My man is 27 years older than me – trolls are ‘disgusted' & say I should choose ‘self-respect over money', I don't care
A WOMAN has revealed that she is in an age gap relationship with a man who is 27 years older than her.
Sass, 27, from London, is dating her 54-year-old boyfriend, who she calls her 'silver fox.'
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The self-proclaimed 'spoiled girlfriend' lives a luxury lifestyle with skiing trips to Vail Village, Colorado, designer bags, posh hotel stays and delicious meals out.
But now, the content creator has found herself on the receiving end of a barrage of abuse from mean trolls who have criticised her relationship dynamic.
Not only were keyboard warriors 'disgusted' by the age gap, but others told her to choose 'self-respect over money.'
It came after Sass took to social media to show off her age gap relationship, leaving many open-mouthed.
Alongside a gorgeous picture of Sass and her partner before an evening out, she confirmed that while she was born in 1997, her man was welcomed into the world much earlier, in 1970.
But Sass, who 'doesn't date younger', was eager to set the record straight on her relationship, as she wrote: 'If you know us as individuals, us as a couple makes sense.
'Those we know in real life understand, are supportive and happy for us.'
Not only this, but she claimed that her man is 'highly educated, emotionally intelligent, financially secure', has 'a great personality and is hot.'
As a result, she confirmed: 'I'm happy as Larry.'
The TikTok clip, which was posted under the username @ sweetheartsass, has clearly left many open-mouthed, as it has quickly racked up 136,800 views, 4,372 likes and 391 comments.
I'm 20 and my man is 63 - people say he looks like Shrek and I must be in it for the money, but I'd still love him if he was a cleaner
But social media users were totally divided by Sass' relationship - while some accused her of doing 'anything for money', others were supportive.
One person said: 'Lol my dad was born in 1977 and me in 1994. If they're old enough to be your parent, it's not right, sorry.'
But to this, Sass eagerly clapped back and snapped: 'I literally do not care about you and your dad. Go away.'
Another slammed: 'Self respect over money!'
A-list age gap relationships that have stood the test of time
Kris Jenner & Corey Gamble - 25 years
The Kardashian matriarch, 69, met her younger man, 44, at a mutual friend's 40th birthday party in Ibiza. They've been together since August 2014.
Sam & Aaron Taylor-Johnson - 23 years
The director, 57, and actor, 34, reportedly met at a film audition in 2009, and were married by 2012. The pair share two daughters and Sam has two children from a previous marriage.
Rosie-Huntington-Whiteley & Jason Statham - 20 years
The model, 37, started dating actor Jason, 57, in 2010. They were wed in 2016 and have since welcomed a son and a daughter together.
Catherine Zeta-Jones & Michael Douglas - 25 years
Catherine, 55, was introduced to Michael, 80, a film festival in 1996 and engaged three years later. Shortly after their engagement, the couple welcomed a son and married in 2000.
And a third commented: 'Anything for money and a lifestyle I guess.'
But at the same time, one user said: 'Why are people disgusted with this? It's not for them so why is it your issue? Not every relationship is a design to fit the usual expectations.'
A second chimed in: 'I love this! She's well looked after and if you look at their videos they look really happy. As women all we want is security and love and that's what she's getting regardless of the age gap!'
Meanwhile, someone else gushed: 'As long as you're happy, it doesn't matter what the person looks like, how old they are or who they are. Love is Love.'
