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* Warning – this article contains an account of disordered eating

“I’m super exhaustingly deep,” says Che Lingo, smiling. “But I’m learning to know when to just go with it.” The south London rapper has been talking for almost an hour and could probably keep going for a while. This is a man who has a lot to get off his chest.

Having risen to prominence with the release of debut album The Worst Generation through Idris Elba‘s record label in 2020, his lyrics dealt with themes of anxiety and loss, masculinity, the treatment of black people in society, and the impact growing up on one of the capital’s deprived estates has had on his life.

My Block, a song written about his friend Julian Cole, who was left paralysed and brain damaged at 19 after being arrested following a “scuffle” with officers and door staff outside a nightclub in 2013, became part of the soundtrack to the Black Lives Matter movement.

Che Lingo has released his second album, Coming Up For Air

Now, he is back with Coming Up For Air, which is just as personal, exploring a period during the pandemic in which he battled grief, injury and bulimia. It is rare for a man in the public eye to discuss a problem like this, even more so in the world of rap. He says he understands it is a subject that could draw “ridicule and criticism – even hate”, but it’s an issue he wants to be open about.

Lingo, who keeps his real name private, tells Sky News his looks and weight have always been a subject of inner turmoil; at school, he was bullied for being chubby so as a teenager he threw himself into boxing and working out, becoming “super disciplined” to change the reflection he hated in the mirror.

Stuck indoors when the pandemic hit, he put on weight. And then, playing basketball one day after lockdown lifted, he ruptured his Achilles tendon and was left wearing an orthopaedic boot for six months.

“I was far from obese but a lot bigger than I wanted and I was very uncomfortable in my skin,” he says. “It affected me badly… I didn’t know if was going to be able to use my leg in the same way again, ever, because it’s such a volatile injury. Everywhere I went I was sweating because the boot was so heavy. It was really mentally exhausting as well as physically exhausting.

‘I won’t ever shy away from talking about it’

“I was eating and eating and eating. I was eating and feeling super guilty. That’s the process: you eat, you feel guilty, then you purge, and feel guilty for purging. [I was] hurting my insides. It can kill you if you abuse it too much. I knew it was a problem when I realised nobody could stop me from doing it when I felt the urge.”

Eventually, Lingo told some family members and close friends. “And I put it on the album,” he says, smiling. “From then it was like, okay, this feels better now. And I won’t ever shy away from talking about things in real life that I’ve put on my projects.”

According to eating disorder charities, about 25% of those who suffer are male. Lingo hopes he can help others, particularly men who might be suffering in silence.

“You still struggle with it, every now and again,” he says. “Certain things never go away. At the same time you learn how to manage… it’s something I’m now more prepared to deal with. In the same way, I want the album to make people feel like, yeah, you will sink again at some point, but you might be more prepared to deal with it after you listen to me talk about it.”

The call from Idris Elba

Idris Elba DJs on the Sonic Stage at Glastonbury in 2015. Pic: Guy Bell/Shutterstock
Image:
Idris Elba on stage at Glastonbury in 2015. Pic: Guy Bell/Shutterstock

Lingo was raised by his grandmother on his mother’s side. Having written songs since primary school – “I always knew I was good, from the reactions I’d get in the playground” – he started performing in youth clubs as a teenager, graduating to talent shows, building a fanbase online. “I just wanted to be heard,” he says. “I found something I felt was valuable and I wanted to share it with people.”

Getting signed by Elba, who founded the 7Wallace label, was a huge moment. “I was never really one to be starstruck,” he says. “I’ve got family in the early So Solid [Crew] era, so I was always around them.” But he admired Elba’s talent and work ethic, and being able to earn a living through his music – and help support his family – was empowering.

“It’s also a massive responsibility. You almost feel obligated to continue to seek stimulation and live life and figure out ways to say things that are important. If you’re that type of artist, which I believe I am. But yeah, it was a big moment.”

Rather than offer advice, Elba told Lingo to keep doing exactly what he was doing. His son was a fan, he told the rapper, and he had been listening himself for months. “Before we got working on the first album, we had a phone call and he was like, ‘I think you’re a genius, I think what you do is amazing, and I’m just happy you’ve trusted us with the next leg of your career’.”

Releasing The Worst Generation felt almost trivial, he says, as people were dying during the pandemic. But he realised many related to his lyrics, that this wasn’t just his story. The album is a telling of his environment, “growing up as a young black youth in south London and how that affected me; not going down the route of being a product of said environment, which is the majority of people”.

He is tired of stereotypes. The majority of black people living on estates such as the one he grew up on aren’t involved in crime, or “things based on survival that people would consider negative”, he says. “Most are regular people wanting to get on with their day. I wanted to make sure that not only did I get to tell my story, but I got to tell the story of millions and millions of young black youths that come out of south and southwest London”.

