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Diddy’s in Exile. Here’s What Could Happen to His Music Now

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Diddy's in Exile. Here's What Could Happen to His Music Now

Sean “Diddy” Combs was once the most ubiquitous man in hip-hop. The producer-turned-rapper rose as an indomitable force in the ‘90s by crafting glossy, infectious party anthems that helped catapult hip-hop into the mainstream. In 1997, he spent 26 weeks at the top of the Billboard Hot 100 charts, the most of any artist that year. Songs released under his rap moniker Puff Daddy got similarly comfortable on the charts, and he also produced major hits for the Notorious B.I.G. and Mariah Carey. He was the first hip-hop artist to replace himself on the chart at No. 1, with the Notorious B.I.G.’s “Mo Money Mo Problems” overtaking “I’ll Be Missing You.” 

Music was the gateway; Combs was a cultural visionary and his indefatigable drive and relentless pursuit of success transformed him into one of the most influential moguls in the entertainment industry with a billion-dollar legacy that included Bad Boy Records, luxury fashion line Sean John, Ciroc vodka, fragrances, restaurants, annual parties in the Hamptons, MTV’s Making the Band, and the Revolt media company. He embodied extravagance and the good life, showcasing the limitless possibilities of hip-hop success.

Read more: Breaking Down the Charges Against Diddy

Combs’ reputation as the party starter is now his nightmare. On Sept. 16, the 54-year-old was arrested on charges of sex trafficking and racketeering in New York City. The indictment alleges that the Bad Boy Records honcho operated a criminal enterprise from at least 2008 through the present that, among other things, used violence and threats to coerce victims to participate in drug-fueled sexual acts. “Sean Combs used the business empire he controlled to sexually abuse and exploit women, as well as to commit other acts of violence and obstruction of justice,” said U.S. Attorney Damian Williams. Combs maintains his innocence, saying in a statement: “Let me be absolutely clear: I did not do any of the awful things being alleged. I will fight for my name, my family and for the truth.” He is currently in custody after being denied bail.

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The mogul’s public image started to crumble in November 2023 when singer Cassie Ventura first accused him of sexual assault and violence during their decade-long relationship. (Combs denied the allegations.) He’s since been stripped of accolades and celebrities are quietly distancing themselves as stories of prior bad acts resurface. Given how connected Combs was in various industries, it’s worth questioning whether his A-list friends and cohort knew about his alleged behavior, and to what extent, and whether they may be quiet out of loyalty or because of their own participation. Authorities alleged that some sexual acts, which Combs called “freak offs,” were electronically recorded and it’s not completely out of the question that other familiar faces may be implicated.

As he sits in jail while awaiting trial, fans and the music industry have to contend with a superstar who is now persona non grata. Should Diddy be deleted or can his music be parsed from the person? “I definitely feel like this indictment against Diddy is going to affect his music legacy. There’s no way around it,” says Torae, rapper and host of The Tor Guide on SiriusXM. “He’s done a lot in the music business and he’s put on a lot of artists that have made incredible records. But the asterisk now appears because of all of the charges and all of the things he’s accused of. You can’t listen to the music the same way.” 

It’s an issue that has dogged popular culture, especially since numberous allegations of sexual assault against Harvey Weinstein set off the global #MeToo movement in 2017. The music industry in particular has struggled with its approach to so-called canceled artists. Responses have varied based upon the artist’s level of success, popular sentiment, and whether legal action has been taken as companies navigate artistic freedom, commerce, and social responsibility. “At the end of the day it’s a matter of asking the question: Should we really separate the artist from the art?”says Kathy Iandoli, author of God Save the Queens: The Essential History of Women in Hip-Hop and professor of music business at New York University.

