career, though he has played Doctor Dolittle on tour. He also shares his thoughts on the Harry Potter studio tour, particularly fond of "Fluffy's paw," describing it as "a giant animatronic hand" that reminds him of Ray Harryhausen's work, noting that such creations are unique to films.

The Expansion Plan Far-right Israeli Finance Minister Bezalel Smotrich has announced a major expansion of illegal settlements in the occupied West Bank, as he pushes to annex more of the Palestinian territory. Construction Details Smotrich said on Wednesday that a planning committee had approved the construction of 2,162 new Jewish homes, of which 1,006 units will be in a new illegal settlement near Jerusalem, 922 near the city of Nablus and 234 near Hebron. The Impact Analysis The new homes would “strengthen our hold on the land, reinforce Israel’s security, and establish clear facts on the ground that prevent the creation of an Arab terror state in the heart of the country”. The Reaction Palestinian President Mahmoud Abbas's office condemned the decision and warned that Israel’s “provocative” policies were pushing the region towards more violence. It called on the United States to stop the Israeli “madness”. The Future Outlook The push for settlements in the occupied West Bank is illegal under international law and condemned by most nations. Smotrich has been sanctioned by the United Kingdom, France, and other states, which accuse him of inciting violence against Palestinians.

The Heatwave Prompt and a Glimpse into Everett’s PastDuring a scorching London heatwave, Rupert Everett—now 67—sits in a Bloomsbury café and admits the weather triggers memories of the summer of 1976, when he was a lanky teenager dreaming of stardom. The interview opens with his self‑deprecating humor about weight and age, setting the tone for a raw, introspective conversation. The 1997 Hollywood Resurgence: “My Best Friend’s Wedding”Everett’s most notable comeback arrived in 1997 when he played Julia Roberts’ gay best friend in My Best Friend’s Wedding. This role vaulted him into the position of the coveted “camp bestie” for leading ladies, briefly turning him into a box‑office draw.1997 – Cast as the gay confidant in My Best Friend’s Wedding1998‑2002 – Frequent supporting roles alongside A‑list actresses2006 – Publishes first memoir, Red Carpets and Other Banana Skins Memoir Revelations: Sex, Drugs, and Unflinching GossipEverett’s two memoirs—Red Carpets and Other Banana Skins (2006) and Vanished Years (2012)—expose a life of heroin use, cocaine experimentation, and selling himself for sex during lean periods. He spares no one: calling Madonna “vaguely sweaty,” describing Julia Roberts as “beautiful and tinged with madness,” and lampooning public figures like Alastair Campbell and Alan Sugar. The memoirs positioned Everett as a modern‑day Hedda Hopper, wielding ruthless, barbed gossip as a form of self‑critique. Personal Reckoning: Body, Identity, and the Weight of MemoryEverett confronts the physical and psychological toll of his past. He acknowledges his current “chubby” physique, the lingering “punk upper‑class attitude,” and the paradox of heroin as an “upper‑class version of punk.” The actor admits he often sabotaged his own performances—disrupting shows, sending bizarre gifts to critics, and indulging in drug‑induced escapism—behaviours he now finds “horrifying.” Looking Ahead: Redemption, Legacy, and the Role of Truth‑tellingDespite the self‑destructive legacy, Everett hints at a desire for redemption through honesty. By laying bare his flaws, he hopes to reshape public perception and perhaps inspire a new generation of actors to confront their own demons. The interview ends with a quiet acknowledgment that the heatwave, while uncomfortable, may finally force him to “smash his past up through sex” and move toward a more authentic future.

