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The resolution was introduced by Ghana in response to efforts made by the Trump administration to minimize the history of slavery. 
On Wednesday, March 25, the United Nations (U.N.) voted on a resolution introduced by Ghana calling the trans-Atlantic slave trade the “gravest crime against humanity.” With the exception of Argentina, Israel, and, shocker, the United States, 123 nations voted in favor of the resolution.
According to the New York Times, the resolution also calls on the U.N.’s member nations to formally apologize for slavery and contribute to a reparations fund as “a concrete step towards remedying historical wrongs.” Ghana’s President John Mahama specifically called out the Trump administration’s attempts to whitewash the horrors of slavery before the resolution went to a vote. Mahama called the resolution “a safeguard against forgetting.”
One of the first steps President Donald Trump took upon taking office last year was signing an executive order explicitly designed to change how history is taught in national museums and parks. Upon signing the order, Trump said that the Smithsonian Institution focused too much on “how bad Slavery was” and not enough on America’s “brightness.” In the year since he signed the order, the U.S. government has tried to remove exhibits teaching about slavery from national parks and museums, while also reinstalling toppled Confederate monuments. 
So teaching about slavery is bad, but celebrating those who fought to maintain it is totally fine. 
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Dan Negrea, the U.S. ambassador to the United Nations Economic and Social Council, issued a statement explaining why the U.S. voted no on the resolution. “The United States has defined, long-standing objections to the framing of ‘reparatory justice’ and the ‘duty of reparation’ for historical wrongs,” Negrea wrote. 
“As stated at the outset of these negotiations, the United States also strongly objects to the resolution’s attempt to rank crimes against humanity in any type of hierarchy. The assertion that some crimes against humanity are less severe than others objectively diminishes the suffering of countless victims and survivors of other atrocities throughout history.” 
Negrea closed by pushing back on the notion that President Trump doesn’t care about Black people. “President Trump has done more for Black Americans than any other president,” he said. “He’s working tirelessly to deliver for them.” 
I mean, he’s certainly delivered higher prices for gas and food, made health care more expensive, made it harder for Black students to get into good schools, and lifted environmental regulations that were designed to protect low-income Black communities. Honestly, I would prefer it if Trump delivered a little less to the Black community at this point. 
The Guardian reports that, in addition to three no votes, there were 52 abstentions, including the UK and EU members. James Kariuki, the UK chargé d’affaires to the U.N., also issued a statement explaining that the UK abstained because it was “firmly of the view that we must not create a hierarchy of historical atrocities.”
“No single set of atrocities should be regarded as more or less significant than another,” Kariuki added.
Kyeretwie Osei, the head of programs of the economic, social, and cultural council at the African Union, pushed back against the idea that the resolution establishes a hierarchy of atrocities. “The main point is not to introduce a hierarchy of crimes,” Osei said. “It is rather an attempt to properly situate that particular chapter in history…how it was so world-breaking in its impact that it essentially created the platform for every atrocity and crime against humanity that then followed.”
While the resolution passed, it’s still unclear what “repertory justice” will look like and what, if any, next steps will follow. 
SEE ALSO:
Donald Trump Purges National Parks Of Slavery Exhibits
Courts Still Cite Cases Enforcing Enslavement Of Black People
Elon Musk Wants Children To Thank ‘Whites’ For Ending Slavery

US Votes Against UN Labeling Slavery ‘Gravest Crime Against Humanity’ was originally published on newsone.com

