Article
Character
Comment
5 min read

Work isn’t working, it’s killing us

We mistake the nature of work and our purpose within it.
Two people sit beside each other working on laptops, One looks askance to the other who frowns.
Resume Genius on Unsplash.

What is work for? In our individualist society we perhaps might zoom in on the minutiae of the specific role that we fulfil. Work is for the success of the company I work for, work is for building up my CV, work is to earn money enough to live, work is for seeing people I don’t have to live with. But what about work? The burden that humans have always had to gather enough resources to provide for themselves. We are mistaking the nature of work and our purpose within it, and it is beginning to kill us. 

Each of the recent generations have had different, and askew, attitudes to their work. Baby boomers- those who got a job and a sensible haircut in the 60s, conceived work as a contract. They worked well at almost anything and the reward was home ownership, resources to provide for a family, and saving for leisure. The purpose of their work is the lifestyle it creates. To some extent, their successors in Gen X had the same perception and the same contract- stick at any industry and the reward will be generous enough to make the graft worth it. 

But what happens when that contract is broken? When work no longer leads to those rewards? The Millennial answer is to seek out work that gives purpose, to accept the reward will not be fulfilling and so to find the purpose in the end of the work itself. Even if that means a lifetime of renting and scrimping, because the reward is not to be found in the payment. 

A slow generational drift from the true purpose and boundaries of work has left us confused about its point and struggling to engage. 

The Gen Z answer to this broken contract is the most fascinating of all; a reluctance to work at all. There is ‘quiet quitting’ whereby you do as little as possible whilst remaining employed, ‘bare minimum Mondays,’ and, of course, ‘lazy girl jobs.’ The purported aim of this generation is to find jobs where they can work from home, do almost nothing, and still receive a generous salary. Others are living the ‘soft life.’ They move in with mum and dad (usually boomers who have run the rat race and received the benefits of the contract) and do something creative part-time, earning little but doing little. It's a bit of the old baby boomer attitude seeking pleasure outside work but without the corresponding work ethic or career mindset. 

On top of this is the mental health crisis, which prevents many of Gen Z from working, with one in three non-graduates out of work with mental health conditions. Bosses receive calls from parents of those in their 20s explaining that their children are too unwell to work. 

I suggest that these things are linked, and a slow generational drift from the true purpose and boundaries of work has left us confused about its point and struggling to engage. We must look outside ourselves to understand what work was created for. In Genesis, the Christian origin story, God conceives work as a place of dignity and purpose. What Adam and Eve did in the garden mattered- they were the leaders of creation, and God even gave them the responsibility of naming other creatures. Humans were made to have responsibility, made to express this in their work. Even in the drudgery of repeated physical, administrative, or household tasks, we have the freedom to find purpose. We can take pleasure and pride in making things, fixing things, restoring things, even if just to the state they were in when we cleaned last week.  

Find the purpose in the making, fixing, restoring, the very task itself. 

The ‘quiet quitting’ of Gen Z or the dry contract of the boomers will not cut it. Even in jobs we don’t like, or tasks we find overwhelming, the same reframing is needed, perhaps even more so. Work itself brings purpose, and that is worth giving our whole selves to, otherwise listlessness and sadness will get us. We were made to find purpose and joy in the task of whatever is in front of us, no matter how simple. 

Millennials have swung the pendulum too far in the other direction. Yes, this generation have found the importance of purpose in their work. But only in work that has an end outside of itself. Work has been created with an internal, permanent purpose. Suggesting that meaning only comes from employment with obvious altruistic ends means that any other kind of work, domestic or employed, is devoid of this meaning. The same listlessness ensues in any role not found to have such an end. 

St Paul elevates work explicitly even beyond this created place of purpose. In his letter to a church in Colossae, he writes, ‘Whatever you do, work at it with all your heart, as working for the Lord, not for human masters.’ In other words, work is an act of worship, acting as if the task we are completing is for God, and putting the requisite effort in.  

Of course, this is a massive challenge. How many of us put as much work in to satisfy our bosses as we would if they were the ultimate director of our eternal destiny? But it does redeem those moments where we wonder what the point of what we’re doing is, who will see it, and if it is really worth doing properly at all. God sees. God knows. And that makes it worth doing properly. 

Paul also makes it clear here that work is not just what we get paid for. Work is everything we do that is not rest. Whatever we do - employed, at home, inrelation to our families. And this allows those who cannot work, in an employment sense, to take part in God’s purpose for humanity by working in a way in which they can. Whether it’s caring for a relative, nurturing a tiny veg patch, creating a piece of art, or hoovering the carpet. Find the purpose in the making, fixing, restoring, the very task itself. Do it as if God were watching. And feel yourself become more human. 

Article
Character
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Justice
Music
6 min read

A fan’s eye view of the fall of Sean Combs

We believed he was a good guy because we wanted to believe someone was

Giles Gough is a writer and creative who hosts the God in Film podcast.

Sean Combs sits on a golden couch.
Sean Combs, 2019.
Justiceonthebeat, CC BY-SA 4.0, via Wikimedia Commons.

As the weeks-long trial of Sean ‘Diddy’ Combs draws to an end, the world at large has seen an insight into his life that we wish we hadn’t. Combs has just been convicted of transportation to engage in prostitution. Combs had pleaded not guilty and vehemently denied all allegations against him. 

Podcasters and influencers have kept us up to date with every twist and turn of the prosecution’s case, along with a jury member being dismissed and a bizarre visit from Kanye West. Trials of powerful, successful men (and it invariably is men) have become a semi-regular occurrence in the last few years. The #MeToo movement brought justice for victims of abusers like R. Kelly and Harvey Weinstein. But something about the Diddy trial feels different. For hip hop fans of a certain age, the accusations against Diddy were both shocking and hard to accept. Let’s take a deep dive into why that might be.  

