Sean “Diddy” Combs’ children break their silence. IN joint statement posted on Instagram on Tuesday, Diddy’s sons Quincy, 33, and Christian, 26, and his twin daughters D’Lila and Jessie, 17, denied the “many hurtful and false” conspiracy theories spread about their parents, especially Combs’ relationship with former model and actress Kim Porter.

“We have seen so many hurtful and false rumors about our parents,” they wrote. “In addition to the tragic death of our mother, we feel the need to speak out.”

After Combs was arrested by federal agents and the publication of an indictment containing detailed allegations, social media users began to think back to the tycoon’s past, especially his relationships.

Porter and Combs began dating within the Nineteen Nineties, and their complicated relationship lasted from 1994 to 2007. Despite their romantic status, the couple, who’ve three children (Christian, D’Lila and Jessie) and raised their oldest child Porter’s son Quincy, have maintained a cordial relationship for the sake of family. In 2018, the mother of 4 died on the age of 47 from pneumonia.

“Our lives fell apart when we lost our mother,” the siblings continued in their statement.

“She was our world. And nothing has been the same since she left. While it was extremely difficult to come to terms with the fact that she could have been taken from us too soon, the cause of her death had long been determined.”

While the siblings insisted there was “no crime” in their mother’s death, conspiracies have reignited on social media following the recent publication of a memoir purportedly by Porter. The book, titled “Kim’s Lost Words: A Journey in Search of Justice from the Other Side,” reads in its Amazon description, “Diddy’s Achilles Heel.” Jamal T. Millwood’s alleged memoir “For Kimberly A. Porter” reportedly details alleged disturbing and graphic sexual encounters and physical violence involving Combs, based on People magazine.

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However, Porter’s children say: “Claims that our mother wrote a book are simply not true.

“She didn’t do it. And anyone who claims to have the manuscript is misrepresenting himself.”

Also avoiding any “friends” speaking on their mother’s behalf, the siblings emphasized that these individuals didn’t have their late mother’s best interests at heart. Similarly, the music mogul’s lawyer, Erica Wolf, described the memoir to People magazine as “false,” “offensive” and “a shameless attempt to profit from the tragedy.”

As their father awaits trial on the Metropolitan Detention Center in Brooklyn, the Combs children highlighted the lifelong technique of mourning. Asking that everybody respect their “request for peace” as they “continue to deal with the loss every day,” the siblings ended the statement with: “We love you and miss you, Mommy.”

“We are deeply saddened that the world has made a spectacle of the most tragic event in our lives. Our mother should be remembered because she was a beautiful, strong, kind and loving woman. Her memory should not be tainted by terrifying conspiracy theories,” they added. “We ask that everyone respect our mother… and respect her legacy, so that she may rest in peace. She deserves it.”

There was a time when it was clear that the best recording artist in the world was Stevie Wonder. I’m talking about the early and mid-Seventies, specifically 1972-1976, when Wonder released a series of unforgettable albums. First “Music of My Mind” (1972), then “Talking Book” (1972), “Innervisions” (1973), “Fulfillingness’ First Finale” (1974) and the double-disc masterpiece “Songs in the Key of Life” (1976) ). Has any artist released five such great albums in five years? NO. A series of albums like this deserve the highest level of commemoration, which is a elaborate way of saying we have to provide Stevie his flowers. We just received audible flowers for Stevie in the form of an incredible podcast – the best podcast I’ve heard this year –Stevie’s miracle” on Audible. This is an intelligent, funny and deep dive into Stevie’s best period.

“The Wonder of Stevie” is a seven-part discussion of Wonder’s iconic albums. The host is Wesley Morris of the New York Times, whose love for Stevie seems boundless. The executive producer is Questlove, who is an incredible student of Stevie’s catalog. We hear Morris interview individuals who played with Stevie, like Ray Parker Jr., and folks who love him, like Janelle Monae. He also talks to 2 of Stevie’s biggest fans – Barack and Michelle Obama. Stevie is such an enormous part of their lives that they talked about his music on their first date. They say this was one of the determinants of whether or not they could be compatible. Now the first lady says things like, “When you talk to Stevie…” But seriously, when you went on a date with someone who said they didn’t love Stevie, you must run away.