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March 27, 2026
Luv’s Brownies continues to deepen its community partnerships.
Originally published in BlackNews.com.
Andrea Lacy, founder and CEO of Luv’s Brownies®, the iconic Bay Area bakery behind the Original Heart-Shaped Brownie®, is celebrating Women’s History Month with major milestones that highlight its continued growth, community impact, and commitment to expanding educational opportunities.
As her company approaches its 30th anniversary this October, she is strengthening her regional presence through her popular dessert truck, which now attends approximately 300 events per year, serves more than 20,000 items annually, and appears at some San Jose Earthquakes games and every BayFC soccer game at PayPal Stadium. “Everyone loves when Luv’s Brownies are at the matches,” said Bianca Padilla, Earthquakes and BayFC event operations.
Featured on KRON4’s Live in the Bay
Luv’s Brownies was recently featured on KRON4’s Live in the Bay, where Lacy shared the company’s creative roots and ongoing innovation.
The feature highlighted how a simple college baking idea evolved into a nationally recognized brand known for its signature heart-shaped brownies and purpose-driven mission.
From Campus Hustle to Community Leader
While attending San José State University, Lacy worked three jobs to put herself through school before discovering she had dyslexia—a learning difference that ultimately revealed her creative strengths. A recipe error caused by transposing ingredients led to the creation of the brand’s now-iconic heart-shaped brownie.
Dr. Cynthia Teniente-Matson, president of San José State University, recently celebrated Lacy’s journey in a message to the Spartan community: “What if the brownies you baked in college ended up at the Super Bowl? That’s not a dream. That’s Andrea Lacy, CEO of Luv’s Brownies… I love how Andrea has mixed her heart and hustle into a 30-year Bay Area success story.”
She continued: “What inspires me most is her CEO voice and commitment to ensure others have a path forward. She created the Grit Award Scholarship to support students who demonstrate perseverance in pursuing higher education. That’s Spartan spirit. Entrepreneurship with purpose. Success with heart.”
Fifth Annual Grit Scholarship Now Open
In honor of Women’s History Month, Luv’s Brownies is opening applications for the fifth annual Grit Scholarship, which supports students who have demonstrated resilience, perseverance, and determination in overcoming adversity while pursuing higher education or vocational training. Up to three scholarships of $500 each will be awarded.
Eligible students must submit:
• A 500-word “grit story” essay
• Letters of recommendation
• Proof of community service
• Verification of enrollment in a four-year college, community college, or vocational program
• Documentation of financial need
Applications close Wednesday, May 27, 2026, at 10 p.m. PST. Apply at: www.luvsbrownies.com/scholarship.
“Being a woman founder approaching 30 years in business is not just a milestone—it’s a responsibility,” said Lacy. “We stand on the shoulders of women who created pathways before us. Our job is to widen those pathways for the next generation.”
Expanding Community Impact
Luv’s Brownies continues to deepen its community partnerships, particularly in Alameda County, where its dessert truck has become a beloved presence at regional events in collaboration with the Fremont Chamber of Commerce and Fremont Street Eats.
“The Luv’s Brownies Food Truck has expanded its business to Alameda County and has become a local favorite, appearing at community events in partnership with the Fremont Chamber of Commerce and Fremont Street Eats. The Fremont Chamber of Commerce and Fremont Street Eats are proud of the connection that we have built between awesome food trucks like Luv’s Brownies and the community that comes out to our events. Luv’s Brownies contributes so much to bringing a sense of community through delicious brownies,” said Napoleon Batalao, Director of Digital Communications for the Fremont Chamber of Commerce.
From campus beginnings to regional expansion, Luv’s Brownies’ journey represents entrepreneurship powered by perseverance—and heart.
About
Founded in 1996, Luv’s Brownies is a digital-native bakery best known for its signature heart-shaped brownies, offering nationwide shipping and local delivery. The company also operates a Cuban café and dessert truck serving Santa Clara and Alameda counties, featuring Cuban sandwiches, signature drinks, and award-winning desserts.
RELATED CONTENT: The 20th Annual ‘Women Of Power’ Summit Finishes Strong With Powerhouse Programming [PICS]

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Whitney Houston quickly took Brandy under her wing in Hollywood, leaving an undeniable impact on her life and career. 

