15 Things The Royal Family Will Inherit From The Queen –  hW

queen elizabeth ii sat on the throne for over 70 years making her the longest reigning british monarch in history in that time she amassed a huge fortune and many priceless possessions so now that she’s passed what does the royal family stand to inherit number one her tiaras and crowns since queen elizabeth was well a queen she had a lot of tiaras and crowns many of these pieces were part of the crown jewels a historical collection that technically belongs to the monarchy and not the queen herself but the queen had

her own personal crown and tiara collection the largest tiara is the delhi dubar tiara which was made for her grandmother queen mary in 1911. while the queen never wore the tiara in public she lent it to camilla in 2005. since camilla is the new queen consort it’s likely she’ll inherit the tiara which is estimated to be worth almost 10 million dollars another notable diadem is queen mary’s lovers not tiara worth about one million dollars queen elizabeth passed it on to princess diana when she married charles but after their divorce diana

returned it to her mother-in-law the tiara is now a favorite of the duchess of cambridge kate middleton and some people think there’s a good chance she’ll receive it in the will kate may also inherit the queen’s cartier halo tiara a tiara with 1 000 diamonds worth 1.7 million dollars she wore it as something borrowed to her wedding to prince william number 2 jewelry the queen’s personal jewelry collection isn’t just crowns and tiaras altogether it’s worth a whopping 110 million dollars and features fabulous earrings

necklaces rings brooches and more the 300 pieces include jewels handed down from queen mary and queen victoria radar online reports that meghan markle probably shouldn’t expect much but kate should back in july their sources claimed the queen made last minute changes to her will and was rethinking who deserved what these insiders guessed that most of the jewels would go to kate because she was clearly the family favorite they added that this favoritism caused camilla to secretly resent kade but page six had an entirely different story they

claim the queen may follow in her mother and grandmother’s footsteps and bequeath all her jewelry to the new monarch king charles whatever happens you know there’s going to be some jealousy number three the throne for a long time there was talk that the crown would skip charles and go directly to william but it looks like that wasn’t true charles wants to be king and since it’s his birthright it’s definitely happening a royal expert tells people magazine that 73 year old prince charles sorry king charles iii has waited for

this day for a very long time and he’s convinced he can do a good job there’s no way he’ll abdicate for his son the expert adds that charles will probably be crowned in a year because it’s considered unseemly to have a coronation ceremony right after someone’s passing the royal family must respect the queen and provide a long period of mourning number four her castles like the queen’s jewelry some of her castles belonged to the monarchy and others were her private estates her private properties include sandringham

house in norfolk england and barmah castle in scotland where she recently passed chances are king charles will get both he’ll also get to choose to live in royal residences like buckingham palace and windsor castle which are both owned by the crown before the queen’s passing experts guess that charles would probably keep living at london’s clarence house when he becomes king since that’s where he and camilla have resided since marrying in 2005 but it looks like he’ll actually be relocating to buckingham palace one thing we do

know now that charles is trading up he’s bequeathed his private duchy of cornwall estate to his son prince william created in 1337 by king edward iii the estate is said to be worth 1.3 billion dollars and boasts 140 000 acres in southwest england not too shabby willing kate number five royal titles now that the queen has passed many royal family members will get new titles obviously prince charles and duchess camilla are now king and queen consort prince william and kate middleton will keep their titles of duke and duchess of

cambridge but will also inherit the titles of duke and duchess of cornwall from charles and camilla new titles to match that amazing duchy of cornwall estate kate and williams kids titles have also changed now they’re the princes and princess of cornwall and cambridge and nine-year-old prince george is now second in line after his father to become the next british king number six new titles for archie and lillabet things get a little fuzzy when it comes to prince harry and meghan markle’s kids archie and lillabet

mountbatten windsor mainly because of the recent drama concerning their move to america if they want the kids can now technically be referred to as prince archie and princess olivet but so far their titles haven’t been updated on the official royal website the king spokesman said the site would be updated when the king has more information so it’s possible that king charles could revoke those titles hmm maybe he’s waiting to read what prince harry writes about him and camilla in that upcoming biography number seven her corgis

