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A plant-based powerhouse is ready to step into the Bravosphere and speak truth amid a wave of headlines.
“I’m not just an entrepreneur, I’m a human being that has highs, that has lows, and people can see that and relate. She’s tangible,” said #RHOA’s resident restaurateur.
Pinky Cole is joining season 17 of The Real Housewives of Atlanta at a pivotal moment when she’s balancing life as a wife, mom, and CEO while opening up about both her wins and her setbacks.
“If you’re going to do this show, you’ve got to give it everything,” the Slutty Vegan founder told BOSSIP. You’ve got to be open and be an open book.”
That openness includes letting viewers in on one of the most difficult chapters of her journey.
After a company restructure that temporarily cost her ownership of Slutty Vegan, Pinky ultimately bought the brand back, which later came alongside a Chapter 11 bankruptcy filing and mounting financial pressures tied to loans and tax obligations.
She told BOSSIP that at one point, everything was falling apart behind the scenes.
“Here it is, I’m raising $250,000 for people, and my company is falling apart,” she said. “I died on the inside before anybody else went to my funeral.”
Even as recent headlines swirled about creditors seizing her Georgia home and changing the locks, Pinky says she had already done the emotional work.
“Before the world knew what was going on, I suffered in silence,” she said. “So by the time all of the news started to hit the media, I had already begun my healing process.”
And now she is flipping the narrative with a series of skits tied to the negative press she’s received. Her most recent spoofed her getting the keys back to her rental property with a reenactment of the infamous Ms. Parker scene from Friday.
“You going to troll me? I’m going to troll you back,” she told BOSSIP with a laugh.
Still, Pinky is clear-eyed about the reality of public scrutiny.
“Controversy is what sells,” she said. “But at the end of the day, I’ve got a thick skin because I had to suffer alone by myself.”
Season 17 will show that journey in full, including the breakdown of her business and what it took to rebuild it.
“I really go deep into the breakdown in my business,” she said. “Not as a victim, but I am sharing my story so that you can feel empowered and inspired.”
She continued,
“I’m not just an entrepreneur,” she added. “I’m a human being that has highs, that has lows, and people can see that and relate. She’s tangible.”
Beyond the business, #RHOA watchers will also get a closer look at her personal life, including her marriage to Derrick “Big Dave” Hayes, the CEO of Big Dave’s Cheesesteaks, whom she wed in 2023.
“He didn’t want to do it in the beginning, if we’re being honest,” she said.
According to Pinky, they went back and forth about putting their lives on display, but she ultimately saw the bigger picture.
“We are Atlanta royalty. Why wouldn’t we utilize this opportunity?” she said.
And when it comes to the fellow Housewives, Pinky says the dynamic is exactly what you would expect.
“We got a couple screws loose,” she joked to BOSSIP with a laugh. “Sometimes I’m at the table like, ‘What did I sign up for?’”
Still, beneath the tension, she sees something deeper.
“It feels like a sisterhood, and sisterhood is not always going to be easy.”
She has also found her footing alongside fellow newcomer and her Delta Sigma Theta Sorority, Inc., sister K. Michelle, who she also considers a true sister within the cast.
“That’s my sister,” Pinky said. “I don’t think I would have been able to do this without her.”
Their bond extends beyond filming and into real life, offering both support and strategy as they navigate the group together.
At the same time, Pinky is clear about the energy she brings into the space.
“I can’t be tested,” she said. “I know who I am and I know whose I am.”
And at the end of the day, she’s showing up exactly as she is.
“I’m different,” she said. “And I think that’s what this show needed.”

Plant-Based Powerhouse Pinky Cole Talks #RHOA Season 17, Sisterhood & Slutty Vegan [Exclusive] was originally published on bossip.com

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Chilli is allegedly taking the rumors of her allegiance to MAGA to heart as a source close to her claims it’s affecting the legendary artist.
Rozonda “Chilli” Thomas is worried that four letters—MAGA—may have tainted her legacy.
Over the past week, Chilli has had to answer for her alleged allegiance to Donald Trump and his conservative cronies; however, the “No Scrubs” singer’s vehement denial landed on deaf ears. Former fans of TLC have all but demanded that they be removed from the tour they are planning to co-headline with Salt-N-Pepa and En Vogue, while others have taken to pointing out proof of Chilli’s MAGA values by going through her following list and liked posts.
“She’s taking this all very seriously, and this shouldn’t supercede a legacy that includes the empowerment of black women,” a source close to Chilli told PageSix. “She’s not that person. She really isn’t MAGA. She voted for President Obama twice. There’s no MAGA community around her. She looks at MAGA as [the Jan. 6th insurrectionists].”
People love to dogpile so it remains to be seen how Chilli’s image rehabilitation will work. If patterns are any indication, she’ll be held to a much higher standard than her male counterparts who’ve publicly supported Trump—Kanye, Nelly, Snoop Dogg, to name a fe—-and will likely always be associated with what people believe to be true rather than the truth itself.
So far, there’s been no announcement about TLC being removed from the It’s Iconic Tour and the other ladies seem to have rallied behind Chilli despite the controversy. Salt of Salt-N-Pepa showed her support in a comment under Chilli’s post about the whole ordeal.
“Chilli please keep your pretty head all the way up sister, this world is very quick to believe anything and everything posted on social media,” Salt said in a comment. “Quick to crucify and slow to forgive. Even when you straighten it out haters will always hate. We know you and your heart.”
Here’s to hoping it’ll all be a little less unpretty in time for the tour.