In her new memoir, “Phases,” the singer Brandy opens up about one of her most famous allegiances in Hollywood, her mentor, the late Whitney Houston. 
The two, who famously starred together in the 1997 TV musical remake of Rodgers & Hammerstein’s “Cinderella,” maintained an endearing fairy godmother-like bond over the years, right up until the day Houston died. Writing about her in “Phases,” Brandy, 47, who recalls falling in love with her voice for the first time when she was 7 years old, after hearing Houston perform “Greatest Love of All,” described the her talent and the many lessons the late icon, who died on February 11, 2012, at the age of 48, left her with. 
“We were two kindred spirits navigating the same tumultuous waters of fame,” she writes, per an excerpt published in The Cut. 
While many have heard how they first met in person at the 1995 Kids’ Choice Awards, Norwood recalls the first time she really met her idol at the age of 12. The aspiring singer attended a taping of “The Tonight Show” when BeBe and CeCe Winans were the scheduled musical act and mustered up the courage to sing her way backstage to meet them. Upon meeting them, she asked if they could phone Houston. Happy to oblige within minutes, her greatest inspiration was on the other line. 
From teenhood till her 30s, Houston remained a supportive figure in her life, not unlike a fairy godmother. Below, we break down their endearing bond right up until the end. 
Meeting at the 1995 Kids’ Choice Awards 
The two singers met in person for the first time in 1995 backstage during the Nickolodeon Kid’s Choice Awards. Brandy, then 16, was reportedly so overcome with emotion at the prospect of meeting an idol of hers who had been in the industry and dominating for over a decade by then that she initially ran away and burst into tears. Brandy, who had just released her debut album, was invited to attend while Houston, then 31, was that year’s host.  
“Cinderella”
Just two years after their first meeting, Houston handpicked Norwood to star alongside her in “Cinderella.” Norwood stepped into the role of Cinderella while Houston, also an executive producer, played her fairy godmother. This version also starred Whoopi Goldberg, Victor Garber, Paolo Montalban, Bernadette Peters, and Natalie Desselle (who died in 2020), in a diverse, vibrant reimaging of the classic Disney fairytale. 
The film, beloved by fans to this day, gave the culture a rare imagining of a Black princess and the timeless hit, “Impossible,” which Houston and Norwood memorably performed together when the fairy godmother first visits Cinderella.
While some critics were divided at the time over some of the modern choices made with the adaptation, the film was an instant success among viewers and ratings and eventually went on to receive acclaim for its groundbreaking “color-blind” casting featuring a Black princess, Filipino prince, and multicultural royal family, and received seven Emmy Award nomintions including a win for Outstanding Art Direction. It was also the formal start to a fairy godmother-and-fairy goddaughter-like dynamic between Houston and Norwood.
How their relationship evolved through the years
Throughout Brandy’s continued rise as an R&B star and actress, Houston was someone she could turn to for advice, a shoulder to cry on, mentorship, and inspiration. They kept in touch by phone for years, with Houston checking in frequently to see how she was adjusting and to compliment her on her performances. By the time the film “Waiting to Exhale” arrived, Houston tapped Norwood for the soundtrack, leading to the hits “Sittin’ Up in My Room.”
“What Whitney had given me was more than a handshake or a photo opportunity. It was a genuine investment in my future. And she kept investing,” Norwood writes in her memoir.  
Houston’s most enduring piece of advice 
Houston was found dead in a bathtub in her hotel room at the Beverly Hills Hotel following an accidental drowning made complicated by substance abuse. Days prior, she passed Norwood a handwritten note, the contents of which Norwood has never fully shared. However, of the many pieces of wisdom Houston imparted on Norwood over the years, there is one piece of advice the “I Wanna Be Down” singer never forgot. The night before Houston’s death, which occurred on Norwood’s 33rd birthday, the veteran star and Norwood spoke on the phone for nearly three hours. During the phone call, according to Norwood, Houston implored her to remain authentic above all else. 
“She went into depth about me staying true to who I am. She made me promise her that,” she recalled in 2021 while talking to Billboard. “So that has always been what I have vowed to do. I live my life every day being more and more myself. That can work in any area of your life … Being true to who you are just sets you free on every level.”
 
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Discover 15 Mariah Carey deep cuts and B-sides that showcase her rock edge and prove she deserves Rock Hall induction.
Mariah Carey’s “Lambily” fanbase is loud for a reason, and it’s not just because we all scream “high note!” every five seconds. Her hits are legendary, sure. But the real flex? The deep cuts and B-sides that live on our secret playlists and in our group chats. These songs are the ones that make you say, “Oh, you really listen to Mariah.”
Dig a little past the radio singles and you hear a different side of her. She’s experimenting, storytelling, and stacking vocals like only she can. That’s the kind of long-game artistry that absolutely deserves a Rock & Roll Hall of Fame moment.
So instead of running back “Fantasy” for the millionth time, let’s show some love to the hidden gems. Here are 15 Mariah Carey deep cuts and B-sides that make the Rock Hall case feel like a no-brainer.