For fans who are forty or older, one night looms large in the history of hip hop; the 1995 Source Awards, which distilled the entirety of the East/West coast beef into one evening. West coast rap music was in the ascendence, and New York, the birthplace of rap music and hip hop culture, was not coping with it very well.  

The atmosphere was further exacerbated when a red-shirted man, as big as a house and twice as broad, took to the stage. Marion ‘Suge’ Knight was the head of Death Row Records, a West coast label that had been hoovering up talent like Snoop Dogg, 2pac and Dr. Dre. Suge was an intimidating presence to say the least. His red shirt was a sign of his affiliation with the ‘Bloods’, the notorious L.A. street gang. It was an image of notoriety that Suge leaned into and it was well-earned. In his award acceptance speech, Suge said the most infamous lines he was ever to utter:  

“Any artist out there wanna be a’ artist, and wanna stay a star, and don't wanna – and won't have to worry about the executive producer try’na be all in the videos, all on the records, dancin’ – come to Death Row!” 

This was widely perceived as an attack against Sean Combs, ‘Puffy’ or ‘Puff Daddy’ as he was known back then. As the head of Bad Boy Records, Puffy was not content to simply be behind the scenes; he constantly interposed himself into the songs and videos of the musicians on his label. Whilst these interventions might seem annoying to some, the success that Bad Boy’s artists had achieved couldn’t be argued with, and as a New York native, the audience at the Source Awards saw Suge’s words as an attack on one of their own. So, when Puffy took to the stage later, a response to Suge’s barbs was hotly anticipated. 

But on that occasion, Puffy took a different approach. He acknowledged that he was the executive producer in question, and added: “contrary to what other people may feel, I would like to say that I'm very proud of Dr. Dre, of Death Row and Suge Knight for their accomplishments... and all this East and West [conflict], that needs to stop. So give it up for everybody from the East and the West that won tonight. One love.” 

In this interaction, we saw the aggressive antagonist Suge be met with nothing but love and respect from Puffy. It seemed like a refreshing antidote to the perception of rap music being only violent and misogynistic. Without wishing to overstate the point, Puffy showed that hip hop could be measured, mature and positive. This was an image that, until recently, had held for decades. Yes, there was a fair amount of hedonism thrown in to his public image, but that is priced-in to the cost of being a fan of famous rappers –the excess comes with the territory. For decades we have been dealing with this false dichotomy that Suge Knight was the ‘villain’, and Puffy was the ‘hero.’  

This image of Puffy as, at the very least, a decent man, was further underscored following the deaths of Tupac ‘2pac’ Shakur and The Notorious B.I.G. aka Christopher Wallace. The murders of those two impossibly talented, painfully young men, less than a year apart, represent the point from which all other historical events are judged as ‘before’ or ‘after’. One of the things that came after was Puffy’s release of I’ll Be Missing You, a song in honour of B.I.G, his most popular artist and friend. Sampling The Police’s Every Breath You Take and featuring Biggie’s widow, Faith Evans, on the chorus, Puffy evoked explicitly biblical language with lines like:   

“It's kind of hard with you not around, / know you in heaven, smiling down / watching us while we pray for you / every day we pray for you.” 

These combined with the images in the video, hands in prayer, candles, children dressed in white all served as a fitting tribute. It could have been mawkish, but it met the moment and consolidated Puffy’s good guy image in our heads. We believed he was a good guy because we wanted to believe someone was. Other hits followed, with videos filled with shiny suits and relentless dancing; it was fun, and served as a counterbalance to the grit and grime of gangsta rap. For over two decades, Puffy, now going by ‘Diddy’, had an image that fans still associated with lightness and positivity. Critics like Murs from HipHop DX led conversations painting Diddy as the Superman to Dr. Dre’s Batman. Rumours about Diddy would occasionally surface, but without the mainstream media devoting much time to them, they were easily dismissed. That was until Cassie Ventura, Diddy’s ex-girlfriend, filed a civil lawsuit. 

If there are any lessons to be learned by his fans, they’re lessons that have sadly already been learned by fans of countless other powerful and successful men.

In late 2023, Cassie’s lawsuit accused Diddy of rape and sex trafficking. These allegations were explosive, but just one day later, both parties reached a settlement. The fire of Ventura’s accusations was dampened down by the release of the joint statement a day later. It seemed as if the whole thing was over and done with before many hip hop fans could even hear the news, let alone process it. Fans of Diddy clung to shreds of denial, whilst noticing that no-one else from the hip hop community seemed to be springing to his defence. Almost as if the people who knew him in person had a very different image from that of the persona he cultivated. 

But Cassie’s lawsuit was the first crack in the dam. Law enforcement agencies began investigating, Diddy’s property was raided and by the time CNN got their hands on the surveillance video of Diddy attacking Cassie, the dam had well and truly burst. The video from a Los Angeles hotel dated March 2016, shows Miss Ventura attempting to leave one of Diddy’s freak offs 'parties'. Only to have Diddy chase her down the corridor, grab her and violently assault her. Each kick, drag and object thrown at her slammed another nail into Diddy’s reputation. The ensuing apology he posted on his Instagram was completely invalidated by his earlier statement that his accusers were making false claims in search of a “quick pay day.”  

For those that loved Combs’ music and what it meant to us, it felt like something repellent had crawled into it and died, forever tainting those songs by association. If there are any lessons to be learned by his fans, they’re lessons that have sadly already been learned by fans of countless other powerful and successful men. Firstly, the more powerful a person is, the more they can hone and control their public image, and that they must be taken with a grain of salt. Secondly, always be ready to question a dichotomy. Is this really a hero versus a villain? Or in this case, an example of two demonstrably evil men, one with substantially better public relations.  

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