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Each episode of The Wonder of Stevie is a deep dive into one of Wonder’s Seventies albums. We hear about Stevie’s inspirations, where he was in his life, the way it was created and what the album means on a deeper level. Sometimes we hear Morris just lying there and taking in the beauty of Stevie’s music. This is an incredible dive into the zenith of an unforgettable cultural figure. We find out about his music, his first wife, his plan to go away the music industry and his move to Africa – this provides you with an insight into Stevie’s life and his musical mind.

This show jogs my memory of how often we sit, talk, communicate and argue about music. Sometimes Morris swoons together with Stevie’s genius, but sometimes he argues together with his guest. Sometimes he argues with us. In the final episode of the series, Morris tries to argue that the 1979 album “Stevie Wonder’s journey through the secret life of plants” should be included in Wonder’s legendary streak. It’s bullshit, but it’s fun to hear Morris running around and trying to make a case. Yes, Plants contains “Send One Your Love” – ​​an attractive song that is one of Stevie’s most beautiful songs. But other than that, Plants is largely an instrumental, somewhat odd album that does not connect in the same way as Wonder’s previous albums. I can barely take heed to it. Even the former president admits that while he loves Stevie, he doesn’t care about this album. Still, it’s fun to listen to Morris attempt to justify it.

Stevie’s Miracle is a piece of beauty about works of beauty. It’s a pleasure to take heed to and a fitting tribute to our beloved Stevie. Don’t miss it.

A brand new study examines the sweetness standards faced by millennial women and what number of of them imagine they “cannot afford to ignore mainstream beauty standards” within the workplace and beyond.

Qualitative test“Millennial Agency and Liberation Within Black American Beauty Standards” appears in the brand new volume Embodiment and Representations of Beauty. They found that Black millennial women felt a way of freedom and suppleness when it got here to beauty standards of their personal lives. However, within the workplace they felt pressure to evolve to more restrictive beauty standards.

Jaleesa Reed, study creator and assistant professor of human-centered design within the College of Human Ecology, interviewed 20 Black millennial women to study their experiences with changing beauty standards as they relate to their identity. Participants, born between 1981 and 1996, represented the complete range of millennials.

The study found that participants believed that meeting American beauty standards meant being “white,” “slim,” “blonde,” and “blue-eyed.” In their personal lives, participants adopted an “intracultural” beauty standard that celebrated the varied hair textures, body shapes, and skin tones present in the African diaspora. However, in skilled settings, participants felt compelled to make style decisions that balanced their personal identity with profession development and adapting to workplace expectations.

“Decisions about how to style their hair, what jewelry to wear, or how much makeup to apply depend on their livelihoods and their ability to support themselves and their families,” Reed said.

“On the one hand, you would possibly feel like, ‘Oh, it’s just the way in which you style your hair.’ On the opposite hand, in addition they have to think about the work environment, which made them query their style decisions.”

The results reflect the Eurocentric beauty standards passed on to the Millennial generation and the way they are upheld within the workplace.

“Participants were aware, through personal experiences and anecdotes, of the consequences for Black women who did not assign appearance expectations at work,” Reed said. “Eurocentric beauty standards reinforced by popular media taught them from an early age that women with lighter skin and long, straight hair were considered more beautiful.”

According to the 2019 CROWN study TestIn the US, black women are 1.5 times more likely than other women to be sent home from work because of their hairstyle, with social and economic consequences. Black women with straighter hair are exposed to fewer microaggressions within the workplace in comparison with women with curly or textured hair.

As a result, study participants imagine that adhering to cross-cultural beauty standards in predominantly white environments could threaten their family’s job security and financial stability, Reed says.

“For Black women,” Reed wrote, “hairstyle choices in professional spaces are culturally significant and can be misinterpreted. Protective hairstyles such as braids, twists or curls… are often considered unprofessional, as evidenced by cases of hair discrimination….”

Number states In 2024, the number of implementing hair discrimination laws will proceed to extend. This follows a coalition formed to induce lawmakers to pass laws prohibiting employers from discriminating against hairstyles, particularly those related to black or biracial people.

The first of many, generally known as the CROWN (Create a Respectful and Inclusive Workplace for Natural Hair) laws, was passed in 2019 by California Governor Gavin Newsom. Currently, 28 states have laws supporting the CROWN Act.

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