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The Guardian
31 minutes ago
- The Guardian
‘We thought we were being naughty!' The thrilling show by Black and Asian women that rocked the art world
It is November 1985 and in a corridor of London's ICA, a pivotal moment in British art history is about to take place. Curated by Lubaina Himid, The Thin Black Line displays work by 11 Black and Asian women artists, hung on the walls of the museum's narrow walkway – to signify just how they've been marginalised. Their work – which explores social, cultural, political, feminist and aesthetic issues – comes as a shock to the stuffy art establishment. Critics dismiss it, or deride the works as 'angry'. And yet this show, placing Black women artists firmly at the centre of contemporary British art history, will come to be seen as a turning point, paving the way for future winners of the Turner prize (Himid) and Venice Golden Lion (Sonia Boyce). Forty years on, the ICA is revisiting the show with Connecting Thin Black Lines 1985–2025, building on its legacy with new and old works from the original artists, and new contributors. Here, some of them reflect on the original exhibition, the reaction it received, and how the art world has changed. Sutapa Biswas: The 1980s were a charged time politically, socially and economically. I arrived at art college in 1981 with a great degree of understanding about the histories of the empire and how it impacted my parents. They were born in what was called British India. They experienced partition and genocide and were displaced. It was a complex time in the UK, too. In my community in west London, the Southall Youth Movement, an antiracist group, had burned down the Hambrough Tavern where skinhead bands played. Marlene Smith: I was a student, studying for my BA at Bradford School of Art. By the time I joined the BLK Art Group, an association of young Black artists, I was already thinking about my identity in relation to feminism. I was not the only Black person studying, but I was one of few. I was certainly the only person trying to make work with political overtones. Jennifer Comrie: I was living through a really interesting time: the Troubles, the miners' strike, Thatcherism, apartheid in South Africa. My work reflected this. Art for me has always been a wayto garner a better understanding of myself and the world around me. Ingrid Pollard: I was doing various jobs, and signing on for benefits. I was a cleaner. I was a gardener for the council. There weren't any rosy aspirations to be an artist. I had been doing screen-printing in an evening class and then a job came up in this feminist print shop in London, which I got, much to my surprise. There was a dark room there, so I started doing photography. Sutapa: One day on my university course, I was confronted by a painting by Turner titled The Slave Ship. My tutor was talking about the expressionistic nature of the brushmarks. I was sitting there thinking: 'What about what's in the water?' That moment, coupled with what I heard in another lecture, made me think: 'We're talking about class and gender – but we're not talking about race.' Marlene: My painting tutor didn't like what I was doing. He was not at all convinced that art could, or should, be political. So when Lubaina showed up and stood in front of my work and had a conversation with me, it was totally transformative. Jennifer: When Lubaina came in to my studio by chance and looked at my work, she was intrigued and asked if I would be interested in showing it. Initially I was unsure. I did not realise how pivotal this chance meeting would be. Sutapa: I found out Lubaina was doing a talk and went along. I introduced myself and said: 'I'm a student at the University of Leeds. I'd love to interview you.' When I submitted my dissertation, I invited Lubaina to do a talk at the university. There, she saw my painting Housewives with Steak-Knives and the video work Kali. 'I'm organising this exhibition,' she said. 'I would love to include your work.' Marlene: The show was coming up, but I had no idea what to make. Then Cherry Groce was shot [during a police raid on her Brixton home]. So I made Good Housekeeping – a larger than life painting of a woman leaning against a doorway. Behind her outstretched arm is a framed photograph of my sister's birthday party. Above that image, painted on the wall, are the words: 'My mother opens the door at 7am. She is not bulletproof.' I was thinking about Cherry Groce as a middle-aged single mum. Sutapa: The rhetoric was so racist in Britain. So I began to think about performance as strategic intervention. That's what emerged in Kali. But it also has a presence in Housewives with Steak-Knives. It's not a static piece, settled against the wall. It sits forward and looks as if it's going to fall on top of you. Jennifer: Coming to Terms Through Conflict, a work I put in the show, questions identity: northern, Jamaican, British, Black, Christian, etc. Untitled continued this journey. Its broken stitching is intentional, representing a refusal to be contained or defined by social constraints – church, family, anyone. It's