royal wills are kept private but there’s one thing we know for sure now that the queen has passed prince andrew and his ex-wife sarah ferguson will be taking care of her beloved corgis even though they’re divorced andrew and fergie remain on good terms and live together at their family home royal lodge in windsor an insider tells people that the couple actually found the dogs when they were puppies and gifted them to the queen the source adds that fergie bonded with the queen over dog walking and riding horses and even after she

divorced her son they would walk the dog together and chat in her 96 years on earth the queen was the dog mom to more than 30 corgis and dutch hound corgi mixes known as dorgies i know what you want number eight the crown jewels remember those crown jewels we mentioned earlier even though the royal ceremonial objects didn’t belong to the queen personally ownership will be passed to king charles iii now that he’s the new monarch the 142 items that make up the crown jewels are estimated to be worth anywhere from

one to six billion dollars and are kept safe in the tower of london number nine her money the monarchy as a whole is worth about 88 billion dollars according to forbes magazine queen elizabeth was worth a fraction of that but they guessed that around 447 million of her own personal money will be going to her family some of that was inherited elizabeth got 85 million dollars when her mother passed and another 12 million from her husband prince philip while it makes sense that king charles will receive a lot of this

money a royal expert told the new york post that actually andrew was the queen’s favorite son and she set aside a hefty portion of her fortune just for him money will also go to the queen’s other children anne and edward the big question is will the queen leave money for her grandchildren and great-grandchildren number 10 her real estate portfolio a large bulk of the queen’s income came from her impressive real estate portfolio she received 15 of the profits from the crown estate an independent commercial business that owns a

collection of lands and holdings in the uk experts place the crown estates land holdings at around 18 billion dollars unfortunately for charles who will inherit his mother’s real estate portfolio the estate doesn’t personally belong to him so it can’t be liquidated however 25 percent of the state’s annual profits are given back to the royal family so if you pay to visit buckingham palace or any of the castles or museums under the crown estate umbrella a quarter of your money will go to the royals number eleven race horses

like kurkorgies the queen was passionate about horses and riding at the time of her passing she owned about a hundred horses many credit the queen’s love of horses racing and breeding with keeping the sport relevant in the uk she got her first shetland pony peggy when she was four and as she got older she became a very talented writer she also made millions of pounds betting on horse races not a bad side gig it doesn’t look like anybody else in the royal family shares elizabeth’s passion for horses so currently it’s unclear who will inherit

these gorgeous animals number 12 private art collection another one of the queen’s passions was art collecting she was the proprietor of one of the greatest collections in the world which is said to be worth 11 billion it includes 7 600 paintings 2 000 miniatures and over 500 000 prints and drawings not to mention furniture ceramics clocks coats of armor arms and photographs there are pieces of arts by legends like vermeer rembrandt leonardo da vinci and even andy warhol technically the queen’s art is a royal

collection so king charles will automatically be its new owner number 13 her cars queen elizabeth was a noted car enthusiast her collection of state and personal vehicles includes several rolls-royce phantoms some land rovers and a bentley state limousine that was the second most expensive car in the world estimated to be around 11 million dollars well can you blame her for going all out she was the queen we don’t know who will inherit her vehicles but we bet william and harry are eyeing them number 14 her fashions

the queen was known for her bright coats hats and handbags many think that her iconic looks will be given to fashion museums so that british citizens can see their former queen’s procs on display the rest may be preserved and documented for future historical reference some pieces may even be donated imagine finding one of the queen’s old handbags at a charity shop number 15 stamp collection finally the queen’s stamp collection maybe stamps aren’t the most exciting thing on this list but the royal collection is still pretty valuable

experts estimate that it’s worth about 110 million dollars not to mention the historical significance it’s called the royal philatelic collection and it’s a collection of postage stamps from all across the commonwealth it’s currently housed at st james palace in london because charles is the new king the stamps will likely be passed down to him since the world is still in mourning it may be a while before we find out exactly what everyone inherited from the queen which members of the royal family do you think the queen would honor in

her will let us know in the comments below and be sure to like share and subscribe to the thing celebrity for more on your favorite celebs

QQ4 Bob Dylan and Keith Richards have been close friends for nearly 40 years. The friendship began on a live television program in November of 1986 in the 11 seconds after Bob Dylan called Keith Richards music derivative on camera. Keith Richard’s response to that assessment, one sentence said without anger, without performance, with the specific directness of a man who has nothing to prove and knows it made Bob Dylan laugh.