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March 26, 2026
As she moves forward into 2026, Broadus continues to balance her creative pursuits and business ventures and health with grace.
Cori Broadus, the daughter of rap legend Snoop Dogg, took to social media to commemorate what would have been her late daughter, Kai Love’s, first birthday. 
On Instagram, Broadus shared the day’s events with her followers. Family and friends gathered at Kai’s gravesite, bringing flowers and balloons. The event, though somber, was filled with over a dozen loved ones. After honoring the late infant, the group gathered on a yacht. Children and loved ones smiled and danced as they celebrated a life gone too soon.
The tribute is a continuation of Broadus’s public journey as she navigates her grief. She has shared openly with her followers over the past year. She continues to post videos and photos of Kai and reflects on the “bittersweet” nature of her new personal milestones. 
A post shared by Cori Broadus (@princessbroadus)
The past year has been one of immense physical and emotional challenges for Broadus. In addition to the loss of her daughter, she has been vocal about her ongoing battle with Lupus. The autoimmune disease disproportionately impacts Black women, who are three times more likely to develop the condition than white women, according to the Lupus Foundation of America.
Additionally, the disease also tends to be more aggressive for Black women. For instance, the prevalence of lupus nephritis (kidney inflammation) is roughly 50.7% in Black women compared to 25.4% in white women. This increased severity often leads to a higher rate of progression to end-stage renal disease, or kidney failure. 
Unfortunately, for Broadus, the disease has required aggressive medical intervention, including a stroke recovery period in early 2024.  As she moves forward into 2026, Broadus continues to balance her creative pursuits and business ventures.
RELATED CONTENT: Cali By Snoop Releases Commemorative Wine Celebrating 30th Anniversary Of’ Of Amerikaz Most Wanted’ Song
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The resolution was introduced by Ghana in response to efforts made by the Trump administration to minimize the history of slavery. 
On Wednesday, the United Nations (U.N.) voted on a resolution introduced by Ghana calling the trans-Atlantic slave trade the “gravest crime against humanity.” With the exception of Argentina, Israel, and, shocker, the United States, 123 nations voted in favor of the resolution.
According to the New York Times, the resolution also calls on the U.N.’s member nations to formally apologize for slavery and contribute to a reparations fund as “a concrete step towards remedying historical wrongs.” Ghana’s President John Mahama specifically called out the Trump administration’s attempts to whitewash the horrors of slavery before the resolution went to a vote. Mahama called the resolution “a safeguard against forgetting.”
One of the first steps President Donald Trump took upon taking office last year was signing an executive order explicitly designed to change how history is taught in national museums and parks. Upon signing the order, Trump said that the Smithsonian Institution focused too much on “how bad Slavery was” and not enough on America’s “brightness.” In the year since he signed the order, the U.S. government has tried to remove exhibits teaching about slavery from national parks and museums, while also reinstalling toppled Confederate monuments. 
So teaching about slavery is bad, but celebrating those who fought to maintain it is totally fine. 
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Dan Negrea, the U.S. ambassador to the United Nations Economic and Social Council, issued a statement explaining why the U.S. voted no on the resolution. “The United States has defined, long-standing objections to the framing of ‘reparatory justice’ and the ‘duty of reparation’ for historical wrongs,” Negrea wrote. 
“As stated at the outset of these negotiations, the United States also strongly objects to the resolution’s attempt to rank crimes against humanity in any type of hierarchy. The assertion that some crimes against humanity are less severe than others objectively diminishes the suffering of countless victims and survivors of other atrocities throughout history.” 
Negrea closed by pushing back on the notion that President Trump doesn’t care about Black people. “President Trump has done more for Black Americans than any other president,” he said. “He’s working tirelessly to deliver for them.” 
I mean, he’s certainly delivered higher prices for gas and food, made health care more expensive, made it harder for Black students to get into good schools, and lifted environmental regulations that were designed to protect low-income Black communities. Honestly, I would prefer it if Trump delivered a little less to the Black community at this point. 
The Guardian reports that, in addition to three no votes, there were 52 abstentions, including the UK and EU members. James Kariuki, the UK chargé d’affaires to the U.N., also issued a statement explaining that the UK abstained because it was “firmly of the view that we must not create a hierarchy of historical atrocities.”
“No single set of atrocities should be regarded as more or less significant than another,” he added.
Kyeretwie Osei, the head of programs of the economic, social, and cultural council at the African Union, pushed back against the idea that the resolution establishes a hierarchy of atrocities. “The main point is not to introduce a hierarchy of crimes,” Osei said. “It is rather an attempt to properly situate that particular chapter in history … how it was so world-breaking in its impact that it essentially created the platform for every atrocity and crime against humanity that then followed.”
While the resolution passed, it’s still unclear what “repertory justice” will look like and what, if any, next steps will follow. 
SEE ALSO:
Donald Trump Purges National Parks Of Slavery Exhibits
Courts Still Cite Cases Enforcing Enslavement Of Black People
Elon Musk Wants Children To Thank ‘Whites’ For Ending Slavery