Given the music industry’s general glorification of sex, drugs, and rock and roll, there’s no one standard. But one instructive example is singer R. Kelly, who is the most cited instance of a predator becoming a pariah. “We can look at past situations like R. Kelly as perhaps the compass for how this can all go down,” says Iandoli. After decades of of allegations of sexual abuse, including marrying his teen protege Aaliyah in 1994,  Kelly was convicted in a court of law for the first time in 2021 for charges including racketeering and sexual exploitation of minors. He became the first artist whose music was removed from Spotify’s editorial playlists and algorithmic recommendations as part of a new policy against “hateful content and conduct” in 2018. “The R&B singer’s music will still be available on the platform, but Spotify will no longer actively promote it,” a company spokesperson said in a statement at the time. 

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The next year, following the airing of the Lifetime documentary Surviving R. Kelly, which amplified the voices of his many accusers, Kelly was dropped by Sony Music and Universal Music Publishing Group. However, his back catalog, which encompasses his biggest hits—“I Believe I Can Fly” and “Ignition – Remix”—continues to be monetized. YouTube deleted the singer’s official channels and music videos after his conviction in 2021 but user-generated content like song covers or unauthorized music videos uploaded by fans are still available on the platform as well as on TikTok. Billboard reported that streams of his catalog increased by 116 percent in the United States following the premiere of Surviving R. Kelly, according to Nielsen Music, and he currently has 4.7 million monthly listeners on Spotify. Some of the money generated has been used as restitution and in 2023, a judge ruled that more than $500,000 from the singer’s royalties would be used to pay his victims.

In the case of Combs, corporate partners like Revolt, Hulu, and Peloton severed ties swiftly following Ventura’s lawsuit. Revolt announced that Combs had sold his stake in the company that he founded and would be stepping down as chairman in the company. “One-hundred percent of Sean Combs’s shares have been redeemed and retired,” chief executive Detavio Samuels said in an interview with the New York Times. “He is no longer chairman. He is no longer on the board. He has no shares, no equity in Revolt. We have completely separated and dissociated from each other.” The company later posted a message of solidarity with victims of domestic violence on Instagram following the release of surveillance video of Ventura being attacked by Combs. Meanwhile, music platforms have remained silent. Following the indictment, Spotify, Apple Music, Amazon Music, TIDAL, and YouTube did not respond to a request for comment.

The Diddy dilemma is even more complex because of his prolific reach and history of platforming new talent, including Ventura. For over three decades, he’s served as a producer and record label executive known for helming the success of several prominent artists, often by micromanaging their music, aesthetic, and presentation. A total ban of everything Diddy touched would include the entirety of the Notorious B.I.G.’s discography as well as that of Bad Boy Records. Beloved tracks by Mary J. Blige, Jodeci, Mariah Carey, Lil’ Kim, and Usher would be out as well. “It’s a more complex situation because he wasn’t like R. Kelly, who was known for his catalog and being the main attraction on a track,” says Angela Yee, host of Way Up With Angela Yee on iHeartRadio. “He was more of an ad lib, guest verse, and label owner. Imagine not playing the Notorious B.I.G. or the Lox or Total because of what Diddy did?”

Some of these artists were possible victims themselves. In the indictment, authorities allege that Combs leveraged his power over victims by controlling their careers and exploiting them financially or with blackmail if they didn’t comply. Recently, Dawn Richard alleged sexual assault and battery by Combs when she was a part of his group Danity Kane. Torae predicts that these artists’ music will be safe. “Although there’s going to be a negative conversation around it, I think the artists on the Bad Boy roster will still be able to get the same amount of airplay that they’ve been getting,” he says.

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And even in the worst cases, exiled artists usually get one or two passes in their repertoire. For Combs, that will likely be “I’ll Be Missing You.” The treacly tribute to the Notorious B.I.G. has become a mainstay at funerals and memorials and is played perennially to honor the late rapper. “Some people will say, ‘We don’t need to hear that.’ But every Biggie birthday and anniversary, the DJs are going to make a mix and that’s a staple,” says Torae. “That record, because it only plays a couple times a year, may be safe.”

Sean “Diddy” Combs always prided himself on being resilient. One of his most famous rap maxims is, “can’t stop, won’t stop.” For decades, that was true. No matter what happened around him, or to those around him, he continued to flourish. There was always another hit just around the corner. Now he’s faced with the possibility of it all coming to an end. The replacement for his legacy of hits? Silence.