Chill On Me: TLC’s Chilli Is Worried That MAGA Rumors Will Taint Her Legacy was originally published on bossip.com

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CBS announces “Comics Unleashed with Byron Allen,” plus one more Allen Media-produced show, is taking over their late-night schedule.
“Comics Unleashed with Byron Allen” is getting a new airtime over at CBS. 
After Stephen Colbert’s “Late Show” ends on May 21, the following day, on May 22, Allen’s “Comics Unleashed” will move into the 11:35 p.m. timeslot, and the comedy game show “Funny You Should Ask,” also produced by Allen, will be airing right after at 12:35 a.m, according to The Hollywood Reporter. 
“Comics Unleashed,” a hybrid between a late-night show and a comedy showcase hosted by Allen himself, had been airing in the later spot this season and also aired there during the 2023 writers’ and actors’ strikes. Meanwhile, during a year that has seen many shake-ups in both late-night and daytime television, the “Late Show” was canceled; the network cited it as a financial decision.  
According to the Hollywood Reporter, Allen is buying time from the network to air the two shows, with Allen Media Group, his company, selling the available ad spots. Which could potentially help CBS see a profit in late-night. 
Allen, founder, chairman and CEO of Allen Media Group, called the move a major opportunity, saying the world can never have enough laughter. Allen’s shows have featured talented comedians early in their careers, including Kevin Hart, Roy Wood Jr, and more.
“I created and launched Comics Unleashed 20 years ago so my fellow comedians could have a platform to do what we all love — make people laugh,” Allen said in a statement. “I truly appreciate CBS’ confidence in me by picking up our two-hour comedy block of Comics Unleashed and Funny You Should Ask, because the world can never have enough laughter.” 
Allen also owns entities such as The Weather Channel, Local Now and theGrio.
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Midwives and maternal health advocates sue Georgia over its restrictive midwifery laws claiming they deepen maternal health crisis.
Jamarah Amani became a midwife because of what happened to her in a Georgia hospital. Staff dismissed her birth preferences. She had no autonomy over her own body during one of the most vulnerable moments of her life. It was, she says, “distressing,” and it is an experience that Black women across this country know far too well. 
“I had no autonomy and was treated more like a prisoner than a patient. I ended up laboring in the hospital bathroom so I could be in the position I knew was right for me,” she shared during a press conference. “Unfortunately, this is not an uncommon experience, especially for Black women whose desires and concerns are routinely dismissed in our broken medical system.”
That experience led her to her “life’s work” in midwifery, which she studied, trained for, and became licensed for in Florida, because Georgia law made it nearly impossible to do otherwise. And for more than 15 years, she has been unable to practice in the state where her calling was born.  
Last week, standing in front of the Georgia state Capitol on the last day of the legislative session, Amani announced she was done waiting. She, along with fellow midwives Tamara Taitt and Sarah Stokely, filed a lawsuit against the state of Georgia, challenging its strict restrictions on midwifery, which have pushed birth workers out of the state and left pregnant women in Georgia with limited care options. 
“It should not be illegal to give birth at home with a midwife. Every pregnant person should be able to choose where they give birth and with whom,” Amani, the co-founder of the National Black Midwives Alliance, added. 
The lawsuit was filed by the Center for Reproductive Rights, Covington & Burling LLP, and Mitchell Shapiro Greenamyre & Funt LLP and was announced the same day Georgia lawmakers failed to pass HB520, a bill that would have largely decriminalized midwifery in the state. A failure that advocates say mirrors a broader, national unwillingness to reckon with the worsening maternal health crisis. Georgia’s midwifery laws are among the most restrictive in the country. State law threatens jail time and financial penalties for any midwife who practices without a nursing license, regardless of their training or experience. And even certified nurse midwives, who are trained to deliver babies and prescribe medications, cannot practice independently without costly physician oversight arrangements. 
In February, Georgia’s oldest freestanding birth center closed its doors, leaving just three in the entire state. As of last August, only 36% of Georgia’s rural hospitals were providing labor and delivery services. Families in large portions of the state now travel three to four hours to reach the Atlanta Birth Center — currently the closest option available to them.
Taitt, who serves as the Atlanta Birth Center’s executive director, is legally prohibited from practicing midwifery in the very center she runs.
“Georgia has a maternity care crisis, and the state continues to squander a workforce that could help change that,” she shared. “The solution is more midwives, and lawmakers need to let us practice. As the US continues to fall behind in maternal mortality and morbidity, the rest of the world employs the solution: more midwives. As a country and as a state, we are visibly failing pregnant people – especially Black women, rural families, and communities of color.”
“That is a failure of access, and it places people at risk,” she concluded. 
These failures don’t land equally. Black women in the U.S. die in childbirth at dramatically higher rates than white women, a disparity driven by systemic racism in healthcare, geographic isolation from providers, and a medical establishment that routinely discounts the pain and preferences of Black patients. Research consistently shows that increased access to midwives leads to better outcomes, particularly for patients of color and lower-income families with fewer C-sections, medically induced interventions, and more personalized, dignified care.
“We cannot solve the maternal health crisis without midwives—they are a key part of the solution in Georgia and nationwide. Yet under Georgia law, midwives are treated like criminals,” said Nancy Northup, president of the Center for Reproductive Rights. “These extreme restrictions are exacerbating the maternity care crisis and infringing on the rights of pregnant women who want to give birth with midwives. We are suing the state because pregnant people should have the autonomy to decide who they give birth with, and taking away options while there is a glaring lack of providers is senseless. We must break down these legal barriers to improve maternal health care in this country.”
For Amani, the fight for justice is both personal and rooted in ancestral history. She credits the work of activists like Aurelia Browder, whose federal lawsuit challenging bus segregation in Montgomery laid the legal groundwork for the successful conclusion of the bus boycott, and Gladys Milton, a midwife who fought for years against the state of Florida for the right to practice midwifery, paving the way for future generations. 
“We are not asking. We are demanding our rights,” she shared. “For the elders and the grand midwives who have carried their knowledge and traditions across generations, despite the state’s determination to stamp them out…for the courageous Black midwives whose fights for justice have led me here. Today, we continue that legacy.”
“This state and our country are in crisis, and for years, Georgia has turned its back on the obvious solution: midwives. Mamas want us. Families need us. And we’re here, ready to care for them. So it’s time for Georgia officials to get on board.” 
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April 7, 2026
by Marlon West (FB: marlon.west1 Threads: @stlmarlonwest IG: stlmarlonwest Bluesky: @marlonweststl.bsky.social Spotify: marlonwest)
Back in February, Gorillaz shared a new eight-minute short film titled The Mountain, The Moon Cave & The Sad God. The beautiful hand-drawn animated film follows the adventures of the fictional band members Noodle, Murdoc, 2-D and Russel as they journey across India, in connection with the release of their new album, The Mountain.
For over 25 years, Gorillaz has functioned as a massive collaborative project helmed by Blur’s Damon Albarn and Tank Girl co-creator Jamie Hewlett. Their distinct sound, which fluidly blends hip-hop, electronic, and alternative rock, is defined by a dynamic roster of contributors, including both legendary figures and emerging artists.