‘He was 19, a semi-pro footballer, a sports science student’

Julian Cole. Pic: Cole family
Image:
Julian Cole. Pic: Cole family

Taking down police brutality in My Block allowed Lingo to vent his anger about what happened to his friend Julian, whose broken neck was only discovered after he had been taken to a police station, rather than a hospital.

Three police officers falsely claimed he had been able to walk to the police van – but CCTV and witnesses proved otherwise. The officers were not accused of causing the injuries, police said, but were later found guilty of gross misconduct and sacked. Following the hearing in 2018, Bedfordshire Police said the officers were in no way to blame for Mr Cole’s “catastrophic” injuries but apologised for their conduct following the incident, saying honesty and integrity were “vital” in policing.

“He was 19, a semi-pro footballer, a sports science student,” Lingo says now. “By the time he reached the police station, his neck was broken and he was paralysed. And three policemen lied about their involvement. Why is nobody in jail? Why is nobody being convicted? Why is the government not paying compensation for his potential, the stress that’s come to his family, and the fact his life will be changed forever?”

The song became part of the Black Lives Matter protests in 2020. While it was written before the death of George Floyd, the rapper says he realised what it meant to people at that time. “There’s a lot of focus on my community and the people that come from it and I felt it was important to try and be a voice for that, or at least get my frustrations off about what I was observing.”

‘I’m still unpacking lots of issues’

Che Lingo poses on the red carpet for the 2022 MTV Europe Music Awards (EMAs) at the PSD Bank Dome in Duesseldorf, Germany, November 13, 2022. REUTERS/Thilo Schmuelgen

Lingo is intensely passionate and deeply thoughtful, slipping into rapping lyrics several times to illustrate a point (sometimes so fluently it’s not always obvious), and fastidiously explaining the meaning behind his songs. He sees his music as therapy. “People don’t really get an opportunity to process what happens in their environment as much as maybe an artist might do. Because you have to sit down and write songs about the things that happen to you, whereas other people might have to pay to talk about them.”

However, he admits he struggles with some of the side-effects of success. “I’m still unpacking all the reasons why I need this attention. I’m still unpacking how I felt like I got lost and then I found myself. I’m still unpacking the idea of when the bulimia decided to rear its head. I’m still unpacking, like, why I feel I need to be at the forefront of this kind of cycle of media and attention and all of the toxic parts of it?”

Ultimately, he says he can’t not do it. In Heart Race, he raps about anxiety, and caring too much. “‘How do we start addressing the trauma the world taught us/ whilst maintaining this sh*t that we need to bring to the table?’ Because it’s all happening at one time. You’ve seen the wars and you’ve done what you can, everybody scrambles to support what they can when they can, and that’s a beautiful thing. But what’s going on in your life as well? What wars are you fighting by yourself?”

Lingo has received several messages from fans, he says, telling him his music has helped them. “I’ve read these things deeply and respectfully… [they’re saying] ‘I felt suicidal at this point of my life and this song really brought me out of that’. Or, ‘this song helped me finish my dissertation and I’ve put you in the credits’. That’s one of the most positive effects you can have on somebody, you’ve made them want to keep living. I’m forever grateful to them for being that vulnerable with me.”

‘Che Lingo-ing’ Freddie Mercury and Queen

L-R: Manon Dave, Queen's Roger Taylor, Oliver Hutch, Che Lingo and Josh Hawkins outside Abbey Road Studios, where Lingo, Dave, Hutch and Hawkins recorded My Radio using Freddie Mercury's vocals from Radio Gaga
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Lingo with Queen’s Roger Taylor (front), along with producer Manon Dave and musicians Oliver Hutch and Josh Hawkins outside Abbey Road Studios

The final song on Coming Up For Air is My Radio, a track which samples Freddie Mercury‘s vocals from Queen‘s Radio Gaga. Lingo was picked by drummer Roger Taylor to reinterpret the band’s classic hit and he transformed the track into a song about his grandmother on his father’s side, who died towards the start of the pandemic.

“I was like, I don’t want it to sound anything like the original track. I want to ‘Che Lingo’ this song,” he says. “I started overthinking it, but then was like, this isn’t why they picked me. They picked me to do what I do, and I did that. My grandma would’ve loved it.”

Che Lingo’s Coming Up For Air is out now

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Sherlock star Benedict Cumberbatch’s ‘very odd job’ – acting opposite an enormous bird in The Thing With Feathers

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Sherlock star Benedict Cumberbatch's 'very odd job' - acting opposite an enormous bird in The Thing With Feathers

He’s played Sherlock Holmes, Doctor Strange, and even voiced The Grinch but acting opposite a seven-foot (2.1m) crow may be one of the strangest roles Benedict Cumberbatch has taken on. 

