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Abbey Road Tribute · Follow Today’s “Rare Beatles Images” The BBC’s Letter Banning “A Day in the Life” – May 23, 1967 In May 1967, just days before Sgt. Pepper’s Lonely Hearts Club Band changed the world, the BBC banned its haunting closer — “A Day in the Life.” This letter from Frank Gillard, the BBC’s Director of Sound Broadcasting, was sent to EMI chairman Sir Joseph Lockwood, explaining that the line “I’d love to turn you on” could be “interpreted as encouraging drug-taking.” Gillard wrote that, while the track may have been made “in innocence and good faith,” its “mounting montage of sound” might carry a “sinister meaning.” John and Paul were stunned. “The BBC have misinterpreted the song,” said Paul. “It has nothing to do with drug taking. It’s only about a dream.” “The laugh is that Paul and I wrote this song from a headline in a newspaper,” said John. “It’s about a crash and its victim. How anyone can read drugs into it is beyond me.” The ban only fueled the song’s legend — and, ironically, gave Sgt. Pepper even more mystique. The BBC lifted its unofficial ban later that year, but by then, A Day in the Life had already become one of the most dissected songs in modern music. Thank you to Boris for this remarkable document. #BeatlesHistory #SgtPepper #ADayInTheLife #RareBeatlesImages #AbbeyRoadTribute #1967

90s Football · Follow Cesc Fàbregas on the decline of the true No.10 — and it’s hard to argue with him. He says modern football has become obsessed with systems, pressing, and structure, leaving little room for the kind of creative genius that defined players like Özil, James Rodríguez, and Zidane. The days when a No.10 could drift between the lines, dictate the tempo, and decide games with one touch feel like a thing of the past. Do you think football’s lost its artists? Or is the game just evolving? #fblifestyle

https://www.lcfc.com/pages/en/media-article/leicester-city-under-18-birmingham-u18-premier-league-match-report by Sam Jones Published 10 Nov, 2025 Our Under-18s were defeated 2-0 by Birmingham City in Saturday’s U18 Premier League South clash at LCFC Training Ground. It ends a run of three consecutive home league victories for the Foxes youngsters, who now sit fifth in the standings, remaining on 15 points from nine matches. Tobey Ugorji scored both of the away side’s goals during the first half in Seagrave, converting a penalty on the half-hour mark, prior to finishing across goal just seven minutes later. Another home fixture comes next in the division after the international break, with West Bromwich Albion the visitors on Saturday 29 November. Before then, however, attention turns to the U18 Premier League Cup, with the side coached by Adam Barradell travelling to take on Aston Villa at Bodymoor Heath Training Ground on Saturday 22 November (both 11am GMT kick-offs). The details… City: Stretton, Jacklin (Dignum 71’), Diallo (c), Adedeji, Colangelo-Allen (Simons 46’); Manyumba, W. Lawrence; Owusu (Anugo 50’), De Lisle, Corden; Fletcher (Machaka 46’). Unused sub: H. Lawrence.

https://www.lcfc.com/pages/en/media-article/will-daniels-fifa-u17-world-cup-leicester-city-u18s-academy Will Daniels and Canada are heading to the FIFA U17 World Cup knockout phase despite Tuesday's 2-1 defeat to Chile. Will Daniels helps Canada reach the FIFA U17 World Cup Round of 32 They progress despite a 2-1 defeat by Chile on Tuesday All four teams in Group K collected four points, but Canada finished as runners-up Louis Page and Jake Evans are also into the next round with England Daniels, who has played for our Under-18s this term, was a late substitute for the young Canucks, who were on the wrong side of the scoreline due to goals from Zidane Yáñez, who was later sent off, and Matias Orellana. Shola Jimoh in fact put Canada ahead in Doha but this loss doesn't prevent them from reaching the round of 32, after picking up four points - the same as every other team in Group K - with other factors seeing them through. Daniels was introduced in the 87th minute but there was a lengthy spell of added time which also saw Canada's Van Parker miss a penalty, but in the end it didn't matter too much. Louis Page and Jake Evans will also be in the knockout phase of the U17 World Cup with England's youngsters and we'll bring you updates from Qatar over the coming weeks.