Their collaborators include the late actor, Dennis Hopper, Carly Simon, Mick Jones & Paul Simonon of The Clash, Lou Reed, Shaun Ryder (Happy Mondays), Mark E. Smith (The Fall), The Cure’s frontman, Robert Smith, Beck, Vince Staples, Little Dragon, Kali Uchis, Bad Bunny and others.
This collection though focuses on their frequent partnerships with celebrated Black artists across hip-hop, soul, Afrobeat, and R&B. Notable past collaborators include the late Bobby Womack, the living treasure Mavis Staples, hip-hop royalty De La Soul, Snoop Dogg, and Mos Def/Yasiin Bey.
Other partners include Little Simz, who has contributed to the track “Garage Palace” and participated in the band’s tours. Del the Funky Homosapien provided the rap vocals on “Clint Eastwood” and “Rock the House,” and Bootie Brown is notable for his contributions to “Dirty Harry” and “Stylo”, along with many other great artists.
The Mountain continues that tradition featuring artists like Black Thought and Jalen Ngonda, as well as archived material from legends such as Tony Allen and Bobby Womack.
Hope you all enjoy this funky collection by the free-wheeling collective, Gorillaz.
As always, stay safe, sane, and kind!
Published in International, Music, Playlists, Podcasts/Audio, Pop/R&B/Dance, Reggae/World and U.S.

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Tamar Braxton reflects on her close-knit musical family, including sisters Toni and Trina, and the personal journey that shaped her own career.
R&B powerhouse Tamar Braxton recently stopped by The D.L. Hughley Show, sitting down with hosts D.L. Hughley and Jasmine Sanders for a conversation filled with laughter, candid reflections, and plenty of playful shade. The beloved reality TV queen and Grammy-nominated singer held nothing back as she discussed her thriving career, her deep family roots, and the musical legacy she shares with her sisters.
The interview kicked off with a surprising revelation: D.L. Hughley and Tamar Braxton are actually neighbors. Keeping the exact location under wraps to protect their privacy, the two shared a good laugh about their proximity. The playful dynamic set a comfortable, engaging tone for the interview. Hughley wasted no time diving into his signature comedic style, playfully roasting the singer while acknowledging her undeniable status as a superstar in African-American music culture.