Sonny Rollins' Enduring Legacy: 10 Essential Recordings Sonny Rollins, a jazz icon, has left an indelible mark on the music world. With a career spanning over seven decades, Rollins has consistently pushed the boundaries of jazz, showcasing his mastery and innovation. Here are 10 of his greatest recordings: Tenor Madness (released on Craft/OJC, 1956) A 30-year-old Sonny Rollins had already made his unique mark with Miles Davis and Thelonious Monk by the time this 1956 session was cut. Hooking up with his contemporary and admirer John Coltrane happened by chance on the two-tenor blues chase of this album's title. Saxophone Colossus (Prestige, 1957) This writer's first connection with Sonny Rollins' music was occasioned not by music but words: poetic New Yorker writer Whitney Balliett's evocative review of Sonny Rollins' 1957 Saxophone Colossus. Rollins was partnered on this classic set by pianist Tommy Flanagan, bassist Doug Watkins, and bebop-pioneering drummer Max Roach. Way Out West (Contemporary, 1957) When UK jazz musician Courtney Pine was blossoming as a teenage saxophonist in the early 80s, he would recall that Sonny Rollins' 1957 recording Way Out West was a key inspiration. The format was a Rollins favourite in his own early years – the demanding setup of a sax improviser with just bass and drums in support. A Night at the Village Vanguard (Blue Note, 1957) Rollins' live recordings are not as abundant as his genius in open situations deserves, but this music from New York's Village Vanguard makes up a lot of the ground. Freed from the march of chords by the absence of a pianist, he's in storming form in the company of rock-solid bassist Wilbur Ware and soon to be legendary Coltrane drummer Elvin Jones. Freedom Suite (Riverside, 1958) Rollins was never a natural composer – like Miles Davis, he preferred tunes that could be sketched on the back of envelopes. But Freedom Suite was an interesting departure for him, occasioned by the political climate of US race relations and civil rights in the late 1950s. The Bridge (RCA, 1962) Rollins took a creative break between 1959 and 1961, and his return came with The Bridge, named after the eccentric refuge he found: practising alone on New York's Williamsburg Bridge with only passing trains for company. Live at Ronnie Scott's (Gearbox Records; recorded January 1965) Rollins' visits as a solo performer to London's Ronnie Scott's club in the late 50s and early 60s introduced his mesmerising magic to UK audiences, and also helped to galvanise the local scene's confidence at a time when European jazz became increasingly emancipated from the US. Sunny Days, Starry Nights (Milestone, 1984) From the 1980s onwards, Rollins settled into a concert groove that was predictable – by his exacting improvisational standards – and frequently dazzling for audiences new to him. Sunny Days, Starry Nights showcased him with partners who would regularly join him on stage for the rest of his life. This Is What I Do (Milestone, 2000) The best and most affectionately closeup manifestation of Sonny Rollins' genius as he hit his 70s. The saxophonist's later-life partners are present, and so is one of contemporary jazz's greatest drums pioneers in Jack DeJohnette. Without a Song: The 9/11 Concert (Milestone; recorded 2001) Sonny Rollins and his wife, Lucille, lived close to the World Trade Center, witnessed the buildings' collapse on 9/11, and had to evacuate their apartment shortly afterwards. Four days later, the saxophonist performed and recorded this evocative session with his regular sidemen at the Berklee School of Music in Boston.

