Naomi Campbell banned from being charity trustee

Published

1 month ago

September 26, 2024

admin

Supermodel Naomi Campbell has been disqualified from being a charity trustee for five years after the Charity Commission found serious mismanagement of funds at the charity she fronted.

The 54-year-old model founded Fashion For Relief, a charity merging fashion and philanthropy, in 2005, but an investigation found that just a small proportion of the money went to actual good causes.

Fashion For Relief was dissolved and removed from the register of charities earlier this year.

Misconduct included using charity funds to pay for Campbell’s stay at a five-star hotel in Cannes, France, as well as spa treatments, room service and cigarettes.

Campbell is one of three of the charity’s trustees to be disqualified as a result of the probe.

The Charity Commission, which registers and regulates charities in England and Wales, opened an inquiry into Fashion For Relief in 2021.

The charity’s mission was to make grants to other organisations and give resources towards global disasters in a bid to relieve poverty and advance health and education.

It hosted fundraising events to generate income, including in Cannes and London.

However, the inquiry found that between April 2016 and July 2022, just 8.5% of the charity’s overall expenditure was on charitable grants.

The Charity Commission says it has recovered £344,000, as well as protecting a further £98,000 of charitable funds.

Three nights at a five-star hotel

They say they saw no evidence that trustees took action to ensure fundraising methods were in the charity’s best interests, or that the money it spent was reasonable relative to the income it generated.

It also said it found some fundraising expenditure to be misconduct or mismanagement by the charity’s trustees.

This included a €14,800 (£12,300) flight from London to Nice for transferring art and jewellery to a fundraising event in Cannes in 2018.

It also looked into the decision to spend €9,400 (£7,800) of charity funds on a three-night stay at a five-star hotel for Campbell.

In these cases, the trustees “failed to show how these were cost-effective and an appropriate use of the charity’s resources”, the Charity Commission said.

Spa treatments, room service and cigarettes

Furthermore, it examined expenses incurred by Campbell totalling nearly €7,940 (£6,600), alongside the hotel stay, paid for by the charity.

These costs included spa treatments, room service, and the purchase of cigarettes and hotel products.

The regulator said trustees explained that hotel costs were typically covered by a donor to the charity, therefore not costing the charity, but failed to provide any evidence to support this.

Bianka Hellmich has been disqualified as a trustee for nine years, and Veronica Chou for four years, as well as Campbell’s five-year ban.

It means they are prevented from being a trustee or holding a senior management role in any charity in England and Wales during the length of the disqualification.

Campbell was discovered as a schoolgirl, and she went on to become the first British black model to appear on the cover of British Vogue.

The 54-year-old model welcomed her second child, a son, last year, following her daughter who was born in 2021, shortly before her 51st birthday.

Entertainment

Does the music stop when the bombs are falling?

Published

1 hour ago

November 2, 2024

admin

Does the music stop when the bombs are falling?

“You either hold a weapon or you hold a guitar,” says Raji El-Jaru, Gaza’s biggest rockstar.

Months before war broke out last year, hundreds of people packed into a concert hall to hear his band perform their distinct blend of pounding guitar riffs and impassioned lyrics.

“We’ll scream our pain; can you hear the call?” he sang to the rapt crowd. “Knock, knock, are you listening at all?”

Not long after that gig, Israeli airstrikes rained on Gaza City, tearing down buildings and displacing hundreds of thousands of people.

Focused on survival rather than music, the five members of Osprey V – believed to be Gaza’s first rock band – went from dreaming of gigging in Europe to wondering if they would ever play together again.

Formed back in 2015, the group are all self-taught and cite Metallica and Linkin Park among their influences. Raji, 32, explains that he has always seen rock music as the obvious way to resist oppression. “We are the voice of the voiceless, spreading love instead of hatred and violence.”

“It’s a matter of time now,” Volodymyr says, talking about when his name will be called to join Ukraine’s armed forces.

A DJ who goes by the moniker Lostlojic, before the full-scale invasion in 2022 he was flying around Europe playing his brand of electronic music but now he’s back in Kyiv, his hometown, performing to raise money for his friends on the frontline.

In the early days after the invasion there was discussion about whether club nights should continue, says 35-year-old Volodymyr, but people needed a break from thinking about war – not least the soldiers on leave from the battlefield.

“Many of my friends who are musicians are in the armed forces. They have no time to do their favourite thing. Once every few months they create some tracks, send them to me, and I play them out.”

Last weekend there was a day to celebrate the Ukrainian language, and Volodymyr incorporated samples of Ukrainian speech into his songs to mark it – an assertion of an identity that is under threat.

“Everything is about politics, you can’t be an artist without it.”