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When the conversation shifted to the broader Braxton family, Hughley playfully questioned if anyone else in the family possessed the same level of talent as Tamar and her iconic sister, Toni Braxton. Without missing a beat, Tamar fiercely defended her sisters, shutting down the jokes by affirming that everyone in her family is immensely talented. When pressed to name who could carry the superstar mantle next, Tamar proudly pointed to Trina Braxton. She affectionately dubbed Trina a “closet coin holder,” noting that Trina had been quietly building a successful foundation long before their hit reality show Braxton Family Values ever hit the airwaves.
Hughley highlighted the incredible trajectory of Tamar’s solo career, comparing her current massive success to the massive wave Toni experienced earlier in her journey. He jokingly asked if Tamar ever takes a “victory lap” or drops the mic now that she is on top. Tamar quickly dismissed the idea, remaining humble about her achievements. She made it clear that she respects the path her sister paved. Hughley even suggested that Toni should take a break from her packed schedule to finally record a powerhouse duet with Tamar, a collaboration R&B fans
Tamar Braxton continues to empower audiences with her authenticity, unmatched vocal talent, and sharp wit. As she gracefully navigated Hughley’s jokes, laughing off his comments by declaring he had “more shade than a palm tree” she proved exactly why she remains a central figure in Black entertainment. Her commitment to uplifting her family while blazing her own trail serves as a powerful reminder of the strength and resilience found within our culture. Fans can always count on Tamar to deliver pure entertainment, whether she is holding a microphone on stage or sitting down for a simple neighborhood chat.
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Fans of Chlöe Bailey are not happy with her decision to support Ye, the controversial rapper formerly known as Kanye West, particularly in light of his past comments about the children of her Parkwood boss, Beyoncé.
The singer, who is one half of sister duo Chloe X Halle, was in attendance for Ye’s sold-out performance at SoFi Stadium in Los Angeles. While at the concert, she posted multiple videos gushing over the experience, writing captions including “legendary” and “so inspired.”
Ye’s current tour, which started on Wednesday, April 1, mark his first performances in the United States since 2021. In that time, the Chicago native has repeatedly made antisemitic statements, described himself as a Nazi, and sold T-shirts emblazoned with swastikas.
Ye’s since apologized for those statements, but many critics don’t buy his sincerity—especially since that apology came shortly before announcing his tour. Ye took out a full-page advertisement in The Wall Street Journal to apologize for years of antisemitic remarks.
In response to Bailey’s attendance, specifically, many commenters criticized her for not only attending, but for posting so much about it.
On user on X wrote: “chloe baby.. put the phone down omfg.”
Others mentioned the fact that Bailey has also been a vocal supporter of an even more controversial artist: Chris Brown.
“Wtf is wrong with her? I tried to give her a 2nd chance after that Chris Brown collab but forget it,” one fan said.
Despite many people condemning anyone who chose to support Ye in his attempt for a comeback, some have pointed out that women attending the concert got more backlash than the men who did. Dave Chappelle, The Game, Paul Pierce, Kevin Gates, and more celebs were seen at the same show—but Chlöe seems to be getting the most smoke.
One reason for that, beside the always-present misogyny, is Bailey’s connection to Beyoncé. She is signed to the singer’s label and management company, Parkwood Entertainment, and has long been praised by B.
While Ye used to have a strong connection to Beyoncé and her husband, Jay-Z, that friendship is likely 6 feet under. After years of speculated tension between the former friends and collaborators, Ye tweeted horrific allegations about the couple’s children, which seems pretty impossible to come back from.
As for Chlöe, she chose not to respond to the backlash, instead, taking to social media on Easter Sunday to sing.
“happy Easter! thank you Jesus for your everlasting love. have a blessed day everyone!,” she wrote in her caption. 
Chlöe Bailey Faces Copious Criticsm For Attending Kanye’s Comeback Concert, Brushes Off The Backlash With Easter Praise was originally published on bossip.com