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Peppa Pig, Thunderbirds and Doctor Who voice actor dies

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Peppa Pig, Thunderbirds and Doctor Who voice actor dies
Getty Images David Graham in a cream jacket at WonderCon in 2016 in Los Angeles, CaliforniaGetty Images

David Graham appeared at a Thunderbirds event at WonderCon in 2016 in Los Angeles

David Graham, the actor who provided the voice for characters in TV series including Peppa Pig, Thunderbirds and Doctor Who, has died aged 99.

As the voice behind the evil Daleks in Doctor Who, Graham terrified successive generations of children between the 1960s and late 70s.

He was also well known as the voice of Aloysius Parker, the butler and chauffeur in 1960s TV series Thunderbirds and its film sequels.

But to today’s generation of children, he will be most familiar as the voice of Grandpa Pig in the TV series Peppa Pig.

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Alamy Grandpa Pig, Peppa and Mummy Pig with a giant pumpkin in a scene from children's TV show Peppa PigAlamy

Channel 5’s Grandpa Pig, Peppa and Mummy Pig with a giant pumpkin

The character, married to Granny Pig and the father of Mummy Pig and Aunt Dottie, was referred to as “Papa Ig” by his young grandson George.

On-screen, Graham appeared in two episodes of the first series of Doctor Who as an actor, but became much better known as the unemotional, harsh voice of the Daleks.

In an interview with the Mirror in 2015 about voicing the Daleks, Graham recalled: “I created it with Peter Hawkins, another voice actor.

“We adopted this staccato style then they fed it through a synthesiser to make it more sinister.”

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William Hartnell as Dr Who, Carole Ann Ford as Susan Foreman and three Daleks, in a black-and-white image from Doctor Who in 1963

William Hartnell as Dr Who and Carole Ann Ford as Susan Foreman were surrounded by Daleks in a 1963 BBC TV episode

As well as voicing Parker for the futuristic children’s puppet series Thunderbirds, he also played the show’s pilot Gordon Tracy, and Brains the engineer, between 1965 and 1966.

He reprised the role of Parker for an ITV remake of the show in 2015, called Thunderbirds Are Go! and was the only original cast member to return.

Parker, famous for saying “Yes m’lady”, worked for Lady Penelope, who was played in the more recent version by Saltburn star and ex-Bond actress Rosamund Pike.

Graham said at the time: “I am triple chuffed to be on board the new series… and reprising my role of dear old Parker with such a distinguished cast.

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“My driving skills are in good nick and I am delighted to be behind the wheel again with m’lady.”

He told The Mirror that the show’s creator, Gerry Anderson, had helped with the inspiration for Parker’s voice back in the 1960s.

“Gerry took me to lunch because he wanted me to hear the voice of somebody, a wine waiter,” the actor said.

“He had been a butler to the former Prince of Wales.

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“He said, ‘Would you like to see the wine list sir?’ and that was the birth of Parker.

“I just made him a bit more villainous. I’m not sure the guy ever knew – he might have demanded a royalty!”

Anderson’s son, the TV producer Jamie Anderson, said Graham was “always kind and generous with his time and talent”.

He said in a statement: “Just a few weeks ago, I was with 2,000 Anderson fans at a Gerry Anderson concert in Birmingham where we sang him happy birthday – such a joyous occasion.

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“And now, just a few weeks later, he’s left us.”

He added: “From the Daleks to Grandpa Pig and numerous voices for Anderson shows including Brains, Gordon Tracy and the iconic Parker. He will be sorely missed.”

The official account of Gerry Anderson, who died aged 83 in 2012, said on X: “David was always a wonderful friend to us here at Anderson Entertainment.

“We will miss you dearly, David. Our thoughts are with David’s friends and family.”

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PA Parker and Lady Penelope in Thunderbirds - two puppets side by side, Parker in a chauffeur's uniform and Lady Penelope in blue sequins and furPA

Parker worked for the glamorous Lady Penelope in Thunderbirds

The actor, who was born in London, told The Mirror he knew early on which career he wanted to pursue.

