Jessie J diagnosed with early breast cancer, says she'll undergo surgery
Jessie J was diagnosed with "early breast cancer," the U.K. pop singer said on social media on Wednesday.
The 37-year-old artist, whose real name is Jessica Ellen Cornish, said she was diagnosed with breast cancer before her latest single "No Secrets" was released in April. She said she will undergo surgery following her performance at Summertime Ball on June 15, an annual music festival in London.
"Cancer sucks in any form, but I'm holding onto the word 'early'," she told her nearly 14 million followers on Instagram in a video.
Jessie J said she's sharing her diagnosis partly because she's "not processing it," since she has been consumed with work.
"Sharing in the past has helped me with other people giving me their love and support and also their own stories," the singer said.
The video was met with a flurry of supportive comments, including from fellow British pop stars Rita Ora and Leigh-Anne Pinnock.
"Your literally my favourite person and I'm praying for you you've got this. my mother had it and I know the surgery and any treatment on this matter is mentally tough so I'm here for you. X," Ora wrote.
The Grammy-nominated signer is known for her powerful and unique vocal. Her greatest hits include "Price Tag," "Masterpiece," Do It Like a Dude," "Domino" and "Bang Bang," the 2014 collaboration with Ariana Grande and Nicki Minaj. Prior to "No Secrets," she had not release any new music since 2018.
Breast cancer is characterized by five major stages, from Stage 0 to Stage 4. While the singer didn't disclose further details about her diagnosis, an early stage of breast cancer is "highly treatable and survivable," according to the National Breast Cancer Foundation.
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Yahoo
15 minutes ago
- Yahoo
Billy Williams, Oscar-winning British cinematographer whose credits included Gandhi and Women in Love
Billy Williams, who has died aged 95, was one of the leading British cinematographers across four decades, winning an Oscar for his work on Richard Attenborough's Gandhi (1982). Exactly a year earlier he had missed out by a hair's breadth on scooping an Academy Award for the autumnal geriatric drama On Golden Pond (1981), starring Henry and Jane Fonda and Katharine Hepburn. But in April 1983 Williams received the gold statuette – shared with Ronnie Taylor – as one of the eight Oscars garnered by that epic film. It was the culmination of a long and often painful collaboration that for Williams had begun three years earlier when, in a short telegram reply to Attenborough's request for him to join the creative team on Gandhi, he wrote: 'Dear Dickie. Yes. Love Billy.' Williams enjoyed telling the a story of informing Katharine Hepburn that 'Richard Attenborough would like me to shoot Gandhi for him,' to which the actress replied: 'I think he's already dead, Billy.' The production, which was shot over six months, was fraught with logistical problems during filming in India – from the endless dust which unless swiftly checked would form like cement on the camera equipment, to problems obtaining official permission to shoot inside various key government buildings. Then, six weeks into filming, Williams slipped a disc and had to fly back to the UK. With his blessing, his duties were handed over to Ronnie Taylor, who had worked as a camera operator on two of Attenborough's earlier films. Taylor filmed for a month before Williams returned – only to suffer another slipped disc a month later, replaced once more by Taylor. By the time the production returned for its final weeks in the UK, Williams had recovered and completed the film, which included shooting in Staines Town Hall, doubling for the court house in Ahmedabad where Gandhi's 'Great Trial' had taken place in 1922, and at the Institute of Directors building in Pall Mall for a key interior sequence begun months earlier on the long steps leading up to the old Viceroy's House (now the presidential palace) in New Delhi. Williams had earned his first Oscar nomination a decade earlier for an altogether more intimate drama, Ken Russell's Women in Love (1970), featuring the much talked-about nude wrestling scene between Alan Bates and Oliver Reed. 'Photographically, it was the best opportunity I've ever had in terms of what the script was offering,' Williams recalled. 'It had every kind of challenge. Apart from the usual day and night interiors and exteriors, there was candlelight, snow scenes, dusk and dawn, and that nude wrestling scene. Bates and Reed agreed to be fully nude for one day only, on a closed set. After that they'd only do waist-upwards scenes.' Billy Williams was born on June 3 1929 in Walthamstow, east London. His father, also Billy, was one of Britain's great pioneering cameramen, who shot the surrender of the German Fleet at Scapa Flow, covered the trailblazing Cape Town-to-Cairo truck expedition, and was the first man to film from the summit of Mt Kilimanjaro. When young Billy left school at 14 he was offered a choice of jobs: working in a city brokerage for one of his mother's in-laws, or as an assistant to his father. There was no contest. After working some years for Billy Snr, he broke away and joined British Transport Films, before moving into commercials when all attempts at graduating to features failed. Working on ads with successful film directors like John Schlesinger, Ken Russell and Ted Kotcheff paid off when Williams managed to make it into long-form drama with Russell on the spy thriller The Billion Dollar Brain (1967), the second sequel to The Ipcress File, then on Women in Love. The Schlesinger connection also paid dividends handsomely in 1971 with Sunday Bloody Sunday, a daring – for its day – and intimate drama of homosexual love, which earned Williams one of his four Bafta nominations. Williams continued to shoot films, including the award-winning Western, The Eagle's Wing (1979) and Dreamchild (1985). He retired after Driftwood (1997). During and after his career as a cinematographer, he taught cinematography at workshops in the US, Germany, Ireland and Hungary, and in the UK at the National Film & Television School in Beaconsfield. One of his regular teaching colleagues was another great cinematographer, the Hungarian-American Vilmos Zsigmond. When Zsigmond declared himself unavailable to shoot On Golden Pond, co-starring Henry Fonda, Jane Fonda and Katharine Hepburn, he paved the way for Williams to notch up one of his most memorable international credits. 'Around that time,' he recalled, 'Vilmos was very much into flashing the film to soften the image, and using various filters to take the contrast away. The director Mark Rydell was very keen I should do something like that, too. I wasn't, though, because I didn't like the idea of the film looking too chocolate-boxy, too soft and sentimental. I thought the actors [Henry Fonda was 76 playing 80, Hepburn 72] should look their age.' Eventually, he managed to persuade Rydell to do away with filters altogether, apart from a 'very fine black net on the extreme close-ups of Hepburn and Jane Fonda'. Henry Fonda and Hepburn went on to win Academy Awards for their performances, in Fonda's case posthumously. Williams's other notable contributions to cinema history included shooting the atmospheric 11-minute opening sequence in Iraq for The Exorcist (1973). Tall and distinguished-looking, he was perhaps unique among cinematographers in appearing front-of-camera in major Hollywood movies – first, as a British vice-consul shot down by Sean Connery's North African Berber tribesmen in John Milius's period adventure The Wind and the Lion (1975), and then as an expert witness in Suspect (1987), Peter Yates's courtroom thriller starring Cher and Liam Neeson. He served as president of the British Society of Cinematographers from 1977 to 1979 and was appointed OBE in 2009. Billy Williams and his wife Anne had four daughters. Billy Williams, born June 3 1929, died May 20 2025 Broaden your horizons with award-winning British journalism. Try The Telegraph free for 1 month with unlimited access to our award-winning website, exclusive app, money-saving offers and more.