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Trey the triceratops
Courtesy of Joopiter
A 66-million-year-old skeleton of a young triceratops sold yesterday for $5.5m on Joopiter, the auction platform of the musician Pharrell Williams. This is a record price for a dinosaur sold via an online only sale. The buyer’s identity is undisclosed.
“Trey”, which dates to the Late Cretaceous period, was excavated from the Lance Formation near Lusk, Wyoming, in 1993—the same year Jurassic Park was released—during the so-called “Bone Rush” of the 1990s. It was found by Lee Campbell in partnership with Allen Graffham of Geological Enterprises.
The largely complete skeleton was then shipped to Germany for restoration and mounting before returning to the US in 1995 to take centre stage at the opening of the Wyoming Dinosaur Center. It remained on public display for almost three decades.
Estimated between $4.5m to $5.5m, Trey was sold with documentation including the original fossil lease agreement with the landowner, photographs of Campbell and Graffham during the dig, and other original photographs of excavation at the Lusk lease from Graffham’s estate.
The skeleton, which measures 5.3 metres long and 2.2 metres high, is from a sub-adult or young adult triceratops which was still growing, hence “the epoccipital bones that ornament the top of the frill are not present or fused yet”, according to the palaeontologist Frédéric Lacombat.
The skeleton consists of more than 70% original fossil material—smaller bones, such as ribs, which are more vulnerable to being lost, eroded or scavenged, are absent. Trey has been examined by the renowned palaeontologist Andre LuJan, the president of the Association of Applied Paleontological Science, who has previously called for a higher bar for documentation of excavated dinosaurs coming to market, particularly in light of the high prices fetched by largely complete skeletons this decade.
The skeleton is that of a sub- or young adult, judging by the frill which is not yet fully developed
Courtesy of Joopiter
Speaking to the New York Times last year, LuJan said the record $44.6m sale of “Apex”, a stegosaurus offered at Sotheby’s New York in 2024, had led to a steep rise in leases for prime dinosaur-hunting land, much to the detriment of academic research. “Landowners see the market rise and think, ‘Oh, we’re not charging enough for our leases,’” LuJan told the NYT. “But they don’t understand the volatility of the market.”
LuJan was speaking in advance of the sale of a Ceratosaurus skeleton at Sotheby’s last July, which sold for $30.5m, many times the $4m to $6m estimate. Yet more evidence that, as LuJan says, dinosaurs are becoming big business: in 2020, Christie’s sold Stan the T Rex for $31.8m in 2020, also far above the $6m to $8m estimate. Stan is now in the Natural History Museum Abu Dhabi. Apex, estimated at $4m to $6m, was bought by the American billionaire Ken Griffin and is now on loan to the American Museum of Nattural History in New York.
If those prices are out of your range, perhaps look to Joopiter’s spin-off drop of Trey merchandise in collaboration with the cultural platform Co-Museum. A fibreglass replica of Trey’s skull could be yours for $695. Or, a Trey tote bag for $100—because what the world needs now is another tote bag.
Named Chomper for its well-preserved set of teeth, the skeleton was unearthed in Montana in 2019
David Aaron gallery’s £1m sale of a 154 million-year-old Camptosaurus skeleton highlights collectors’ growing interest in fossils
This is the most valuable fossil to ever sell at auction, as the market for dinosaur bones continues to climb

