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Hailee Steinfeld is sharing a new photo as she settles into her pregnancy

NEED TO KNOW

• The actress bared her bump in a snap alongside her husband, NFL star Josh Allen

• Steinfeld and Allen shared they are expecting their first baby together in December

Hailee Steinfeldis settling into her pregnancy style.

TheSinnersactress, 29, posted a new photo onher Instagramon Wednesday, Feb. 25, after first sharing the picture in an article on her Substack. In the snap, Steinfeld could be seen sitting on a kitchen table at home, wearing a long-sleeve blue and yellow striped shirt that was tucked above her bump.

She matched the shirt with a pair of mini shorts and white socks, holding a coffee cup up to her mouth. Steinfeld sat in front of her husband, Josh Allen, who had a matching coffee cup and smiled up at her.

"Life lately…@beausociety💌," Steinfeld wrote in her caption.

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Back in January, Steinfeld's NFL star husbandspoke in a press conferenceafter the Buffalo Bills introduced Joe Brady as their new head coach. After giving Brady his full support, Allen was asked what his offseason will look like as he and his pregnant wifeprepare to expand their family.

"I mean, to the best of our abilities," Allen said when asked if they are trying to map things out. "But I've known this from well in advance. I've got siblings that have kids, I've got a lot of friends that have kids. I don't know if you can plan too far in advance."

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"So I'm very much looking forward to that with my wife, of becoming a dad," he continued. "It's something that I will take with great pride. And we're going to have to figure things out on the go, just like anything else."

"But this is the most important thing I'll ever be in my life, being a dad. And I know I love being a football player, and I love being a quarterback for the Buffalo Bills. But I'm looking forward to this one."

Steinfeld and Allen first announced that they'reexpecting their first baby together in December. The actress shared her news in herSubstack newsletter, sharing a round-up of her 29 favorite moments from the past year in honor of her 29th birthday.

At the end of her list, Steinfeld included a video that announced her pregnancy. The actress could be seen posing in the snow with her pregnant belly out as Allen kissed her stomach. They could then be seen smiling and posing together as the star wore a fleece that read "mother" across it.

When the video concluded, it panned out to reveal the two holding hands in front of a tiny snowman.

Shortly after their newsletter announcement, the coupleshared a joint Instagram postwith the same video. "I love you ❤️," Allen commented on the clip.

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Tim Gunn opened up about the painful reason behind his celibacy

NEED TO KNOW

• A gutting breakup and the hurtful circumstances surrounding it completely altered how Gunn approached intimacy, he said

• "Whenever I was even tempted to engage in something that could become serious with someone, all this would come back like Niagara Falls, and it would just take the desire away," Gunn said

Tim Gunnis shedding light on the painful reason behind his celibacy.

The formerProject Runwaymentor, 72, opened up on the Feb. 19 episode of theDear Chelseapodcast about his choice to remain celibate for more than four decades. Gunn made the deeply personal decision as a result of a particularly fraught breakup of a meaningful relationship, he said.

In 1982, Gunn was living in Washington, D.C., and had spent nine years in a relationship with a man he loved incredibly. Gunn "would have done anything for him," he admitted. Then one night, it was all over.

"I have no patience for you any longer," Gunn recalled his lover telling him. "I want you to leave."

Gunn got in his car and drove back to his apartment, stopping on the side of the road to try to ease his hyperventilation. Gutted, Gunn's pain was amplified by the fact that he still had to work with this person and see him every day.

The hurt of the breakup was just one part of Gunn's anguish, though. During that fateful conversation, his partner had confessed to cheating on Gunn — just as the AIDS crisis had begun picking up speed.

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"One of the things he told me that night was that he'd been sleeping with just about everything that walked by," Gunn said. "And I had been loyal and faithful to him. He was the only person I'd ever been with."

Gunn added, "The self pity then turned to completely unbridled anger because I thought he may have given me a death sentence."

Out of extreme caution, Gunn got tested regularly for HIV every six months for 10 years, and luckily the results always came back negative. But the emotional scar his former partner had left on him never budged and completely altered how Gunn navigated love and intimacy.

"Whenever I was even tempted to engage in something that could become serious with someone, all this would come back like Niagara Falls, and it would just take the desire away," Gunn said.

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Gunn later left Washington, D.C., for a teaching job at N.Y.'s Parsons School of Design — a position he said he rejected years earlier because he was "very happy" with his partner in D.C. The physical distance from his former lover and the city in which his heart was broken, coupled with years and years for the pain to dull, were the best cure for his broken heart, Gunn said.

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While coauthoring a memoir with guitar heroSteve Lukather, music writerPaul Reeswas scrolling through Spotify and realized something important.

Thenumber of monthly listenersfor Lukather's band, Toto, along with many classic rock artists such asJourney, Boston,Heart, Bon Jovi andStyxconsistently hit above 10 million, on par with plenty of contemporary hitmakers.