“At school I always wanted to say the poem or read the story. I always wanted to act,” he told the newspaper.

He had to postpone his acting interests when World War Two happened, however, and worked as a radar mechanic.

But afterwards, having not enjoyed his post-war work as an office clerk, he joined his sister and her American GI husband in New York, where he attended a theatre school.

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After returning home, he worked in repertory theatre before getting work the first Doctor Who series.

Graham was also a member of Lawrence Olivier’s company at the National Theatre.

His long career also included providing the voice for Wise Old Elf and Mr Gnome for Ben & Holly’s Little Kingdom, shown in the UK on Channel 5.

He also had brief appearances in ITV’s Coronation Street, The Bill and London’s Burning and BBC dramas Doctors and Casualty.

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Mont Blanc in a bonnet

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The trail of head torches twinkled between cloud and rock above us, slowly gaining height, disappearing one by one into the pre-dawn darkness. They were on their way to the summit of western Europe’s highest mountain, and I longed to follow.

The previous evening in the Refuge de Tête Rousse, the first overnight stop on the usual route up Mont Blanc, there had been an army of Gore-Tex-clad men, recounting summit stories while comparing the latest technical gear. Huddled in the corner, mountain guide Karen Bockel, filmmaker Grace Taylorson Smith Pritchard and I, the only women in the room, were weighing up our options. A storm was rolling in.

“We will need to skip the second night in the hut above, continue straight to the summit and come all the way back down before the storm hits at lunchtime,” said Karen. “I’m sorry Lise, but I don’t know if you’ll be fast enough in those hobnail boots and that bonnet . . . ”


The history of adventure has mostly been written by men, and still today the narrative is mainly told in male voices, whether through books, television or social media. My project, Woman with Altitude, aims to highlight women adventurers from history who achieved astonishing feats but whose lack of visibility continues to have knock-on effects for women in the outdoor world. Only around 2 per cent of fully certified mountain guides are women; our guide Karen, who teaches at Chamonix’s renowned École Nationale de Ski et d’Alpinisme, told us that out of the 44 students who graduated this year, only two were female. All too often we still find ourselves the only women in a hut full of men.

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A determined-looking woman in thick fur-trimmed coat and hat, holding a long staff
Henriette d’Angeville, the first woman to reach the summit of Mont Blanc unaided, in 1838 . . .  © Alamy
A young woman in red and blue checked wool outfit with large bonnet stands on scree, holding a staff
 . . . and Elise Wortley, following in d’Angeville’s footsteps this month © Grace Taylorson Smith Pritchard
 A woman in bonnet sits on a boulder looking over an icy expanse in a mountainous landscape
Elise Wortley looks over a glacier in the Mont Blanc massif © Grace Taylorson Smith Pritchard

Previous trips have included following in the footsteps of Alexandra David-Néel in Sikkim and Jane Inglis Clark in the Scottish Highlands, but from the hundreds of adventurous women I’ve researched, I was particularly drawn to Henriette d’Angeville. In 1838, she became the second woman to reach the summit of Mont Blanc — and the first to do so unaided (Marie Paradis reached the top in 1808 but was carried some of the way by guides).

Mountaineering was not an activity for women in the early 19th century, and in her memoir My Ascent of Mont Blanc, Henriette writes that news of her planned attempt caused “a general outcry of amazement and disapproval, followed by, she must be prevented from such madness”. In The Summits of Modern Man (2013) Peter Hansen calls her a “gender radical” who challenged the status quo — “by making the ascent at all, she occupied a transgressive position”. Yet, she did it anyway, setting off to “a chorus of good wishes from a disapproving crowd”.

In the footsteps of . . . 

This is the latest in a series in which writers are guided by a notable earlier traveller. For more, see ft.com/footsteps

To understand what Henriette and women like her would have gone through, I recreate their expeditions using clothing and equipment available to them at the time. This is how I found myself down a cobbled London street in early August, collecting boots from Tricker’s, which was founded in 1829 and made boots for some of the first explorers and alpinists. Its master shoemaker Adele Williamson expertly crafted the leather sole for my boots, including a metal horseshoe heel and hobnails hammered in for grip.