The LeadNature groups have pleaded with swimmers to give wildlife a wide berth after dozens of people swam in a nature pond on Hampstead Heath among nests of baby birds during record-breaking temperatures in London.The Wildlife Disturbance IncidentSwans and their 12-day-old cygnets were disturbed by hordes of splashing revellers in the north London park on Monday as London reached record 35C temperatures. In one video, a swan was seen poking an unhatched egg with its beak after it fell into the water during the chaos.Conservationists responded with dismay after a video was shared on social media of the scenes, which the City of London called "utterly appalling". Coots, moorhens and swans were seen guarding their eggs and young as people obliviously splashed around them.There are large signs around the pond urging people not to swim as it is a wildlife conservation area. The unseasonably hot weather has meant that people have been going into water sources en masse to cool off, coinciding with the nesting season for water birds.Conservation ConcernsThe RSPB said it was "a crucial time of year for breeding birds which just want to nest and care for their young in peace". The bird charity urged people to swim in authorised, lifeguarded spaces rather than nature reserves."Along with the dangers of swimming in unauthorised places, there is a significant risk of disturbing wildlife. Many species are already under huge pressure and disturbance can make a parent abandon their nest, putting eggs and chicks at risk. Everyone has a part to play in protecting nature so we'd urge people to be responsible and give birds and other wildlife plenty of space when outdoors this summer," it said.Swans of Hampstead Heath, the Instagram account that raised the alarm about the birds, posted: "We are currently in peak nesting season. There are still eggs waiting to hatch, ducklings and chicks only days/weeks old, and for the first time in years, swans have successfully nested on this pond, with cygnets now just 13 days old. Restricting these birds to a small section at the back of the pond makes it incredibly difficult for them to access the natural food they need to survive."When nests are disturbed, the adult birds often flee, leaving their young to be eaten by predators or die of starvation.Official Response and EnforcementThe chair of the City of London Corporation's Hampstead Heath, Highgate Wood and Queen's Park committee, alderman Gregory Jones KC, said: "The recent conduct of some visitors swimming in non-lifeguarded ponds is utterly appalling. Entering other non-lifeguarded water bodies is extremely dangerous, against our bylaws, and causes significant harm to wildlife habitats.""We always seek to engage with visitors first, but the constabulary will take enforcement action where necessary, including issuing fines or making arrests."Broader Environmental ContextThe nature campaigner and barrister Paul Powesland said: "I am not defending the people in the video, but scenes like this are an almost inevitable consequence of the destruction of outdoor lidos and the poisoning of rivers across London. It's madness for a city the size of London to have only one set of wild swimming ponds; conveniently located in one of the wealthiest areas."There have, however, been warnings of cold water shock and drownings as lakes, rivers and the sea are much colder than the air temperatures at present.

The LeadGame of Thrones actress Hannah Murray shares her experience of being sectioned in a psychiatric hospital in her new memoir "The Make-Believe: A Memoir of Magic and Madness." The actress describes her mental health journey and the experience of being involuntarily admitted under the Mental Health Act.The Hospital ExperienceThe door to the room opens. A man enters the room. He is a Black man, bald and overweight. He is dressed in uniform. Blue uniform, a blue lanyard that reads "NHS". But I know Steve, the leader of the organisation that introduced me to magic, is a magician. I know he can appear in disguise.I approach the man and try to kiss him.He does not let me kiss him. Then no. It is not Steve.The man has brought me a plate of toast. He has brought me a cup of tea. I add sugar to the tea, which I would never have done in my former life, but a spoonful of sugar helps the medicine go down!I am a Ritual Master. And this, drinking my own urine, is a powerful ritual. This is all I need now to survive … I will never need to eat again. I survive on liquids and air and lightI do not eat the toast. I drink the tea. I am alone in the room again and I urinate into