Then made Bob Dylan go quiet. then made Bob Dylan say two words that people who know Bob Dylan say he almost never said to anyone. This is the story of those 11 seconds and the 40 years that followed them. The program was a live music interview special broadcast on an American network on the evening of November 3rd, 1986. The format was simple.

Two musicians, a host, an hour of conversation about music and the state of it. The producers had assembled the pairing of Bob Dylan and Keith Richards with the specific calculation of television producers who understand that two people with equally strong and potentially incompatible views about what music is and what it should do will produce better television than two people who agree about everything.

The calculation was correct, though not in the way the producers had anticipated. Bob Dylan was 45 years old in November of 1986. Bob Dylan had released Empire Burlesque the previous year and had been on the road for most of the intervening period as part of the True Confessions tour with Tom Petty and the Heartbreakers.

Bob Dylan was in November of 1986 in one of the most prolific and restless phases of a career that had consisted almost entirely of prolific and restless phases. A career that had moved through folk, rock, country, gospel, and back again, that had been declared finished at least six times by the music press, and at each time continued with the serene indifference of a river to the opinions of people standing on its banks.

Bob Dylan had been redefining what music could be. Since 1962, Bob Dylan had invented and reinvented himself so many times that reinvention had become his defining characteristic, not in the superficial sense of a performer changing costumes, but in the deeper sense of a musician who had never allowed his work to settle into a form that could be anticipated or categorized from the outside.

Bob Dylan understood influence and originality and the relationship between them better than almost anyone alive in 1986. Bob Dylan had spent 24 years thinking carefully and specifically about where music came from and where music was going and what it meant that those two things were always in constant conversation with each other.

Keith Richards was 42 years old in November of 1986. Keith Richards had been playing guitar professionally since 1962. Keith Richards had built a career on a foundation of American blues and rhythm and blues. A foundation that Keith Richards had studied with the systematic devotion of someone who understood that the tradition he was building on was not incidental to the music he was making, but essential to it.

that you could not understand what Keith Richards did without understanding where Keith Richards had come from and what Keith Richards had been listening to since he was a teenager in Dartford with American Import Records and a secondhand guitar and no teacher except the recordings themselves. Keith Richards had never pretended otherwise. Keith Richards had in fact spent considerable energy across his career making the lineage explicit, naming the artists, citing the recordings, insisting on the acknowledgement of influence that the mainstream music

industry had a long history of suppressing or ignoring or crediting to the wrong people. If anything, Keith Richards was more transparent about his sources than most musicians of his generation. Keith Richards had always said openly that the Rolling Stones came directly from the blues, that Muddy Waters and Robert Johnson and the specific tradition of the Mississippi Delta were not background influences, but foundational ones.

The music Keith Richards made was in direct and sustained conversation with that tradition, something Keith Richards considered not a limitation, but a responsibility and a form of respect. The interview had been running for 8 minutes when the host asked Bob Dylan about the current state of rock and roll.

Bob Dylan answered with the density and the indirection that characterized Bob Dylan’s responses to direct questions, turning the question over, approaching it from an unexpected angle, finding his way to what he actually thought through a series of observations that moved like a river rather than a road. Bob Dylan was not a straightforward interview subject.

Bob Dylan had been asked about rock and roll in hundreds of interviews across 24 years and had developed the habit of treating the question as an invitation to think out loud rather than a request for a prepared position. The producer Gerald Sherman said afterward that in the first 8 minutes of the interview, he had been slightly anxious, not because anything was going wrong, but because nothing was going anywhere in particular yet.

The interview had the feeling of two conversations happening simultaneously. Bob Dylan’s internal one and the external one visible to the cameras. And Gerald Sherman was not certain in those first eight minutes that the two conversations would converge into something. Bob Dylan talked about influence. Bob Dylan talked about originality.

Bob Dylan talked about the difference between music that absorbed a tradition and transformed it and music that absorbed a tradition and reproduced it. And then Bob Dylan made his assessment. And then Bob Dylan said with the precision of a man making a musical assessment rather than a personal judgment that the Rolling Stones work, and Bob Dylan was specific, naming Keith Richards as the guitarist whose approach he was discussing was derivative in a way that Bob Dylan found limiting.