In the early 19th century, outdoor clothing for women didn’t exist, so Henriette created her impressive outfit herself, carefully documenting it in her journal. Controversially, it included a pair of trousers — though these would be hidden by a Scottish woollen dress. The complete outfit weighed 12kg and “everyone declared, feeling the weight of it in their hands, that I could not walk for even half an hour so caparisoned!”

With only notes and pencil drawings from Henriette’s expedition to go on, I took some artistic licence with the colours for my own version, opting for a Scottish tweed of yellow, red and green, all common colours of the 1830s. To finish the ensemble, I added a matching bonnet, silk-and-wool stockings, a black feather boa like Henriette’s, and even Victorian undergarments with a buttoned crotch (very useful indeed).

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One woman in modern climbing gear and helmet climbs an icy slope. She holds a rope that connects her to another woman, this time climbing in a long dress and bonnet
Wortley, in Scottish tweed and hobnail boots, on the climb with guide Karen Bockel © Grace Taylorson Smith Pritchard

Henriette also packed 24 roast chickens, 18 bottles of wine and a carrier pigeon, to deliver the good news of her reaching the summit. Her only piece of “technical” equipment was her alpenstock, a traditional staff with a sharp metal point, adorned with a chamois horn for hooking on to rocks. Without the luxury of porters chiselling foot holes for me in the ice, my only modern kit was crampons, which I felt justified using where necessary.


As our train pulled into Chamonix on August 29, the weather was far too hot for a 12kg woollen outfit. More seriously, it was too hot to climb Mont Blanc. When Henriette arrived here in September 1838, snowstorms threatened her summit attempt. Now, we had the opposite problem, a series of warm summers melting the permafrost and prompting increased rockfall — particularly in the Grand Couloir, across which climbers must dash on the main route to the top.

Map of Mont Blanc showing the Tramway du Mont Blanc and nearby refuges and towns in France, Italy and Switzerland

We started with four days of training in the mountains around Chamonix, tackling peaks such as the Aiguille du Tour and getting used to crossing glaciers and navigating deep crevasses. In the pink morning light, I teetered out from the Refuge Albert Premier on to the Glacier du Tour, dressed in my outfit for the first time. The hobnails scraped on the rocks, so I drove the sharp point of my alpenstock into the hard ice, steadying my balance. It was a surprisingly effective replacement for a modern ice axe.

The next day, while hanging off a rock overlooking the Pèlerins glacier near the top of the famous Aiguille du Midi, I found myself doing battle with the bonnet. Its oversized brim caught on the rock faces as I looked up or down, knocking me backwards and making it impossible to see my feet. On steeper sections I had to hitch the dress to my waist to avoid stepping on the hem as I pushed upwards.

A sudden drop in temperature allowed us to take our chance with Mont Blanc. Initially, I wanted to walk from Chamonix on Henriette’s original route, but with a short window of opportunity we couldn’t afford the additional eight hours. Instead, it was into the cable car at Les Houches with the rest of the climbers on the modern route, then the Tramway du Mont Blanc to the Nid d’Aigle at 2,372 metres, where we’d begin our ascent.

A woman in a long dress and bonnet follows a woman in modern climbing gear as the approach an icy expanse in a mountainous landscape
En route to the Aiguille du Tour on a training day © Grace Taylorson Smith Pritchard

After days of training with heavy crampons, my feet were a state. It was harder to trust the hobnails on the sharp rocks and steeper ledges, and my steps were slow. It should have only been a two-hour climb, but it was four weary hours before we slumped into the Refuge de Tête Rousse at 3,167 metres.

At 3.30am the next morning, as we prepared to leave in the cold pre-dawn hours to avoid rockfall, Karen assessed the latest updates on the approaching storm. Reluctantly, we accepted that it would be foolish to push on, though it was tough to watch the other climbers head out in their modern gear as I sat alone in my woollen outfit, the very thing that had ruined my chances of summiting.