ive been to filbert street n stood on the kop those were the days my friend · Andrew Dolloway · Some terrace legends don't need 10 years to earn their place in supporters hearts. Once such Leicester favourite was Derek Dougan. The archetypal maverick, during his short spell at Filbert Street in the mid 1960's, he made 68 appearances and contributed 35 goals, before surprisingly being sold to Wolves, but he will always be fondly remembered by fans of a certain age. https://tinyurl.com/4dxar9ch

Bump

A bit childish but then it was a child.

Former Leicester City manager Brendan Rodgers is second-favourite to return to Swansea following the dismissal of Alan Sheehan.

Anomalous club · Follow He wrote the hits that made everyone else famous—then sang his own heartbreak so beautifully the world finally listened. The Invisible Hitmaker In the early 1960s, Gene Pitney was the invisible architect of American pop music. While others stood under the spotlights, Gene stayed in the shadows, writing anthems that made other people stars: "He's a Rebel" for The Crystals—a defining girl-group classic. "Hello Mary Lou" for Ricky Nelson—a rockabilly standard that's still played today. "Rubber Ball" for Bobby Vee—a bouncing, irresistible earworm. He was the secret architect of other people's glory. Then one night, sitting alone at his piano, Gene realized something: he was writing the same story over and over. Loneliness disguised as pop music. And he was tired of giving his heartbreak away to other voices. So he stepped up to the microphone himself. A Voice That Made the Air Ache That trembling, soaring, emotional tenor made the air itself ache. "Town Without Pity" (1961)—his voice climbing to operatic heights, singing about moral judgment and small-town cruelty. "Twenty-Four Hours from Tulsa" (1963)—a heartbreaking story of infidelity and regret, delivered with such raw emotion you could feel the narrator's shame. "The Man Who Shot Liberty Valance" (1962)—a cinematic western ballad that sounded like a movie playing in your chest. Gene Pitney didn't just sing heartbreak. He inhabited it. Critics called him "too dramatic." Too theatrical. Too emotional for rock and roll. He called it honesty. "If you can't feel a song," he said, "you have no right to sing it." And Gene Pitney felt every word he sang. The Irony of Fame But fame came with its own cruel irony. Gene wrote about longing while living it. He avoided Hollywood parties. He shunned scandal and celebrity culture. He toured relentlessly—a solitary figure who never quite fit the era he helped define. While rock 'n' roll grew louder, rawer, and more rebellious in the mid-1960s, Gene Pitney stayed elegant, theatrical, unbending. The British Invasion swept America. Psychedelic rock exploded. Folk-rock took over. And Gene's style of dramatic, emotional balladry fell out of fashion. American radio stopped playing him. The hits dried up. But Gene kept singing. He said his songs were "a place for people who still believe in feeling something." Rediscovered The world—or at least part of it—rediscovered him decades later. While America moved on, Britain and Europe never forgot. His concerts in the UK sold out year after year. Fans who'd grown up with his voice came to hear it again—older now, but just as powerful, just as emotionally raw. They cried to the same songs that had outlived every trend. Gene Pitney proved that heartbreak never goes out of style. April 5, 2006. Cardiff, Wales. Gene Pitney, now 65, took the stage one final time. The crowd was thunderous. They sang along to every word. They gave him the kind of reception reserved for legends—because that's what he was, even if America had forgotten. He performed with the same intensity he'd always had. That voice—weathered now, but still soaring, still trembling with emotion—filled the venue. When the final song ended, the crowd rose as one. A standing ovation. Gene smiled, thanked them, and walked offstage. Hours later, he was found in his hotel room. Gone quietly, like a man stepping out between verses. Heart failure. Natural causes. He'd simply performed his last show, returned to his room, and slipped away. There's something almost poetic about it—dying the night after a standing ovation, after giving everything he had to an audience that still loved him, still felt what he felt. The Legacy Gene Pitney spent his life writing for other voices. But his own was the one that never faded. Long after the trends changed, long after rock and roll became something louder and harsher, Gene's voice remained—a reminder that emotion is timeless. That vulnerability isn't weakness. That heartbreak, loneliness, and longing are the most universal human experiences, and singing about them with complete honesty is the bravest thing an artist can do. He proved that you don't need to be the loudest or the coolest or the most fashionable. You just need to feel it. And if you feel it deeply enough, if you sing it honestly enough, people will remember. They'll come back decades later. They'll cry to your songs. They'll give you standing ovations in cities an ocean away from where you started. Gene Pitney wrote anthems for other people's heartbreak. Then he sang his own—and it echoed forever. "If you can't feel a song, you have no right to sing it." Gene Pitney felt every single one. And because he did, we still feel them too. #TimelessMusic #HeartfeltLegacy ~Anomalous club