the cup and drink that too.I am a Ritual Master. And this, drinking my own urine, is a powerful ritual. This is all I need now to survive. It is the most potent of potions I can drink. I am a self-contained, utterly self-sufficient being. I will never need to eat again. I survive on liquids and air and light.I decide to explore outside the room. Outside my sanctuary. He has not come. So maybe I need to go searching for him …The Phone CallTime jumps. I am in a corridor lit by overhead strip lights. The electric light is pale yellow in tone. I am sat on one of three chairs in a row against the wall. The chairs are purple, curved plastic. I am still waiting for him to appear.There are two doors in front of me. One is the door to the blue room with the blue sofa and chair. Behind the other door is an office of some kind, and there is a woman in there, shuffling papers and talking on the phone.The woman comes out of the office. She is holding out my phone. My only possession now – the one artefact from my previous life. There is someone she wants me to speak to.Him.When I hold the phone to my ear, I hear a voice I recognise.But the voice belongs to my mother."Hannah?" she says. "Where are you? What's going on?"There is distress in her voice. Her voice is trembling with pain and anxiety.I do not want to hear it.This is a test. A horrible test, certainly, but one that I can pass. They are trying to tempt me back into the human. They are trying to lure me back into the past.I hang up the phone.But, after a moment, it starts to ring. The word Mum lights up the screen."Talk to her," says the woman.I answer the call.My mother sounds different now. Calmer. She asks again what's going on but gently, even cheerfully. I tell her everything's OK. That I'm fine. I tell her not to worry. I'm in a good place.This is the last time I will ever hear her voice, I think. This is the way I say goodbye.The DiagnosisThey tell me I am being sectioned.The words jar with my beliefs."Section 2 … the Mental Health Act … 28 days … right to appeal … "I cock my head.This does not fit at all. It does not fit in the world of Steve, of Ritual Master, of Shambhala and the invention of magic.I am not concerned. I am concerned only with the energy I can feel spiralling up through my body and the voices I can hear in my head.I pace the hospital corridors, delivering a tearful monologue, delivering the greatest performance of my life. A phrase comes to me. The Girl With All the Gifts. The title of a post-apocalyptic horror film released in 2016, starring Gemma Arterton.I am a magician. I am an actress. I am a writer. I have superhuman strength. I can fly. Anything that can be imagined, I can perform it. Every skill and every ability is mine.The film came out as a warning, and a prophecy.And because of me, the apocalypse has been averted.I am the saviour of the planet. I am the girl with all the gifts.The Journey to RecoveryIt was very hard, the journey to get here. It took 27 years. The path was twisting and full of setbacks, there were challenges and so much pain. There were times I wanted to give up. It was very hard. Everyone will have to make their own journey, and their journeys will be their own, unique as snowflakes or fingerprints. That is the beauty of it, the joy of it. Everyone has to figure it out for themselves.But I have laid the groundwork. I have walked the path. It starts with the energy healing, and it goes on and on through the seven dimensions, through increasingly magical planes. It goes on and on until you meet your soulmate, like I met mine.I was in a TV show called Game of Thrones, hidden in plain sight in the midst of a cultural phenomenon. I, the key to the world's salvation, wore the face of a character called Gilly, but really I played every role. Then I worked on a film called Detroit in Boston. David Benioff and Dan Weiss and Kathryn Bigelow were the four horsemen of the apocalypse. Numbers are irrelevant. Three counts as four. David and Dan and Kathryn cast me in the roles that brought about my destiny. The end and beginning of the world.I am the Ur-actress. I am every actress. Every performance ever given has been animated by my energy, my talent, by the gestures and facial expressions I am performing here and now.The Memoir and BeyondThis is an edited extract from The Make-Believe: A Memoir of Magic and Madness by Hannah Murray, published by Cornerstone (£18.99). To support the Guardian, order your copy at guardianbookshop.com. Delivery charges may apply.Hannah Murray will be in conversation with Jessie Cave at Kings Place in London on 5 June.