Speaking about his new film, The Thing With Feathers, he admits it’s “a very odd job, there’s no getting away from it”.

If the vision of Cumberbatch wrestling with a giant bird sounds like the sort of amusingly surreal movie you fancy taking a look at next week, it’s important to understand that this is no comedy.

Pic: The Thing With Feathers/Vue Lumiere
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Pic: The Thing With Feathers/Vue Lumiere

Pic: The Thing With Feathers/Vue Lumiere
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Pic: The Thing With Feathers/Vue Lumiere

While the film, based on Max Porter’s eclectic novella Grief Is The Thing With Feathers, the film is at times disturbingly funny, but mostly it is an incredibly emotional take on the heartbreaking way we all process grief.

Cumberbatch plays a man whose wife has died suddenly, leaving him with their two young boys. The story itself is split into three parts – dad, boys and crow.

Crow – voiced by David Thewlis – is a figment of dad’s imagination, a sort of “unhinged Freudian therapist” for him, according to Porter.

Cumberbatch, a father of three, said this certainly wasn’t a role he wanted to think about when he returned to his own family each night.

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“I didn’t take it home, I didn’t talk about it…You have to work fast when you’re a father of three with a busy home life, you know, it’s very immediate the need they have of you, so you don’t go in and talk about your day crying your eyes out on a sofa with a crow punching you in the face.”

Benedict Cumberbatch in The Thing With Feathers. Pic: Vue Lumiere
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Benedict Cumberbatch in The Thing With Feathers. Pic: Vue Lumiere

Since Porter’s award-winning work was first published in 2015 it has built a cult following.

Using text, dialogue and poetry to explore grief from various characters’ perspectives, the author says the subject matter is universal.

“Most of us are deeply eccentric in one way or another, like my father-in-law, apparently a very rational, blokey bloke, who’s like ‘when my mum died, a wren landed on the window and I knew it was my mum’.

“Grief puts us into these states where we are more attuned to the natural world and particularly more attuned to symbols and signs. So, imagining a crow moving in with the family actually makes a lot of sense to people, whereas, weirdly, five steps to getting better or get well soon or a hallmark card or whatever doesn’t make much sense to the people when you’re in that storm of pain.”

Read more from entertainment news:
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While the film sees Cumberbatch portray a firestorm of emotions, he says he feels it’s important to tackle weighty issues on screen.

Benedict Cumberbatch
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Benedict Cumberbatch

Max Porter
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Max Porter

“It is a universal experience, in one way or another you’re ‘gonna lose someone that you love during your life.”

The film, he says, explores grief through a male prism.

“At a time when there’s a lot of very troubling influences on men without female presence in their lives, this thing of scapegoating and seeing the other as a threat, all of that comes into play within the allowance of grief to be a messy, scary, intimidating, chaotic, unruly and out of control place to exist as a man.

“This is a film that just leans into the idea that it’s alright to have feelings, you bury them or hide them at your peril.”

The Thing With Feathers is out in cinemas in the UK and Ireland on 21 November.

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‘I felt really scared and I felt alone’ – Wicked star Jonathan Bailey on growing up gay in school

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'I felt really scared and I felt alone' - Wicked star Jonathan Bailey on growing up gay in school

“I felt scared and I felt alone and I felt entirely limited at various points in my life”, actor Jonathan Bailey says of growing up gay in school.

While promoting Wicked: For Good, the actor donated one of his interview slots to talk about the charity he is a patron of: Just Like Us, which works with LGBT+ youth in schools.

“That’s something that I would have really benefited from when I was young,” he said, talking exclusively to Sky News about his charitable work.

In surveys of thousands of UK pupils, Just Like Us found that LGBT participants aged 11 to 18 were twice as likely to suffer anxiety, depression and to be bullied, and that only half felt safe at school on a daily basis.

“I experienced all of that,” he said. “It became clear quite early on that something that was very specific and clear to me about who I was, it wasn’t safe and it wasn’t celebrated.”

Whether as Lord Anthony in Bridgerton, being crowned sexiest man alive and as the Winkie Prince Fiyero in Wicked: For Good, Bailey has broken through an outdated stereotype.

Historically, it was considered a career risk to be out – a heterosexual romantic lead’s career was at risk if his sexuality was public.

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For the Winkie prince actor, education can play a role in defying limitations.

While promoting Wicked: For Good, Bailey talked about a charity that works with LGBT+ youth in schools.. File pic: Just Like Us
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While promoting Wicked: For Good, Bailey talked about a charity that works with LGBT+ youth in schools.. File pic: Just Like Us

“This is beyond sexuality,” he said, “it’s race, it’s class, it is where you’re from, we are all given limiting narratives that we have to break free of.

“I thought not only was I not going to be able to play these sorts of parts because of my sexuality, but that I wouldn’t be able to do Shakespeare because I didn’t go to drama school.