Sports bar · Follow FIFA is selling parking spots near 2026 World Cup stadiums for between $75 and $175 per spot and per gameday — more than the price of some actual match tickets at previous World Cups. A 2026 parking pass alone, at $75 in the group stage, costs more than a Category 3 ticket to any group match at the 2022 World Cup, which was $69. FIFA also launched an “official parking website” for ticket holders, yet another platform on which soccer’s global governing body will commercialize the 2026 tournament. [HenryBushnell]

Ellie Wilson · Follow *How did The Hollies emerge as one of the brightest voices of the British Invasion?* How did two childhood friends from Manchester create one of the most enduring pop-rock bands of the 1960s? **The Hollies** formed in **1962**, founded by **Allan Clarke** and **Graham Nash**, who shared a love of close vocal harmonies inspired by The Everly Brothers. They were soon joined by **Tony Hicks**, **Eric Haydock**, and **Bobby Elliott**, completing the lineup that would bring them international fame. The Hollies’ blend of **tight harmonies, catchy melodies, and upbeat energy** made them instant favorites in the British music scene. Their name, reportedly chosen as a tribute to **Buddy Holly**, reflected their roots in early rock and roll. With hits like **“Just One Look”**, **“Here I Go Again”**, and **“I’m Alive”**, The Hollies quickly became one of the most successful bands of the British Invasion, standing proudly alongside The Beatles and The Rolling Stones. *What made The Hollies’ sound so distinctive among 1960s pop bands?* Why did their music always seem to sparkle with optimism and clarity? The Hollies’ signature sound came from their **crystal-clear three-part harmonies** and **polished pop craftsmanship**. While other British bands leaned toward blues or psychedelia, The Hollies stayed faithful to bright, melodic pop that celebrated love, hope, and joy. Their songs, like **“Bus Stop”** (written by Graham Gouldman) and **“Carrie Anne,”** showcased their ability to combine storytelling with irresistible rhythm and charm. The jangling guitars, smooth vocals, and clean production gave them a timeless sound that appealed to audiences across generations. The Hollies mastered the balance between emotional sincerity and commercial appeal, making them one of the most consistent hitmakers of their era. *How did The Hollies adapt to the changing tides of the late 1960s?* Could they evolve while keeping their signature harmony-rich sound? As the 1960s progressed, rock music was becoming more experimental, and The Hollies faced pressure to grow beyond pure pop. They responded with albums like *Evolution* (1967) and *Butterfly* (1967), which embraced **psychedelic influences** while retaining their melodic sensibilities. However, creative differences began to surface, particularly between Graham Nash and the rest of the band. Nash, increasingly drawn to political and introspective songwriting, left the group in **1968** to form **Crosby, Stills & Nash**, marking the end of an era. Despite this loss, The Hollies pressed on, proving their resilience and ability to reinvent themselves. *How did The Hollies maintain success into the 1970s and beyond?* Could a band known for 1960s pop harmonies thrive in a new decade? Surprisingly, The Hollies not only survived but thrived. With **Terry Sylvester** replacing Nash, they scored major hits in the 1970s such as **“He Ain’t Heavy, He’s My Brother”** (featuring Elton John on piano) and **“The Air That I Breathe.”** These songs revealed a deeper, more emotional side of the band — mature, soulful, and beautifully arranged. The Hollies showed they could adapt to adult contemporary trends while preserving their signature vocal brilliance. Their ability to balance timeless harmony with evolving styles made them one of the few British Invasion bands to sustain chart success across multiple decades. *Why are The Hollies remembered as one of pop’s most consistent and beloved groups?* What lasting mark did they leave on popular music? The Hollies’ enduring appeal lies in their **purity of sound and emotional honesty**. They were never the loudest or the most rebellious, but their music spoke directly to the heart with sincerity and joy. Their influence can be heard in bands like **Electric Light Orchestra**, **Crowded House**, and **The Bangles**, all of whom drew from their harmony-driven pop style. Inducted into the **Rock and Roll Hall of Fame in 2010**, The Hollies remain a symbol of the golden age of pop — a band that combined technical brilliance with genuine warmth. With songs that continue to inspire smiles and nostalgia, The Hollies proved that good melodies and true harmony never go out of style.