The Hedonistic Legacy of London RecordsLondon Records, the iconic British label that operated with major label distribution but maintained an independent spirit, defined an era of music industry excess and creativity. As a new six-part podcast, "Hit That Perfect Beat – The London Records Story," delves into its colorful history, former artists and executives recall a label that was "the equivalent of Studio 54" – a place where the music business met unbridled hedonism.From Decca to Dance Music EmpireOriginally part of Decca Records (home to the Rolling Stones), London Records began a new chapter in 1980 when Decca was acquired by Polygram. Under the leadership of managing director Colin Bell alongside Roger Ames and Tracy Bennet, the label transformed into an independent operation with major distribution. "We were put in there to develop it into a pop label," recalls Bell. "We were obsessed with being cool. We wanted to be easily identifiable for a generation of young people. We wanted pop that had an edge."The Chart-Hyping Scandal and Financial SuccessWhile the label enjoyed commercial success, it wasn't without controversy. In 1991, London Records was fined £50,000 by the British Phonographic Industry for chart hyping – sending people to purchase records of their artists to boost chart positions. Terry Farley of the acid house crew Boy's Own confirmed this practice was widespread: "Me and Andy Weatherall used to go out on record-hyping missions for them. I remember buying Bananarama singles. But that wasn't unique to London, every record company was involved in it."Defining Pop with AttitudeUnlike labels that forged identities around specific genres, London Records embraced a hodgepodge approach. It operated several imprints, most notably the dance label FFRR headed by Pete Tong, and by the 1990s housed artists as diverse as Orbital, East 17, All Saints, Menswear, Dani Minogue, Utah Saints, and Shakespears Sister. What united this eclectic roster was a commitment to "hits" and a preference for "left-leaning pop – pop with attitude." As Pete Tong explains: "We didn't sign Take That, we signed East 17. We didn't sign Spice Girls, we signed All Saints. Not that we didn't try to sign the Spice Girls..."The Cultural Impact of Musical RebellionLondon Records' legacy extends beyond its chart success. The label provided a platform for artists who challenged norms, from Bronski Beat's unapologetic gay identity to East 17's boyband credibility in alternative music circles. For Tony Mortimer of East 17, being on the label meant enjoying "the best of both worlds": "We were a boyband but we were still in NME and Melody Maker. It was a very cool label to be on. And we had access to these amazing mixes by people like [US house music legend] Danny Tenaglia."The End of an Era and Lasting InfluenceAs the CD sales era peaked, the hedonistic atmosphere around London Records intensified, eventually contributing to its decline. The label's culture inspired John Niven's debut novel "Kill Your Friends," a dark satire of the music industry. "I was simultaneously fascinated and horrified by it," Niven recalls. "To come into this culture, where the artists were, at best, tolerated, and at worst regarded as an impediment, was a real eye opener." While London Records no longer operates with the same prominence, its influence on the music industry's approach to artist development and branding continues to resonate in today's streaming age.

The Pendulum Swings Back: Spurs' Near-Miss Survival DramaTottenham Hotspur found themselves in a rare position of dominance, leading 1-0 against Leeds United with just 20 minutes remaining. This match represented a significant psychological milestone, being the first time Spurs had gone into a league game after back-to-back victories since August. However, the narrative quickly shifted from triumph to tragedy as the team's notorious fragility resurfaced.The Anatomy of a Collapse: From Control to ChaosThe match was defined by a singular, bizarre moment of madness. With Spurs in control, their left winger attempted an ambitious overhead kick in the corner of his own box, inadvertently striking a Leeds centre-back nearly eight feet off the ground. This resulted in a penalty that leveled the score, a moment described as "the stupidest" in the Premier League this season. Despite VAR initially favoring Tottenham with marginal offside calls against Dominic Calvert-Lewin, the momentum was irrevocably lost.The Fragility of Momentum: A Statistical Look at the DrawCurrent Standings: Spurs are now two points behind West Ham.Survival Math: A win and a draw would effectively secure safety, but the team has struggled to convert dominance into points.Historical Context: The draw leaves the relegation battle alive, with West Ham holding a favorable run-in.De Zerbi’s Tactical Revolution vs. The "Spursiness" PhenomenonRoberto De Zerbi has undeniably transformed the team's identity. Gone is the confusion of the Igor Tudor era; in its place is organization, confidence in tight spaces, and a gameplan that draws opponents in. However, the psychological barrier of "Spursiness" remains. The team's anxiety returns the moment the lead is threatened, causing a loss of belief and a disappearance of the "zip" in their play. The spirit has improved, but self-confidence cannot be restored overnight.Survival in the Balance: The Road AheadSpurs face a daunting run-in: a trip to Chelsea four days after the FA Cup final followed by a home game against Everton. While the gap to safety is manageable, the psychological toll of conceding late goals and the fear of self-destruction could be decisive. The team must learn to close out games, a skill that has eluded them despite De Zerbi's tactical improvements.