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Following a disheartening descent, Karen and Grace convinced me all was not lost. After her success on Mont Blanc — on the summit the guides interlocked arms to make a platform so that she could climb on top and thus reach “a height which, pace masculine pride, was never attained by my predecessors” — Henriette became a dedicated climber for the next 25 years, a career that culminated, aged 69, on Switzerland’s Oldenhorn. We decided to head there, driving from Chamonix over the border to the village of Les Diablerets. From there, a cable car takes tourists up to the Glacier 3000 ski area in the shadow of the lonely 3,123-metre peak, but unfortunately for Karen, Grace and my feet, I insisted we walk up, just as Henriette did.

A woman in a bonnet, carrying a large pack on her back, seen from behind. She is walking across an icy path in thick mist
Crossing a glacier in worsening conditions © Grace Taylorson Smith Pritchard

Away from the busy car park, late Alpine flowers were in full bloom, filling the mountainside with patches of hazy pinks and purples. As we followed the path, feasting on wild raspberries, I thought of Henriette’s description: “Nothing spoke of the earth as we know it. I felt I had been transported into a new world . . . A voice spoke to me from the sky and said: Do what is right, and follow your path with confidence.”

To the hum of machines building a new ski lodge, we buckled up our crampons and crossed the glacier. The storm that ended our chances of Mont Blanc caught up with us just as we tackled the last rocky section of ascent, four hours of climbing on slippery granite. We reached the summit in a cloud of mist, unable to see our surroundings, but I didn’t mind. Maybe none of this was about the glory of getting to the top and gorging on the views.

In the past two weeks, four more climbers have lost their lives attempting to summit Mont Blanc. It’s a stark reminder of how unpredictable high mountains are, even with the latest technology to guide us. And it underlines the achievements of early alpinists like Henriette, the risks they were taking and their bravery in pushing boundaries, not only physically and mentally but, for women, culturally too.

Find out about our latest stories first — follow FT Weekend on Instagram and X, and subscribe to our podcast Life & Art wherever you listen

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Filming my unfiltered acne journey has made me feel free

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Filming my unfiltered acne journey has made me feel free
Ashlee Crumpton Picture of Ashlee Crumpton smiling at the camera Ashlee Crumpton

Despite hate comments and knockbacks, Ashlee continues to use her platform as a skin diary

A woman who has had acne for more than 13 years has been documenting her journey to clear skin in the hope of helping others.

After years of hiding her skin behind beauty filters and make-up, Ashlee Crumpton, 27, has built up almost 30,000 followers on TikTok from sharing her unfiltered skin.

Ashlee, from Bridgend, has been on acne medication isotretinoin for more than a year, and while her acne is yet to completely clear, her spirit is undeterred.

“I feel free not having to hide it anymore, posting has really helped me,” she said.

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Acne is a skin condition that causes spots and oily skin that is sometimes hot and painful to touch.

While it is most common in teenagers and young adults, about 95% of people aged 11 to 30 are affected by acne to some extent, according to the NHS.

Isotretinoin, also known as roaccutane, is a form of vitamin A that is used to treat severe cases that have not responded to other treatments, including antibiotics.

Ashlee first started experiencing acne when she was 14, but after years of trips to the doctors trialling different antibiotics and creams, she said she had had enough.

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“It got to the point where the cysts started growing under my skin and deforming the shape of my face, so I was put through to a dermatologist,” she said.

From there, Ashlee went on to vlog her journey on the prescribed drug in a series of TikTok videos, offering a raw insight into the mental and physical side effects of the medicine.

“Having acne can be really lonely,” she admitted.

“But before I went on the medication, watching other people who shared their experience really helped me, so I thought why not do the same?”

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TikTok: Acne influencer terrified of people seeing her skin

There are several common side effects of taking the medication, such as dry skin, eyes, nose, lips, mouth and throat, as well as headaches, and pain in the joints and muscles.