Decent forward line that.

Only if you get pension credit

That's a bit extreme, will they explode or just shrivel up Maybe a new thread for them Gone and Best Forgotten.

The president has also proposed constructing a triumphal arch, the so-called "Arc de Trump", on the National Mall across from the Lincoln Memorial. Lawmakers have also proposed a bill that would rename the Kennedy Center the Donald J. Trump Center for Performing Arts.

Football Away Days · Follow The Leicester protests have made it to the beaches of Brighton.

I trust all the posters in here unhappy with this statement are all signed up members of the Foxes Trust as just moaning on Foxes Talk will change nothing it's probably counter productive. For the Foxes Trust to be more effective they need a very large membership.

Bump!

You may correct but Muzzy was no weakling he was deceptively strong

There were plenty on here who were happy to go down to the championship to rebuild. Not sure what the difference is any relegation could prove fatal in trying to get back up it’s certainly not a given.

Buskin with The Beatles · Follow On this date in 1961, Brian saw The Beatles perform onstage for the first time - and was instantly hooked. Satisfying the curiosity that had been piqued a short time earlier by record buyers at his downtown NEMS store, Brian stood with personal assistant Alistair Taylor towards the back of The Cavern, near the snack bar. "He looked so out of place, that people were saying 'What’s ’e doin’ ’ere?'" Cavernite Margaret Douglas would tell Beatles historian Mark Lewisohn. "Ray McFall and Bob Wooler always wore suits and ties but they were nothing like Brian Epstein – he always looked like his mum got him ready." Knocked out by the musicians' sound and stage presence, Brian was less impressed by their onstage swearing, eating and drinking. "Their presentation left a little to be desired as far as I was concerned, because I’d been interested in the theatre and acting a long time," he'd later recall. "But, amongst all that, something tremendous came over, and I was immediately struck by their music, their beat, and their sense of humour onstage. They were very funny; their ad-libbing was excellent. "I liked them enormously, I immediately liked the sound that I heard: I heard their sound before I met them. I think actually that that’s important, because it should always be remembered that people hear their sound and like their sound before they meet them. I thought their sound was something that an awful lot of people would like. They were fresh and they were honest and they had what I thought was a sort of presence, and – this is a terrible, vague term – ‘star quality’. Whatever that is, they had it – or I sensed that they had it." After the show, Brian met The Beatles in the tiny Cavern dressing room. "What brings Mr. Epstein here?" George flippantly asked of the man he initially perceived as “some very posh rich fella". He and his mates were about to find out.

Perhaps some of this and it's not Monty Python A wonderful insight into life as a footballer back in the 1940s, with the late great Nat Lofthouse OBE as a Bevin boy, a young man conscripted to work down the mines between 1943 -1948. His Saturday would consist of 3.30am get up to catch 4.30 tram to work, 8 hour shift underground before being picked up by the team bus to play for Bolton in the afternoon. Nat also played for England scoring an amazing 30 goals in only 33 matches