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The Rae Sremmurd artist spoke about writing the hook for Beyoncé’s single “Formation,” and discussed how writing songs for women has challenged him.
Did you know that Swae Lee is behind one of Beyoncé’s most iconic hits?
Talking to “The Breakfast Club,” on Friday (April 3) the Rae Sremmurd artist revealed how he wrote the hook for “Formation,” off of Bey’s 2016 album, “Lemonade.”
“That’s just [Mike Will Made It]. Mike Will don’t ever sleep, he be working all the time,” Swae said about the producer. “That was an opportunity he just brought to me early, randomly.”
He admitted the gig was intimidating, and recalled thinking to himself, “What I got for Beyoncé?”
As we now know, Beyoncé believed he had something special. “Formation” was the lead single off of “Lemonade,” and its video, depicting the Houston singer on top of a sinking cop car, plus its legendary choreography, set the tone for one of her most influential eras.
In 2022, the “Sativa” artist dished about getting to preview the song to Beyoncé on Entertainment Tonight.
“She was feelin’ that,” he said about Beyoncé’s reaction. “I remember the first time I met her. It was crazy, like, her energy is unmatched. She got in there and did her thing. It ended up being one of the biggest songs in the world.” 
A post shared by The Breakfast Club (@breakfastclubam)
The Mississippi rapper joins a long line of male rappers who stepped into the booth to deliver some of the most memorable lines sung or rapped by a female artist, verses and hooks that make the club shake as soon as they come on. Lil Yachty famously wrote the City Girls’ anthem “Act Up,” the opening lines of which activate any friend group on a girl’s night out. And Beyoncé fans love to remind people that Drake is a writer on “Heated,” or that Jay-Z’s pen gave us “Alien Superstar” off of the “Renaissance” album.
Breakfast Club host Charlamagne, dubious, asked the 32-year-old “Black Beatles” rapper if he had to get into a “sassy mindset” to write a song for a female artist.
“I had an experience like that. They had me come to the studio and write for a female artist, and I’m just like totally lost. I’m like uhh… ‘My a– fat.’ I’m like how do I write for a female artist?” Swae said, adding it felt like taking Algebra Three.
“The artist ended up telling me, ‘You need to get your shit together,” he added, not revealing the artist’s identity. But, luckily for Swae, he said he got his big break when “No Flex Zone” dropped a week later, launching him and his brother Slim Jxmmi into stardom.
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Alexander Calder with Snow Flurry I (1948) in a 1952 photograph by Gordon Parks © Gordon Parks Foundation; © Calder Foundation, New York/ADAGP, Paris; courtesy Calder Foundation/Art Resource
• Click here for more reading lists on the world’s greatest artists
The US artist Alexander Calder (1898-1976) did not invent hanging sculptures but with his mobiles he took them to a new level of mastery and innovation. This month, an exhibition of almost 300 works at the Fondation Louis Vuitton in Paris will take visitors through the development of these carefully calibrated sculptures, as well as looking at the artist’s wider practice. Here, the show’s guest curators Dieter Buchhart and Anna Karina Hofbauer have selected a careful balance of books to help us better understand Calder’s life and work.
“Jed Perl’s paired volumes are the definitive resource for anyone looking for a comprehensive account of one of the 20th century’s most consequential artists. Based on unprecedented archival research and numerous interviews, this work situates Calder within the evolution of Modernism on the old and new continents, bringing to life all the friendships and intellectual currents that shaped his personality and oeuvre.”
“The only book that could possibly provide a more intimate sense of Calder as a man is his autobiography. Thoroughly illustrated with family photos, postcards, exhibition posters and artworks, the book vividly recounts Calder’s story through the eyes of a seasoned artist looking back while remaining fully engaged in creation.”
“Calder/Miró, produced for the exhibition at Fondation Beyeler in 2004, explores the creative dialogue between Calder and his avant-garde peer Joan Miró. Documenting a lifelong friendship, this lavishly illustrated catalogue highlights shared artistic strategies, concentrating on their holistic understanding of space in art.”
“This exhibition catalogue is notable for its abundance of scholarly essays concentrating on the movement and theatricality inherent to Calder’s sculptural practice. Elegantly illustrated with his wire works, film stills, sketches and more, the book offers remarkable insights into Calder’s work for the stage, and how he introduced choreography and sound into his art at large.”
“This lovely little story highlight’s Calder’s youthful curiosity and ingenuity; how a boy who loved tinkering with wire and odd bits of material moved to Paris and created a miniature, moveable circus. With imaginative illustrations by Boris Kulikov, Tanya Lee Stone’s story makes for an inspiring and accessible introduction to one of the many dimensions of Calder’s work.”
• Calder: Dreaming in Equilibrium, Fondation Louis Vuitton, Paris, 15 April-16 August
The $70m centre will feature indoor and outdoor spaces with rotating exhibitions of Calder’s work
An early example of Calder’s most famous creations, the work carries a record estimate of $15m to $20m
The $70m Calder Gardens is a unique space serving as both a celebration of the artist’s work and a meticulously landscaped oasis on the city’s grandest boulevard

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The video surfaced as the crew on the film’s set went on strike, claiming unsafe working conditions.
Jonathan Majors’ Hollywood comeback fell out of a window with him, literally.
Deadline obtained exclusive video of Jonathan Majors accidentally falling out of a window while filming his untitled Daily Wire and Bonfire Legend’s produced action flick.
The video shared by the website came out as the crew on the film’s set went on strike, claiming unsafe working conditions.
In the clip that is circulating on social media, Majors and his co-star, JC Kilcoyne, fall out of a window while filming a scene. Sources revealed to the website that Kilcoyne required stitches “all over his hands” after the fall that they claim was about six feet to the ground.
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When asked for comment by The Hollywood Reporter, Dallas Sonnier of Bonfire Legend said “The actors’ fall was shorter than the failed movie careers of the now-union reps.”
Producers also said they “don’t negotiate with communists” regarding the crew going on strike.
Bruh.
Kyle Rankin serves as writer-director on the film, with Ben Shapiro producing for The Daily Wire and Sonnier for Bonfire Legend.
Social media has been chiming in, wondering what communism has to do with the unprofessional shenanigans on the film set.
“I’m confused on who the communists supposed to be lmfao,” one person wrote in response to the producer’s comments.
Another social media user wrote, “This is what happens when you legitimize right wing fascists in Hollywood. I only feel sorry for the low level crew members subjected to these working conditions.”
This movie already sounds like the purest of struggles.
You can see more reactions below.
Jonathan Majors Falls Through A Window On Set of Daily Wire Untitled Action Film was originally published on cassiuslife.com

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Staying local, hosting family or friends, or planning a quick escape for the week or weekend? Whatever your weekend looks like, I hand-picked the art events to add to your calendar.
April 7 – The Sound of Gordon Parks Opens at California African American Museum (Los Angeles, CA)
April 7 – Kinfolk: Memory Workers Meetup at Someday Gallery (Detroit, MI)
April 9 – 10 – EXPO Chicago: Contemporary Art Fair (Chicago, IL)
April 10 – Caroline Chinakwe Solo Exhibition at London Contemporary Art Gallery Opens (London, UK)
April 11 –  Conversation with Oscar-Winning Film Director and Screenwriter Kevin Willmott at Bruce R Watkins Cultural Center (Kansas City, MO)
April 18 – 50th Anniversary Block Party MoMA PS1 (NYC)