Bob Dylan said it without hostility. Bob Dylan said it as a technical observation about the relationship between source material and the work that came from it. Bob Dylan said that Keith Richards played the blues the way the blues had already been played, rather than using the blues as a starting point for something that had not yet been played.

Keith Richards had been listening to this with the specific attention Keith Richards gave to things being said about music by people who knew music. Keith Richards did not interrupt. Keith Richards did not shift in his chair or display any of the visible signals of a person preparing a defensive response. Keith Richards listened to Bob Dylan’s complete observation all the way to its conclusion without interrupting and without displaying any visible signal of preparing a response.

Then Keith Richards said one sentence. The sentence was not a rebuttal. The sentence did not defend Keith Richards music or argue for its originality or challenge Bob Dylan’s characterization of what the blues meant in the context of rock and roll. The sentence was something else entirely, something that required a specific kind of confidence to say.

The confidence of a person who has spent long enough thinking about the same things as the person they are talking to that they can locate the exact point where their thinking diverges and say something useful about that point rather than simply defending their own position. The sentence acknowledged everything Bob Dylan had said, the assessment, the distinction Bob Dylan was drawing, the specific musical concern underlying the observation, and then turned it 90°.

Keith Richards took Bob Dylan’s own framework, the one Bob Dylan had used to analyze Keith Richards relationship to the blues tradition, and applied it back to Bob Dylan’s work with the same precision Bob Dylan had used to apply it to Keith Richards. Spare aimed. The sentence asked Bob Dylan something about Bob Dylan’s own music, about the relationship between Bob Dylan’s sources and Bob Dylan’s output that Bob Dylan had not been asked on television before.

The sentence did not attack. The sentence illuminated. Bob Dylan laughed. The laugh was not the polite laugh of someone responding to a joke. The laugh was the involuntary laugh of someone who has been genuinely surprised. The specific kind of surprise that a person of exceptional intelligence experiences when someone else’s intelligence exceeds their expectations.

Bob Dylan laughed for 4 seconds. Then Bob Dylan stopped laughing. Then Bob Dylan was quiet for 3 seconds in the way that Bob Dylan was quiet when Bob Dylan was thinking rather than performing thought. Then Bob Dylan said, “You’re right.” The producer in the booth, a man named Gerald Sherman, who had been working in television for 14 years, said afterward that in 14 years of live television production, he had never heard Bob Dylan say those two words in a public forum.

Gerald Sherman said he had worked with Bob Dylan on two previous occasions and had observed Bob Dylan in numerous other contexts and that you’re right was not a phrase that Bob Dylan deployed easily or often because Bob Dylan had spent 24 years being right about music in ways that other people eventually caught up with. And the experience of being right ahead of everyone else does not generally produce a man who says you’re right readily when someone else makes a point.

The host of the program, a journalist named Patricia Wells, who had been interviewing musicians for 12 years, said afterward that the 11 seconds between Bob Dylan’s assessment and Bob Dylan saying, “You’re right,” were the most extraordinary 11 seconds of television she had been present for. Patricia Wells said that what she witnessed in those 11 seconds was not a debate or a confrontation or a celebrity exchange of competing opinions.

Patricia Wells said what she witnessed was one musician recognizing another musician as an equal, which was in the specific context of Bob Dylan in 1986, not something that happened in public very often. The interview continued for another 42 minutes after those 11 seconds. The conversation between Bob Dylan and Keith Richards in the remaining 42 minutes was described by everyone who watched it as fundamentally different from the first 8 minutes.

The host, Patricia Wells, who had been conducting music interviews for 12 years and understood the difference between the performance of conversation and actual conversation, said that at approximately the 9-minute mark, something shifted in the studio. That the formal interview, architecture dissolved, and what replaced it was something less structured and more genuine.

Bob Dylan and Keith Richards talked about influence and originality and the blues and what it meant to build on a tradition without being consumed by it. They talked about specific recordings and specific musicians with the specificity of two people who had spent their entire adult lives thinking about these things and rarely found another person who had thought about them with equivalent care.