a visual declaration of freedom. Marlene: Jenny had this beautiful singing voice. I remember her singing as we were installing. Even when I think of it now, it chokes me up. I remember Sutapa climbing up and writing the words for my work in black paint. Ingrid: It was fun installing it all. We thought we were being slightly naughty, because it was a well-known gallery. It was only later that I understood the ramifications, the politics of what Lubaina was trying to organise. Helen Cammock [participant in new show]: I was 15 when that exhibition was at the ICA. I wasn't interested in art then. It wasn't on my radar until 2005, when I did a photography BA. I had bought some books that contained Ingrid's work. Postcards Home [her photography book about England and the Caribbean] was on my desk while I wrote my dissertation. The images moved me. I was sad. I was angry. I found beauty. Marlene: The response to The Thin Black Line, in terms of art criticism, was pretty appalling. The critics came to it very defensively, rather than looking at what the work had to say. Sutapa and I wrote a piece for Spare Rib magazine, talking about the lack of useful critique around Black artists. Sutapa: The reviews were reduced to questions of identity and that became a platform for white guilt. But the real issue was avoiding the language of our practice, in the way that you might talk about the language of David Hockney's work or Helen Chadwick's. We weren't being afforded the same level criteria. They weren't dealing with the aesthetics of our practice. Helen: It's not a new thing. It happens now. This notion that you're angry. That you're didactic. It's a marginal experience and people aren't interested in it. The whole framing of the show undermined the quality of its ideas, of its potential to shake people's ways of thinking and seeing. Sign up to Art Weekly Your weekly art world round-up, sketching out all the biggest stories, scandals and exhibitions after newsletter promotion Marlene: You would expect a show like The Thin Black Line to create opportunities, but the opposite happened. If you examine the YBAs, there was a synergy with what had happened earlier with the Black Arts Movement; it's striking that they seemed to be using our methods of DIY. However, they were not including the Black artists in their projects. Ingrid: There was never a time, after, when I wasn't making art. I wasn't ill. I didn't have children. I was teaching as a way of keeping a regular income. I didn't have to deal with the aspirations of a gallery representing me. Those things were very alien. Marlene: In 2011, Tate did a show looking back at The Thin Black Line. And then Graves Gallery stumbled across work by the BLK Art Group and did a show. So that felt like something was happening. Over the last 10 years, it feels like there's been a resurgence of interest in the Black Arts Movement because, despite its significance, it has not made it into discussions of art history. Amber Akaunu [in the new show]: I studied art and art history at Liverpool Hope University from 2015 to 2018. I didn't really learn about Black art history. I feel a bit of pain when I find out about things I didn't know. I started a magazine with another artist in the course called Rooted. We just felt there was a big gap in knowledge. Sutapa: After the show, I continued to work. I showed with Vito Acconci, Tania Bruguera, Doris Salcedo and Louise Bourgeois at Iniva in London. In 2004 I had a show there that was not nominated for the Turner. Where is my retrospective at the Tate? Where is Claudette Johnson's? I have not received accolades for my recent exhibitions at the Baltic and Kettle's Yard. Ingrid: Getting recognition came after a long period of work, 20 to 30 years. I was surprised to be nominated for the Turner. It raises your public profile. The media had ignored me and a lot of artists for 40 years. Marlene: I had a solo show called Ah, Sugar in2024. At the opening, Lubaina introduced me to the curators from the ICA and said that this new exhibition, Connecting Thin Black Lines, would be coming up. It was a surprise, exciting. Helen: I was looking at the complete lineup. Their voices weren't heard before – and now they are being heard more loudly than ever. Amber: Lubaina hosted a lunch for some of the artists who were going to be in this new show. I just sat there and soaked everything in. It was shocking – but touching – to hear their stories. A lot of these artists have gained so much success, but you can still hear the hurt. I related so much. Some 30 to 40 years on, I'm having similar experiences. I remember curating an exhibition over four days, and showing some work for Black History Month, and we weren't paid for it. Ingrid: A lot of the young students I speak to are still complaining: lack of recognition, opportunities. Things change, but they remain the same. My advice is you need a gang. You can't do it on your own. It takes a village to make an artist. Helen: It happened to be a really monumental experience for me being in a show called Carte de Visite with Claudette Johnson and Ingrid Pollard in 2015. I think it