High doses can also sometimes cause changes in behaviour, such as depression, which often dissuades people from starting treatment, according to campaigners.

Many have long called for teenagers not to be prescribed the drug following a number of cases – including those of young people who took their own lives.

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The mother of 15-year-old Annabel Wright, who took her life last year, said proposed safety measures were just paying “lip service”.

These were suggested by the Commission on Human Medicines, and included tighter controls on prescribing to under-18s by requiring a sign-off by two prescribers – usually doctors – when the medicine is first prescribed to people aged 12 to 18.

It also recommended families should be given better information, with patients monitored better.

The commission also said the drug was an effective treatment for cases of severe acne which had not responded to usual treatments.

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Ashlee said despite being aware of the risks, it had been hailed as a “miracle drug” which changed lives, and it was her last resort.

Her dosage has been steadily increased over the year to help manage the symptoms, and despite “having her days”, Ashlee said sharing her journey online really helped her feel supported.

Ashlee Crumpton Picture of Ashlee Crumpton's TikTok social page Ashlee Crumpton

Ashlee has used social media to document her journey over the last 12 months

“People often see people with acne and their first thought can be to say her diet isn’t good, she doesn’t wash her face, she doesn’t drink water, but they don’t understand,” she said.

“Those with acne understand that’s not the case.”

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Ashlee said hate comments are to be expected, “people will call me ‘pizza face’ but I don’t let it get to me, I try to laugh them off”, she said.

For the most part, Ashlee gets messages to say how much her videos have helped viewers who relate to her, with followers rallying around her with words of encouragement.

“It is such a strong community of acne girls,” she said.

Ashlee Crumpton Picture of Ashlee Crumpton, outside, smiling at the camera Ashlee Crumpton

Ashlee says she feels “free” in sharing her journey unfiltered online

What causes acne?

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Episodes of acne can be hereditary and also occur as a result of hormonal changes during the menstrual cycle or pregnancy.

Contrary to common misconceptions, there is no evidence that poor hygiene can cause acne.

In fact, cleaning the skin does not help to remove blockages of the pores which cause acne, according to the NHS website.

Ashlee Crumpton Picture of an inflamed cyst on Ashlee Crumpton's jawline Ashlee Crumpton

Cystic acne can cause painful, pus-filled spots to form deep under the skin

Because of societal pressures, Ashlee was not always open about her experience with acne, and she admitted beauty filters used to be her ally.

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“Whether it was beauty filters or editing apps, any smoothing tool would do,” she laughed.

And before the filters, Ashlee said her makeup, hair, and even how she posed was planned out to hide her skin, but that is very much in the past.

She added: “I don’t care now, and it feels so nice not to worry. I feel free.

“I would tell anyone with acne that it doesn’t define you, it doesn’t make you less beautiful and you should love yourself.

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“Even if you have to fake it until you make it.”

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Britain and Germany are failing differently

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Karl Marx, Hans Holbein, George Frideric Handel, Kai Havertz: some Germans do their best work in London. This, plus Germans being, in my experience, the best English-speakers on the continent, can feed the sense that these are kindred countries, despite the first half of the last century.

But Germany specialises in manufacturing. Britain is the second-biggest exporter of services in the world. Germany has a spread of important regions. Britain is more dominated by its main city than perhaps any rich nation of significant size. Germany has coalition governments, with three parties in the current one. British politics is so winner-takes-all that Keir Starmer got a 174-seat majority from a 34 per cent vote share. Germany’s fiscal policy is prudent to a fault. Britain has not run a budget surplus since the turn of the millennium. Germany is federal. Britain is centralised. Germany was a founding member of the European project. Britain joined late and left.

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Even the texture of life in these countries is exactly different. You can ride a space-age train across Germany and then see someone using a fax machine on a non-ironic basis. Britain is better digitised but less good at tangible infrastructure.

These are two distinct, in fact almost oppositional, ways of running a medium-sized, high-income democracy. Yet both are converging on one thing: failure. Britain’s troubles are more famous and chronic, while Germany’s might be more acute. It was the worst-performing major economy in 2023. Its once-serene politics are deteriorating.