“They’re the sort of stories that we need to be reminded of is that actually standing up and being safe enough to be able to say who you really are, and to be vulnerable at that age… these formative years, is inspiring to everyone in the classroom.”

But classrooms in the UK are facing tightening budgets due to “spiralling costs” that threaten to outstrip the growth in school funding.

Citing budget and time pressures on teachers, Just Like Us has made its talks free in schools. Does the actor think the government should be doing more?

He said: “I’m a very proud brother of an incredible teacher who works in the state system, and I know how much she cares about her school, her pupils.

“The resources are being crunched, and the problem is that it will be the arts and it will be really important conversations that Just Like Us bring into the schools and these… things that are going to go, and that’s just really sad.

“But I’m not the person to come up with solutions other than I can do my bit.”

Bailey, Cynthia Erivo and Bowen Yang are among Wicked’s LGBT cast, and in Wicked: For Good, openly gay actor Colman Domingo joins them as the voice of the Cowardly Lion.

But not everyone is encouraging the onscreen representation: A “warning” by conservative group One Million Moms said that the Jon M Chu-directed films are “normalising the LGBTQ lifestyle” to children and takes aim at the cast.

The alert urges people to boycott the sequel “even if you have seen Wicked: Part One”.

Read more from Sky News:
Ariana Grande rushed by red carpet intruder at Wicked premiere
Man given 13-month prison sentence for stealing Banksy print
Budget 2025 income tax U-turn: What the hell just happened?

When asked about the pushback, Bailey is resolute: “I don’t even acknowledge… the thing that’s important to me is how do I chat to little Johnny in all this.

“I’m thrilled to be living in a time where I can play the Winkie Prince and where Just Like Us is doing the extraordinary work that they’re doing.”

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Donald Trump confirms he will sue the BBC over Panorama edit – despite broadcaster’s apology

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Donald Trump confirms he will sue the BBC over Panorama edit - despite broadcaster's apology

Donald Trump has said he will sue the BBC for between $1bn and $5bn over the editing of his speech on Panorama.

The US president confirmed he would be taking legal action against the broadcaster while on Air Force One overnight on Saturday.

“We’ll sue them. We’ll sue them for anywhere between a billion (£792m) and five billion dollars (£3.79bn), probably sometime next week,” he told reporters.

“We have to do it, they’ve even admitted that they cheated. Not that they couldn’t have not done that. They cheated. They changed the words coming out of my mouth.”

Mr Trump then told reporters he would discuss the matter with Prime Minister Sir Keir Starmer over the weekend, and claimed “the people of the UK are very angry about what happened… because it shows the BBC is fake news”.

The Daily Telegraph reported earlier this month that an internal memo raised concerns about the BBC’s editing of a speech made by Mr Trump on 6 January 2021, just before a mob rioted at the US Capitol building, on the news programme.

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BBC crisis: How did it happen?

The concerns regard clips spliced together from sections of the president’s speech to make it appear he told supporters he was going to walk to the US Capitol with them to “fight like hell” in the documentary Trump: A Second Chance?, which was broadcast by the BBC the week before last year’s US election.

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Following a backlash, both BBC director-general Tim Davie and BBC News chief executive Deborah Turness resigned from their roles.

‘No basis for defamation claim’

On Thursday, the broadcaster officially apologised to the president and added that it was an “error of judgement” and the programme will “not be broadcast again in this form on any BBC platforms”.

A spokesperson said that “the BBC sincerely regrets the manner in which the video clip was edited,” but they also added that “we strongly disagree there is a basis for a defamation claim”.

Earlier this week, Mr Trump’s lawyers threatened to sue the BBC for $1bn unless it apologised, retracted the clip, and compensated him.

The US president said he would sue the broadcaster for between $1bn and $5bn. File pic: PA
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The US president said he would sue the broadcaster for between $1bn and $5bn. File pic: PA

Legal challenges

But legal experts have said that Mr Trump would face challenges taking the case to court in the UK or the US.

The deadline to bring the case to UK courts, where defamation damages rarely exceed £100,000 ($132,000), has already expired because the documentary aired in October 2024, which is more than one year.

Also because the documentary was not shown in the US, it would be hard to show that Americans thought less of the president because of a programme they could not watch.

Read more from Sky News:
Key findings in 20,000 pages of documents in the Epstein files

Banksy art theft lands burglar with 13-month prison sentence

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Sky’s Katie Spencer on what BBC bosses told staff on call over Trump row

Newsnight allegations

The BBC has said it was looking into fresh allegations, published in The Telegraph, that its Newsnight show also selectively edited footage of the same speech in a report broadcast in June 2022.

A BBC spokesperson said: “The BBC holds itself to the highest editorial standards. This matter has been brought to our attention and we are now looking into it.”

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