“One of the things that music can do is unify people,” says Ruth Daniel. “It’s a way to give people a space to share what they’re going through.”

She is head of In Place Of War, an organisation that helps foster music and creativity in conflict zones. When bombs are falling all around you, she believes, music can act as a form of escapism and creative resistance.

Speaking to Sky News from the recent WOMEX (Worldwide Music Expo) conference in Manchester, she described how smartphones and social media make it easier than ever for those in conflict zones to write tracks and find an audience.

“I’ve seen people making music studios on the edge of checkpoints, making their own instruments, doing hip hop on street corners and making music with car sound systems.”

Gigs too, can be held anywhere, she says, giving an example of a club night she went to in the Palestinian West Bank city of Ramallah.

“It was at a house – they basically turned the kitchen into a club. I remember leaving and there were lines and lines of police and army [soldiers] pointing guns.

“For me, the best music comes out of situations of difficulty. It’s not just art for art’s sake, it’s art with purpose and meaning.”

Mo Aziz once performed to tens of thousands of people in stadiums across Sudan as part of the popular group Igd al-Jalad. But the group’s music criticised the then-government and they were banned from performing amid a crackdown on expression.

He came to the UK as a refugee in 2017, and this year released an album calling for peace in his homeland and hoping to raise the profile of Sudanese music – traditionally a blend of African and Arabic influences.

Since the struggle for power between the army and a large militia group erupted into armed conflict in April 2023, more than 20,000 people have been killed in Sudan. There are firefights on the streets of Khartoum and a humanitarian crisis.

Mo’s mother and brother fled to Egypt, making a fortnight-long journey to escape the conflict, as the fighting led to millions being displaced.

“I was devastated,” he said. “I lost three friends as a result of the bombing in Khartoum, including one member of Igdal-Jalad.”

This unfolded as Mo was working on his album and master’s degree at Liverpool Hope University.

“I hope to show what’s happening in Sudan as well as uplift Sudanese music and put it on the international scene,” he said. “I will always dedicate my work to peace and human rights.”

Meanwhile, British-Sudanese folk singer-songwriter Saeed Gadir described the music scene in Khartoum as a “ghost town”.

“It’s really been decimated, there’s no one there. It’s a huge part of my writing,” says Saeed, who’s known as The Halfway Kid and whose new album Myths In Modern Life talks about growing up in a Sudanese migrant family.

And while he doesn’t see himself as always being explicitly political, his music is nonetheless politicised by the stories he tells and feelings he seeks to share with his audiences, he says.

“Even if you’re in London, you might get an insight into what it might feel like if there’s a coup back home.”

Sometimes there is no safe way to explore music in a dangerous place, sometimes the bombs are falling around you even as amps are plugged in and microphones set up.

That was the case in 1994, before the internet gave musicians the power to appear virtually to their fans. Back then, legendary metal singer Bruce Dickinson and his band Skunkworks were smuggled into Sarajevo during the Bosnian War while the city was under siege. The gig they played instantly became historic.

“I’d never seen devastation like it in a modern city. There wasn’t a single building that wasn’t a burnt-out shell,” Dickinson, best known as the lead singer of Iron Maiden, told the 2017 documentary Scream For Me Sarajevo.

The siege of Sarajevo was the longest in modern history, lasting nearly four years. More than 11,000 people, including over 1,000 children, were killed.

“I went out there and was just, like, how can I ever be as big as their lives need me to be for them?” recalled Dickinson.

“You could have given everything and you just felt like it wasn’t ever gonna be enough.”

All over the world, the musical tradition of building community – and resistance – in some of the world’s most dangerous places is thriving, thanks in part to social media and the ability to reach audiences around the world with live streams.

“Especially in places where people can’t get out or people can’t go in,” Ruth says. “And so that becomes the most important way of sharing people’s culture and identities.”

Still unable to return home, Raji has continued his work on Osprey V. A new video, produced in the Gaza Strip, is out soon and he hopes it will be a wakeup call to the West.

“We are normal people just like you,” he says. “We have families, we drink coffee, we wear Adidas. But we are suffering from endless wars.”

Entertainment

Jeff Bridges on The Old Man – and instilling joy on set

Published

4 hours ago

November 2, 2024

admin

Jeff Bridges on The Old Man - and instilling joy on set

Life in between filming the first and second series of The Old Man has been vastly different for Jeff Bridges.

The Oscar-winning actor led the first season of the action thriller at 70, seemingly healthy and ready to take on the world. However, unbeknown to him at the time, he had undiagnosed non-Hodgkin lymphoma and a 9×12 inch tumour in his stomach, which would require intense treatment.