But most of the those artists who solidly ruled the airwaves from the mid-'70s through the mid-'80s were critically derided – then and now – as "corporate rock," their popularity an unfair diminishment.

Rees' casual research led him to recognize that this enduring music, which often still steers thehighest-rated radio stationsin major markets, "really hadn't been documented in any meaningful sense," he says.

The result is"Raised on Radio: Power Ballads, Cocaine & Payola – the AOR Glory Years 1976-1986"(Da Capo Press, 495 pp., out now), Rees' riveting oral history of the era of "Album-Oriented Rock," or AOR.The genre is exemplifiedby chart-toppers who crafted polished rock songs with memorable hooks, whizzing guitar solos and more technical skill than often acknowledged (see: Boston).As a radio format, AOR also spotlighted album tracks, with program directors at the time following their gut to play worthy songs not necessarily christened as singles by the record labels.

Over about 18 months, Rees conducted 53 original interviews – most of them remotely via video – and scoured his own archives from his years as an editor of vaunted U.K. music magazinesQandKerrang!to cull stories directly from the artists.

In a recent interview from his home in Scotland, Rees shared insight into assembling the book, which shares a name with Journey's 1986 album, "Raised on Radio" (trivia alert –Randy Jacksonof "American Idol" plays bass on it).

"It was the title right from the word go," Rees says. "It's music that, whatever the dopamine receptor is in the brain, this hits it. It's happy music, and we could all do with a bit of that at the moment."

Here's what else Rees imparted about his study of backstories during one of the most everlasting periods of radio.

Artists who offered surprising revelations

Rees tags Toto singer/keyboardistDavid Paichas one of his favorite interviews for the book, along with Lukather ("a man completely without filter") andBryan Adams'longtime writing partnerJim Vallance.

In the book, Vallance recalls how he and Adams wrote the smash "Summer of '69" while sitting across from each other with blank sheets of paper and volleying lines about their memories.

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It's those "happy accidents" that Rees was most fascinated with while talking to his subjects.

But his "absolute favorite" wasHeart guitarist/singer Nancy Wilson, who shares plenty of stories in the book about sexism ("I was kind of the Farrah Fawcett of rock for a minute there," she comments about the band's big-hair '80s makeover) and record label headaches.

"Nancy was fabulous. I did a Zoom interview with her in her kitchen," Rees says. "A woman playing guitar in a rock band at the time – and (sister) Ann as well – and to have endured what she endured … how much they were viewed as commodities. It's not as if people who were there at the time are apologetic. It's always passed off as sort of, 'That's what the audience wanted.' So her, Ann,Pat Benatar– full respect."

Which artists turned down the chance to be in the book

While the book is rife with anecdotes and deep conversation with musicians includingKevin Cronin of REO Speedwagon, members ofNight Ranger, Styx,Chicagoand Foreigner and archival chats with departed artists including Boston singer Brad Delp and Eddie Money, Rees notes three elusive subjects.

"I just couldn't get to (former Journey frontman) Steve Perry," he says. "I think hecomes out and talkswhen he has a new record to promote but I don't think he willingly submits himself to the process. Ditto Tom Scholz (themastermind of Boston). Another person I really wanted to talk to is Pat Benatar. It got as far as management and they knocked back the idea. That was a shame because I am a really, really big admirer of hers."

Rees still managed to get insights from the trio in the book with material from previous interviews.

One artist who initially turned down Rees' request but reconsidered has now become a professional pal.

"Billy Squierfinally said, 'I'll talk to you but not about my music. I'll talk about radio and what it meant to me.' And when I actually got him, I couldn't stop him from talking," Rees says with a laugh. "He was hugely interested and articulate and since then, he's messaged me out of the blue with a new song he's written."

Why is there still so much hate lobbed at tremendously popular artists?

Many of the artists in Rees' book are still some of thebiggest touring juggernautsdecades after their most popular work ruled the airwaves. Yet there still is an apology factor attached to sayingBon Jovi's"Livin' on a Prayer" or Journey's"Don't Stop Believin'"are irresistible earworms.

That lack of respect, Rees says, stems from a "simple truth."

"This music happened without the permission of rock critics. It wasn't music they uncovered like punk or New Wave, which had a critical cachet and discovery point. Music critics like to think they discovered things and this music was popular because people didn't need to be led by the hand toward it," he says. "If you read about 1977, it was the year of punk, as if that was the only thing in pop culture. But if you look at the biggest records of that year, they wereMeat Loaf's 'Bat Out of Hell'andFleetwood Mac's 'Rumours.'If you liked one, it didn't preclude you from liking the other. But that's why these songs have endured: they were brilliantly written."

This article originally appeared on USA TODAY:Journey, Heart, Bon Jovi dig into glory years of classic rock