u/neoncolour

Excerpts from the article :

>The band knows all too well how the likes of Taylor Swift and Oasis have faced backlash for astronomical ticket pricing, but have very little sympathy.

>’How has it become less expensive to go overseas to see your favourite band than just see them in your own city?,’ Nick questions, before Tyson interjects: ‘We’re at a point with this conversation where the responsibility, especially in the headliner, falls on the artists. It’s on the fans to say, well, does my favourite artist need to make $75, 000,000 this summer? Or could they make $30,000,000? Is that enough money for you?’

>The singer adds: ‘It’s become a one-percenter’s experience, and I think that’s f****d up, because the people who love music the most, the people who need music the most, are the people that are hand-to-mouth, the people that come from where we’re from. It shouldn’t just be a District 1 Hunger Games kind of luxury to go to concerts. That type of artist, their audience will pay whatever, because they set that lifestyle of extravagance. We need to hold artists responsible.’

>The band are now tapping into uncharted territory by allowing fans to summon them to their city to play backyards, bowling alleys, and beyond, and reckon their house parties can fix a broken industry.

According to journalist Louis Pisano, the designer’s legal team has filed a motion to depose Italian singer Mahmood (Alessandro Mahmoud), who was allegedly present the night of the assault and brought plaintiff Patrick Cooper the drink he claims was drugged, invoking the Hague Convention to question him under oath from Italy.

Full legal filing is [here](https://cases.justia.com/federal/district-courts/new-york/nysdce/1:2025cv04758/643834/37/0.pdf?ts=1764867061&\\\_\\\_cf\\\_chl\\\_rt\\\_tk=pYgBR9f9gT8l7XSdbBXSUF9yTtm1e2EUVKfSSK7aL1U-1779262837-1.0.1.1-lGETPNuK04u6060xVIRBiWbUwTGSO.IrJgF7OfTogZI/).

Prior to his sexual assault trial, Riccardo Tisci was best known for his years as designer for Givenchy and Burberry. He also dressed Madonna and Rihanna in 2008 and 2013 for their respective world tours, Beyoncé and Jay-Z for the On The Run Tour, collaborated with Jay-Z et al. for the cover of “Watch the Throne”, and had multiple design collaborations with Nike.

Excerpts from the interview:

> Whatever money we make from that will be what I spend on my next one and there will be a trickle-down effect. I just don’t want to talk to these bros anymore ... I love Hollywood, I love big movies, [but] I don’t think I’d be very good at making them. I want to make weird s---. And I’m fully OK doing that in a kind of insulated, bizarre way. But I don’t want to do the thing where I wait five years for someone to give me $1 million to make something. I’m going to make it f---ing tomorrow.

On Hollywood studios having less of a presence at Cannes this year:

> It’s OK, because guess what happens when things break or die? It’s good, I think. Especially because I’ve been working since I was 9, I see a horizon that doesn’t resemble anything that I’ve seen before. It’s so new because our industry is so utterly devastated. And so I think actually, there’s so much hope in that. We just have to grab it.

On working within the Hollywood system :

> Are we going to like, wait to be chosen like a f---ing golden ticket? Like, 'I got the golden ticket! I can make one f---ing movie!' We need to make more work. There needs to be more work, more output, more connection and less fear and less f---ing bureaucracy and also less making billionaires more f---ing billionaires. It’s driving me insane. We spend so much money, we just like hemorrhage money making stuff in a system that honestly is not designed for us.

> It is not designed for artists to express themselves. We’re just really under the thumb of different priorities that don’t align with real dream-making. And I don’t mean to wax poetically because I mean this so very literally, I just don’t think that it’s possible to create sort of radical, vital work under capitalistic parameters.

Full quote from the interview :

>“There is clearly an agenda to silence voices in our community, a heavy right wing agenda,” Jay said later in a text. “And the culture is happily playing along in the name of this insane thirst of Stan culture to have something on the other side. We are in a strange time. I’m curious as to how this plays out!”

Hi everyone! First I’d like to thank each and every one of you for your valuable contributions. This sub is a mine gem and I am adding my little experience in case it might help someone, and also looking for recommendations.

My Background : moderately irregular skin texture, some sun damage and freckles that are from my teens, moderate peri-oral dermatitis around my nasolabial folds, one inflamed zit around my period and a couple white heads, enlarged nose pores and sebaceous filaments.

My Routine: 6 weeks of Azelaic acid 20%, 1 to two times a day + 0.025% tret, 2-3 times a week then almost nightly for the past 3 weeks. I’d seal it off with Aquaphor at night but 10 days ago I’ve been doing Ialuset and Aquaphor and it has dramatically improved my results (smoothness, hydration, shine) and almost eliminated all shedding. I apply a generous amount of LRP spf 50+ everyday multiple times a day and no skin makeup. I also wear UV hats.

My Results : My skin is smooth both to the eye and to the touch almost everywhere (I can still see some little bumps in my mid cheeks right after washing my face). My nose pores have dramatically shrunk and look much cleaner and smoother. Some of my old freckles are less contrasting to my skin.

My Remaining Concerns : peri-oral dermatitis hasn’t shown any signs of amelioration, I’m still red and bumpy right after washing. The remaining bumps in my cheeks. A more even tone. The three small forehead lines above my right brow that haven’t seen any changes.

My Questions : if you were in my situation, would you increase your tretinoine % concentration or even go on taz to tackle the remaining issues? What other venues would you explore for perioral dermatitis?