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Stay ahead of the contemporary art scene with The Black Curation. We specialize in highlighting emerging Black artists and the most anticipated Black art exhibitions throughout the United States. Whether you are looking for upcoming art fairs or art collecting tips with curated guides help you navigate the rich world of modern Black art..
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The Smithsonian Castle, Washington, DC Photo: Nate Lee, via Wikimedia Commons
The Smithsonian’s Board of Regents, the governing body of the Smithsonian Institution, is down to 15 members after two of its trustees’ terms expired on 2 March. Their replacements have yet to be announced.
Risa J. Lavizzo-Mourey, a doctor and expert in health policy and geriatric medicine, was formerly the board’s chair. John Fahey, chairman emeritus of the National Geographic Society, also left the group last month. Both had been appointed under Barack Obama in 2014. (Regents serve a maximum of two six-year terms.)
According to Robin Pogrebin of The New York Times, the term of a third regent—the American Airlines board member Denise O’Leary, appointed under Trump in 2020—is set to expire next week. In addition, three more regents’ terms will expire in the autumn. No concrete plans have been made to replace any of them nor to renew the terms of those who are eligible. The Board of Regents had reportedly decided on Lavizzo-Mourey and Fahey’s potential replacements last year, but the list of names was never forwarded onto Congress.
Both Congress and President Donald Trump need to approve new members of the Board of Regents. Given the Trump administration’s recent moves to reorient the Smithsonian, the delay in appointments is unsurprising and may signal an attempt to exert greater control the institution.
In an executive order issued in March 2025 titled “Restoring Truth and Sanity to American History”, Trump tasked Vice President J.D. Vance with overseeing the removal of “divisive, race-centred ideology” from the Smithsonian and denying funding to exhibitions and programming that “degrade shared American values”. Vance was to “remove improper ideology” from the Smithsonian Institution and work with congressional Republicans to “seek the appointment of citizen members to the Smithsonian Board of Regents committed to advancing the policy of this order”.
In the year since signing that order, the Trump administration has put additional pressure on the Smithsonian to bend to his political will. This included a prolonged political attack on Kim Sajet, the longtime director of the National Portrait Gallery (NPG), which led to her resignation in June. Last summer, the White House also launched a review of Smithsonian museums and exhibitions to “ensure alignment with the president’s directive to celebrate American exceptionalism”.
Trump later slammed the Smithsonian for concentrating on “how bad slavery was” and published a list of grievances related to “wokeness” under the heading “President Trump Is Right About the Smithsonian”. While Lonnie G. Bunch III, the Smithsonian’s secretary, attempted to calm both the president and an outcry among museum workers, artists pulled out of exhibitions and cancelled programming, accusing Smithsonian museums of censorship.
After the end of the longest government shutdown in US history—which had a disastrous effect on museum attendance in Washington, DC—Trump renewed his investigation into the Smithsonian. At the same time, he began finessing his own image in the NPG’s permanent display of presidential portraits: wall text mentioning his impeachments was removed and his administration suggested that the museum create a special section for multiple portraits of him.
In response to the president’s targeting of National Portrait Gallery director Kim Sajet, the organisation has issued a strategically broad statement, touting its independence and governance by a board and secretary
The White House has given the Smithsonian Institution until 13 January to provide a trove of materials about planning and procedures at eight of its museums
Lonnie G. Bunch III, the Smithsonian’s secretary, wrote in a staff letter and another addressed to the White House that the institution will continue its internal review
In a letter to the Smithsonian leader Lonnie G. Bunch, members of Trump’s administration said they want to “ensure alignment with the President’s directive to celebrate American exceptionalism”

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The Helmet of Cotofenesti (c.45BC)
Photo: Wikicommons
A golden helmet from the ancient eastern European Dacian civilisation stolen last year in a smash and grab from a Dutch museum has been recovered and revealed—surrounded by armed police—at a press conference in Assen.
The Helmet of Coțofenești ( around 450BC) and two golden bracelets (around 50BC), stolen in a raid on the Drents Museum in Assen in the early hours of January 25 last year, have been handed back shortly before a court case will begin against the alleged thieves. A third bracelet is still missing.
Corien Fahner, chief public prosecutor in the Noord-Nederland region, told a room full of reporters on Thursday that the objects were recovered on 1 April as part of a plea deal by three suspects accused of the robbery.
Robert van Langh, the director of the Drents Museum, says the recovery was a “wow” moment and that they were extremely happy to hand back the objects to Romania. “On the golden helmet of Coțofenești, as you can see, two eyes are depicted,” he says. “They are meant to protect both the wearer and the helmet itself against the evil eye, against misfortune.”
“They have done so successfully for centuries, and even today they seem to prove their value,” he adds, in spite of last year’s theft.
Van Langh was there to authenticate the objects at a handover—negotiated by the suspects’ defence team—yesterday and said that he was in a position to assess the damage. A small repair which had previously been made with glue has been damaged, he says, and there’s a new dent in the helmet. However, he said, the helmet sometimes described as Romania’s “Night Watch” in terms of its importance, was largely intact.
“In the state it is in now, it can be fully restored,” he says. “It’s difficult to see but the helmet is slightly dented. The bracelets are in a perfect state.”
The objects were part of an exhibition tracing the story of the lost Dacian civilisation from around 450 BC, with 670 objects on loan from the Romanian National History Museum in Bucharest. In January, the Dutch culture minister reported that it had paid €5.7 million in compensation to Romania in compensation for the theft of cultural objects.
Romanian politician and member of the European Parliament, Daniela Buruiană said a recovery team was set up within 10 days of the theft and that they were now “very happy” with the result.
The robbery of the Doesburg Silver Museum is the latest in a spate of precious metal heists in the Netherlands
Prosecutors have revealed evidence that suggests three golden armbands and a €4.3 million helmet—belonging to the Dacian civilisation—have not been melted down
The objects, on loan from the Romanian National History Museum in Bucharest, belonged to members of the lost Dacian civilisation
The items—which include a helmet discovered by playing children—belonged to members of the lost Dacian civilisation