Rather than the often used language of “fighting” the cancer, Bridges described himself as being “in surrender mode” as he not only went through chemotherapy but also contracted COVID-19.

However, he set himself the goal of walking his daughter down the aisle, which he did in 2021, and has since said his tumour has been reduced to “the size of a marble”.

Now, The Big Lebowski actor has returned to the small screen for the second season of Disney+ show The Old Man, which tells the story of a former CIA operative on the run and also stars Conclave’s John Lithgow and Blink Twice actress Alia Shawkat.

Despite a vast career in film, this is Bridges’ first time leading a TV series – a format he saw his father Lloyd Bridges excel in when he was a child.

“With movies, you have a beginning, middle and an end,” he tells Sky News. “You know where you’re going. That’s not the case in the series, it’s exciting.”

The American actor says he makes an effort to instil “joy” and kindness on his sets, crediting his father’s love for the art of acting for why he remains so positive.

“I mean, he taught me all the basics of acting and he, unlike a lot of parents who are in showbiz, wanted all his kids to go into showbusiness. He loved it so much.”

Bridges has appeared on screen since he was just six months old and would leave school to join his father on the set of his series.

“The way he approached his work with such joy [was admirable] and that was the main thing I learned from him… Whenever he came on the set, that joy was kind of contagious and everybody would say, hey, this is kind of fun, what we’re doing to get to play, dance, pretend here with all these great folks and we can have a good time.”

Bridges says he was lucky to work with his father a few times as an adult and that the ability to create a relaxing and fun environment that allowed artists to flourish was something he wanted to replicate in his own work.

On set, he meets with every creative taking part in his films and shows, from costume designers to the production team.

“That’s such an important aspect of my work, getting a perspective from their take… all these things start to come together and they have a cumulative effect on how your character comes off, and they’re thinking of it from a completely different point of view.

“That’s very valuable to me, you know, to hear the history, why the person got that particular piece of clothing and what not.”

Season two of The Old Man is available to stream on Disney+ from 6 November.

Entertainment

Ed Sheeran beats copyright appeal over claim Thinking Out Loud ripped off Marvin Gaye’s Let’s Get It On

Published

13 hours ago

November 1, 2024

admin

Ed Sheeran beats copyright appeal over claim Thinking Out Loud ripped off Marvin Gaye's Let's Get It On

An appeals court has upheld a ruling that Ed Sheeran’s hit song Thinking Out Loud did not illegally copy the Marvin Gaye classic, Let’s Get It On.

The 2nd US Circuit Court of Appeals in Manhattan, New York, agreed with a lower-court judge’s dismissal of a lawsuit filed by Structured Asset Sales (SAS), which owns rights to the 1973 Gaye song that previously belonged to the late co-writer Ed Townsend.

SAS had made the allegations against Sheeran, his record label Warner Music, and music publisher Sony Music Publishing.

It comes after a separate copyright lawsuit filed by heirs of Townsend over alleged similarities between the tracks. Sheeran won that case in May 2023, following a jury trial.

SAS sued Sheeran in 2018, four years after the release of his number one hit. US District Judge Louis Stanton dismissed the case following the verdict in the heirs’ case last year – concluding the musical elements allegedly copied were too common to merit copyright protection.

The appeals court has now agreed, saying Thinking Out Loud and Let’s Get It On are not similar enough for Sheeran to have infringed on copyright, and protecting the elements could stifle creativity.

SAS owner, investment banker David Pullman, said the company was reviewing all of its options following the decision.

Gaye, who died in 1984, collaborated with Townsend, who died in 2003, to write Let’s Get It On, which topped the Billboard charts in the year it was released. The track has been used in numerous films and adverts, and garnered hundreds of millions of streams and radio plays in the past 50 years.

Sheeran, who is from Suffolk, is one of the most successful modern music stars in the world. Thinking Out Loud, which won a Grammy for song of the year in 2016, is among his biggest hits.

Sky News has contacted representatives for the star for comment on the latest ruling.

After the result in 2023, he spoke outside court, saying he was “unbelievably frustrated baseless claims like this are allowed to go to court at all”.

He added: “We’ve spent the last eight years talking about two songs with dramatically different lyrics, melodies and four chords which are also different and used by songwriters every day, all over the world.”

The British star, 33, also won a similar copyright case in the UK in 2022 – this one relating to Shape Of You, another of his biggest hits.

During that hearing, he was accused by two lesser-known songwriters of ripping off part of one of their songs for his 2017 track. However, the High Court judge ruled that Sheeran “neither deliberately nor subconsciously” copied a hook from the song.

Following that ruling, Sheeran released a video statement hitting out at “baseless” copyright claims that are “damaging” to the industry.