They talked about where music came from and where music was going and whether those two questions were actually one question or two. Patricia Wells said afterward that she had asked approximately four questions in the remaining 42 minutes because Bob Dylan and Keith Richards did not require questions. They required only a room and a camera and the shared understanding that what they were saying together was worth recording carefully.

She said it was the best interview she had ever conducted and that she had conducted the smallest part of it. After the program, Bob Dylan and Keith Richards were in the corridor outside the studio when the host Patricia Wells passed them. Patricia Wells said she did not stop because she did not want to interrupt.

She observed them for approximately 30 seconds from a distance. She said they were talking with the ease of people who had known each other for years rather than people who had met for the first time 2 hours earlier. She said that something had shifted between them during the broadcast that the broadcast had made permanent rather than temporary.

She continued down the corridor and did not look back. She said in her account of that evening that she had decided in that moment not to interrupt the conversation because some conversations are more valuable than any question a journalist might ask and that the conversation she had observed for 30 seconds in the corridor outside the studio was one of them.

She had been a music journalist for 12 years. She recognized the difference. Bob Dylan and Keith Richards have maintained their friendship across four decades. They have appeared together at various events, most significantly at the concert for the Rock and Roll Hall of Fame in 1995, where people who were present described them as inseparable for most of the evening, occupying the same corner of the backstage area and talking with the concentrated attention of people who only have a limited amount of time together and intend to use it

well. Bob Dylan has spoken about Keith Richards in interviews with the specific thoughtful care that Bob Dylan reserves for musicians whose work Bob Dylan considers genuinely important rather than merely culturally prominent. Keith Richards has spoken about Bob Dylan in similar terms with the specific respect of someone who recognizes in another person a commitment to music that goes deeper than career.

Neither Bob Dylan nor Keith Richards has made a public statement specifically about how the friendship began or about the November 1986 interview. Bob Dylan has not mentioned the 11 seconds. Keith Richards has not mentioned the sentence. The interview exists in the archive. The 11 seconds are there. The laugh is there. The two words are there.

What is also there for anyone who watches the interview from its beginning and pays attention to the shift that happens at the 9-minute mark is the specific moment when two people who thought they were appearing on a television program discovered they were actually talking to each other. What Keith Richards said in that one sentence has never been officially reported.

The people who were in the studio that evening, Gerald Sherman, Patricia Wells, the floor crew, the two camera operators, the makeup artist who was watching from the side of the set, have described the sentence in consistent terms. They have described its effect. They have described Bob Dylan’s laugh and Bob Dylan’s silence and Bob Dylan’s two words.

They have not repeated the sentence itself in the specific understanding that the sentence was said between two musicians on a television program and that its power resided in the specific context of that exchange and would not survive removal from it intact. What can be said is this. Keith Richards said something to Bob Dylan about Bob Dylan’s music that used Bob Dylan’s own observation about Keith Richards as its starting point and arrived somewhere that Bob Dylan had not anticipated.

Keith Richards turned Bob Dylan’s assessment 90° and showed Bob Dylan something about the music they had both spent their lives making that Bob Dylan recognized immediately as true. And Bob Dylan said, “You’re right.” Two words said by Bob Dylan in public on live television in 1986 to Keith Richards in response to a single sentence Keith Richards had said about music.

Two words that Gerald Sherman, who had worked with Bob Dylan on two previous occasions, said he had never heard Bob Dylan say in a public forum. Two words that Patricia Wells, who had been interviewing musicians for 12 years, said were the most significant two words she had heard in those 12 years. Not because of their content, but because of who said them and what it cost to say them and what it meant that Keith Richards had produced them in 11 seconds from a conversation that began with Bob Dylan calling Keith Richards’s music derivative. And Keith Richards and

Bob Dylan have been close friends for nearly 40 years. The sentence did its work in 11 seconds on the evening of November 3rd, 1986. The work has been ongoing ever since. If this story moved you, subscribe and leave a comment below. Have you ever said something to someone that turned a potential disagreement into an unexpected and lasting connection? Tell us about it in the comments below.

Share this with someone who needs to be reminded that the right sentence said at the right moment can completely change the entire direction of a relationship. Ring the notification bell for more untold stories about the extraordinary human beings behind music’s greatest legends.