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Scholars traced Gen Z’s vernacular to its roots in African American language traditions and history.
Popular Gen Z slang words like “rizz” and “slay” have become so widespread that these terms topped Unscramblerer’s list of most popular slang in 2025. But where do these buzzworthy words come from, and how do they become so deeply embedded in our everyday language that friends and even parents start using them? Experts say many of the words now labeled as Gen Z slang actually have roots that reach back centuries, particularly in Black culture and to African American Vernacular English (AAVE).
A report by NBC News correspondent Marquis Francis explored the history of some of these phrases with language enthusiasts. According to the report, some of these words emerged during periods of enslavement, born out of struggle and trauma. Linguists note that such language was often used to communicate openly within the community while remaining opaque to outsiders. Today, many of these words are recognized as part of African American Vernacular English (AAVE), also called Ebonics.
As previously reported, historians believe AAVE’s roots trace to English dialects introduced to the American South in the 17th and 18th centuries, according to The Oxford Handbook of African American Language. These dialects were adopted and adapted by African Americans, influenced by both British English and African languages, as well as Caribbean creole varieties brought over by enslaved people. Although AAVE is frequently mischaracterized as slang or “incorrect” English, it is a fully distinct linguistic system with its own grammar, vocabulary, and pronunciation patterns — such as dropping “-ing” (e.g., “goin’” instead of “going”) or r-lessness, and substitutions like “fo’” for “four” or “he be” instead of “he is.”
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Over time, this vernacular evolved. Many of the popular Gen Z terms that thrive today eventually circulated within popular Black subcultures, including early hip-hop and underground drag scenes, and were not widely embraced by the mainstream. Words with letters dropped, or entire phrases combined to form new expressions, were often dismissed as improper speech associated with poverty or lack of education. 
Those negative stereotypes still exist today. A 2021 study involving 20 audio recordings of 14 Black North American men and six Black British men asked participants to guess the speakers’ race and age. The study found that speakers perceived as using AAVE were more likely to be stereotyped as “lazy,” “uneducated,” and “poor.” Controversies surrounding AAVE are not new — the 1996 Ebonics debate, in which the Oakland, California, Board of Education recognized it as a primary language to improve literacy, sparked nationwide discussion and criticism.
Today, however, these terms have permeated the default dialect of a generation, transcending race, region, and class in the digital age. Critics, however, have highlighted the erasure of Black origins, pointing out that non-Black Gen Zers often use these words without understanding their cultural significance and complicated history.
“I don’t necessarily say that no one else can speak it, but what I do say is it comes from those people that created it,” said Sonja Lanehart, a linguistics professor at the University of Arizona and the author of The Oxford Handbook of African American Language, which she wrote to address misconceptions around AAVE.
Linguists warn that when a word’s origins are viewed negatively or stripped away, it can erase a community’s history, a potentially dangerous consequence. For Jamaal Muwwakkil, a sociocultural anthropologist and linguist, it is crucial that Gen Zers understand the history of these words and credit the people who created them.
“It doesn’t make any sense to me that you can hear a word and then say, ‘That word sounds cool or it’s interesting; let me never look into it and just start saying it,’” Muwwakkil told Francis. “That seems strange to me.” He explained that AAVE was more than slang: it was a tool for enslaved people brought to the U.S. in the 17th century to find common ground among themselves, using language to communicate within the community while remaining covert to outsiders. It was a form of protection. 
Language experts stress that African American language is not exclusive to Black people, but understanding its history and giving proper attribution is essential. Without that recognition, some people may benefit from the language, while those who created it are often erased.
SEE MORE:
Breaking Down The Stereotype: What Is ‘Talking Black’?
Black Terms Abused, Overused By The General Public
Gen Z Slang Deeply Rooted In Black Culture, Linguistic Experts Say was originally published on newsone.com

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