The lesson? Never idealise other countries. It feels like a cosmopolitan thing to do, but it is the ultimate in parochialism. The left are repeat offenders. The Sweden-worship of the 1990s was credulous enough. But during the Angela Merkel era, Germany was Shangri-La for UK and US progressives, who hailed proportional representation over brute majoritarianism, industrial strategy over laissez-faire, soft power over Anglo-American militarism. Berlin itself — a hipper and less gilded city than London or New York — became proof of concept.

Well, time has complicated the picture. Multi-party government, it seems, can bring indecision. Shaping the economy can mean backing existing industries over emergent ones. Soft power can be a euphemism for naivety in the face of mortal enemies. Having lots of fine cities but no megalopolis can mean forgoing the economic benefits of agglomeration.

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When two such different countries get into such similar ruts at the same time, we should doubt if there is a “right” model. What there are are trade-offs. Apart from the basics — property rights, tax collection, universal public services, and so on — almost no policy is an unqualified good. Making one thing better will tend to make another thing worse. Leadership is a matter of choosing which problems to have.

Germany’s choices weren’t wrong. It is still richer than Britain. But if the costs and perverse outcomes were hard to anticipate in Germany, imagine how much harder from abroad. This is the inherent risk of adoring foreign exemplars. The UK and especially the US are set on emulating industrial strategy, but without the pedigree for it, or sufficient awareness of its mixed track record.

In the end, which of these two unalike countries is in more trouble? Economically, Britain. Germany carries less public debt. Its quest to make fewer machine parts and more advanced technologies is entirely doable over time. There is the cushion of the European single market.

On the political score, though, Germany’s extremism problem is worse. It has a Kremlin-smitten far left, not just the most strident of the major hard-right parties in Europe. And the advantage of Britain’s Napoleonic centralisation is a ruthless decisiveness. A bad prime minister or two can (and did) wreck things. But a first-class one would get the country moving again.

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For better or worse, France is Britain’s real twin: in per capita income, in maritime exposure, in being a unified state for so long, in hoarding so much in its capital, in having lost a vast extra-European empire. A Tale of Two Cities is not about London and Munich. Even that Anglo-German point of contact, football, is a laughable mismatch. Germany has four World Cups to England’s one. The fascination in this bilateral relationship lies in the (peaceful) contrast. How droll, then, that when the two sides arrive at last at something in common, it is national malaise.

Email Janan at janan.ganesh@ft.com

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Serial baby killer Lucy Letby set to challenge most recent conviction for murdering seven babies

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Serial baby killer Lucy Letby set to challenge most recent conviction for murdering seven babies

LUCY Letby is set to challenge her most recent conviction for murdering seven babies and trying to kill seven more, the Court of Appeal revealed yesterday.

The nurse, 34, is serving 15 whole-life orders for her year-long killing spree while working on a neonatal unit at the Countess of Chester Hospital, Cheshire.

Killer Lucy Letby is set to challenge most recent conviction for murdering seven babies

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Killer Lucy Letby is set to challenge most recent conviction for murdering seven babiesCredit: AFP

Court staff confirmed that Letby is bringing a bid to appeal against her conviction for one count of attempted murder in July.

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Judges will consider the case at a hearing on October 24, according to court listings.

Letby previously launched an appeal to challenge her guilty verdicts for seven murders and six attempted murders, which was rejected in May.

A month later she was later sentenced to an additional whole-life order for the attempted murder of a baby girl after a retrial at Manchester crown court.

A public inquiry into the events surrounding Letby’s crimes, chaired by judge Lady Justice Thirlwall, is ongoing at Liverpool Town Hall and is expected to last into 2025.

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Child killer Lucy Letby shouts ‘I’m innocent’ after being given ANOTHER whole life order for trying to murder baby girl

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Michael Duff throws down the gauntlet to Huddersfield Town squad for home double-header

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Michael Duff throws down the gauntlet to Huddersfield Town squad for home double-header


Michael Duff has warned his players not to underestimate Northampton Town today

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