Elle
an hour ago
- Elle
Cara Delevingne's Ultimate Festival Survival Guide
Every item on this page was chosen by an ELLE editor. We may earn commission on some of the items you choose to buy. Missing a year of the Glastonbury Festival would feel like missing a birthday for Cara Delevingne. In fact, the British model and actress prioritizes a weekend on Worthy Farm so much that she gets it written into job contracts that she's not available for the June dates. It's non-negotiable. 'It's the festival I've been to the most and it's the one I will go to forever,' she says from her home in Los Angeles. 'Missing a year makes me feel like I'm missing my own birthday—that's what it feels like. If I'm doing a movie or something, I'll always put it into a contract.' It makes sense, then, that the music fan is fronting Burberry's latest campaign, which champions England's long-standing love affair of days spent outdoors listening to music, from Glastonbury to Green Man. 'I grew up going to festivals and I grew up wearing Burberry,' she says. 'I feel really grateful and very honored to be in the campaign. Burberry are just the loveliest people to work for and work with. It's always been that way. So, to come back to it, it's like coming home.' Delevingne isn't alone in her fan-girling, as Burberry's line-up also includes Liam Gallagher, Loyle Carner, Alexa Chung, and Lennon Gallagher, Molly Moorish-Gallagher, and Gene Gallagher. 'It was honestly very surreal,' she says of the campaign. 'It was like we're at a festival, but where you can play your own music. It was kind of ideal. Sometimes when you're on shoots and they're like 'smile,' and you have to force it, but this was actually me just having a fucking blast.' In the accompanying photos, Delevingne wears three looks, made up of a consortium of festival-ready pieces that would easily fit into her own wardrobe. And there was one piece that did travel home with her that day. 'Don't worry, I was honest and said that I'm taking it—I do not wear skirts a lot, but it's a Burberry kilt,' she shares. 'I remember showing up to my sister's birthday in this kilt a couple of days later, and everyone looked at me because they hadn't seen me in a skirt since I was forced to wear one. I would never choose to wear a skirt, but a kilt is different. I am definitely taking it with me to festivals.' Festival memories run deep for Delevingne, but there's something about her first time attending as a 15-year-old that stands out the most. 'I think the first time going to a festival is just always the most insane thing,' she confesses. 'The first time I went to Glastonbury, someone's ticket was fake and we had to break someone in. Six of us were sleeping in a three-man pop-up tent, and it was absolute chaos. It felt like a real pilgrimage to find where we were going and to find our friends. And then finally you get there. 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There's not trying to be normal, which I feel like when you live suppressing something for so long, when you finally live freely [to be] who you are, you want to just be the most yourself you've ever been, and I think that comes out in a way that queer people celebrate each other and celebrate being queer, because it really is all or nothing.' As Pride Month takes hold, Delevingne admits that this could be one of the most crucial in our lifetime so far. 'It seems throughout history that you take two steps forward and take three steps back,' she says. 'And I think that in these moments when we're being pushed back, we really just have to keep pushing forward and keep being represented and representing ourselves. That to me is the most important thing.' 'I have a few essentials that I always bring now [that] I'm a bit older—one is a camel pouch. It's small, it's sleek, you can put it under your jacket, just so you can have water wherever you go. Shove electrolytes in there, whatever works.' 'I also always bring a head torch. I think there's something about getting lost in the dark when I was at Glastonbury in the first year that slightly traumatized me for life, because I bring a head torch wherever I go. Even if I go on holiday, I always bring one.' 'I never think it's a problem wearing the same thing twice at Glastonbury, just as long as you cover all bases, of, like, an umbrella that can be used in the rain or the sun. It doesn't usually rain, but you need to be prepared. I don't like wellies unless it's raining. I do a lot of walking, and I like to move very far around the festival in a day. So, I prefer hiking shoes.'
an hour ago
What's next for influencer Livvy Dunne after college gymnastics career? 'Everything,' she says
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