encapsulated what's happening now, the interconnectedness across generations. Marlene: It was a real privilege for me to exhibit with them in the first place. And it's a real privilege to be reunited. It's always nerve-wracking when you make new work. There's a bit of an echo between the piece I've made this time and the 1985 piece. This piece is probably more gentle. Amber: The film I'm showing is about motherhood and friendship. It's a documentary style that that explores my childhood being raised by a single mum in Toxteth, Liverpool. Jennifer: It's incredible to see the works being recognised again after 40 years. It genuinely feels like a few moments ago we were setting up the works in the ICA's corridor. Ingrid: I'm hoping the exhibition annoys a lot of people in the art world. When they had an opportunity to engage with these artists, they didn't take it. So it's like: 'See what you missed out on, mate.' Connecting Thin Black Lines 1985-2025 is at the ICA, London, until 7 September
The Sun
35 minutes ago
- The Sun
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Metro
39 minutes ago
- Metro
Who is Addison Rae? How TikTok fame led to one of the year's biggest pop albums
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Addison is also set to appear alongside Ryan Reynolds, Aubrey Plaza, Jason Momoa, and Dan Levy in the upcoming animated action comedy Animal Friends, releasing in October. Addison told The New York Times of her musical aspirations back in 2020: 'Pretty much from the jump, I was like, 'I don't want to cut demos, I want to write,'' she said. 'So I at least know what I'm doing, or can connect with the things that I'm singing. Especially because I was so new to it.' Eventually, all that practice led her to release her first single, Obsessed, in 2021 – which was critically panned. But that didn't stop her from trying again. Addison then released her first EP AR in August 2023, to marginally more success. But things really started to take off in 2024, when she signed with Columbia Records and collaborated with Charli XCX on the remix of her song Von Dutch. This bolstered her name recognition, which helped earn her first Billboard Hot 100 hit in 2024 with her single Diet Pepsi, which peaked at 54. This month, after years of hard work, her studio album, Addison, debuted at number four on the US Billboard 200. Since its release, the album has been lauded by fans and critics alike. The album includes tracks like New York, Life's No Fun Through Clear Waters, and Summer Forever. The debut earned an impressive 8.0 from Pitchfork, with the publication writing: 'Rae's debut album, Addison, floats in on a swell of goodwill following a string of improbably great singles, each one a little weirder than the last.' Aptly titled The Addison Tour,Addison Rae is going on tour this fall. The tickets went on sale on June 20, while pre-sale kicked off on June 18. Addison will kick things off in Dublin, Ireland, at the National Stadium on August 25, followed by Manchester Academy in Manchester, England, on the August 28. More Trending The tour will run till November 17, when Rae will make a final stop in Sydney, Australia, at the Enmore Theatre. AUGUST 26 – Dublin, Ireland National Stadium 28 – Manchester, England Manchester Academy 30 – London, England O2 Forum Kentish Town SEPTEMBER 2 – Paris, France L'Olympia 4 – Brussels, Belgium Cirque Royal 5 – Amsterdam, Netherlands Melkweg 7 – Berlin, Germany Uber Eats Music Hall 8 – Cologne, Germany Live Music Hall 22 – Austin, TX ACL Live 25 – Dallas, TX South Side Ballroom 27 – Nashville, TN The Pinnacle 28 – Atlanta, GA The Eastern 30 – Washington, DC The Anthem OCTOBER 1 – Brooklyn, NY Brooklyn Paramount 5 – Boston, MA Roadrunner 7 – Philadelphia, PA The Fillmore Philadelphia 8 – Toronto, ON Rebel 10 – Chicago, IL Riviera Theatre 13 – Denver, CO Mission Ballroom 16 – Oakland, CA Fox Theater 19 – Los Angeles, CA The Wiltern NOVEMBER 11 – Melbourne, Australia Forum Theatre 14 – Brisbane, Australia Fortitude Music Hall 17 – Sydney, Australia Enmore Theatre @brycehall not alone this time @addisonre ♬ Wet Shoota – sound remixes Addison Rae previously dated fellow TikToker Bryce Hall in a very public relationship that ended in 2020. She began dating music producer Omer Fedi in 2021, and while she has largely kept the relationship out of the public eye, its believed that the pair are still together. In a 2025 interview with Rolling Stone, Addison said: 'I'm very guarded when it comes to relationships because my first public relationship taught me a lot about myself,' Rae said, speaking of her ex Bryce Hall. 'That was a s*** show. He was very vocal about everything, and it was a mess.' Got a story? If you've got a celebrity story, video or pictures get in touch with the entertainment team by emailing us celebtips@ calling 020 3615 2145 or by visiting our Submit Stuff page – we'd love to hear from you. MORE: The 'memeification' of World War Three reveals a troubling truth about society MORE: Inside the 'humiliating' influencer marriage break-up 7 months after the wedding MORE: Thousands of people got a phone alert asking them if I was hot