US Votes Against UN Resolution Labeling Chattel Slavery ‘Gravest Crime Against Humanity’ was originally published on newsone.com

The 30 Most Beautiful Black Women In Hollywood
The 30 Hottest Black Men In Hollywood
COMMENTARY: 5 Reasons Why Obama Will Beat Romney
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For the first time in five years, Yeat sat down for an interview with Apple Music’s Zane Lowe as he prepares to release his new double album.
For the first time in five years, Yeat sat down for an interview with Apple Music’s Zane Lowe as he prepares to release his new double album.
The new project, ADL (A Dangerous Lyfe / A Dangerous Love), Yeat says that it will set the tone for his musical path.
“The album is gonna set the tone for the rest of my career,” he said. “It’s gonna light the way for a lot of people. A lot of my fans, especially. I feel like it’s just gonna be a new precedent for like, where my music is gonna be. It’s a new tone-setter.”
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Later in the convo, Yeat discussed his friendship with Drake, who he says gave him an “eye-opening perspective” on how to navigate the business. “To see what kind of operation it takes was eye opening when you see that, it puts it in perspective how big this really gets.”
He also spoke highly of NBA Youngboy, who contributed a verse on the track, “Face the Flame.” “Me and Top been cool for a long time,” Yeat says. “I love Top. He’s just like another case of a person that’s just like, he’s so real.”
Yeat also spoke on whether or not he considers himself a leader in todays Hip-Hop scene:
“I don’t even want to be a leader. I feel likeI could be because of other people views and opinons, but I think I’m a leader in ways like, I never gave a f*ck what people think about me or what could be the outcome.”
ADL is scheduled to be released on Friday, March 27.
Yeat Speaks On His Friendship With Drake & New Double Album was originally published on hiphopwired.com

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March 26, 2026
Former assistant attorney general for civil rights, Kristen Clarke, will serve as general counsel for the NAACP.
The National Association for the Advancement of Colored People (NAACP) has hired one of the nation’s most respected civil rights attorneys and legal advocates to serve as the association’s general counsel in its voting rights fight.
Former assistant attorney general for civil rights Kristen Clarke is joining the organization as it continues its fight against the Trump administration, which it said is “eroding democratic institutions” and dismantling civil rights protections. In a statement, the NAACP said that the organization is expanding its capabilities and ramping up its investment in legal advocacy by hiring Clarke to fight back.
“Kristen Clarke is exactly the legal mind this moment demands,” said Derrick Johnson, president and CEO of the NAACP. “Her record of fearless advocacy, leadership, and deep commitment to justice makes her the ideal General Counsel to help chart our path forward.” “As we face unprecedented attacks on voting and civil rights, having Kristen Clarke at the helm of our legal operations brings strategic vision, disciplined leadership, and innovative advocacy. It’s a new day at the NAACP’s Office of General Counsel.”
Most recently, Clarke was the 19th Assistant Attorney General for Civil Rights at the U.S. Department of Justice under the Biden administration. She was the first woman and Black woman to be confirmed by the Senate to hold the position.
In that role, she led the nation’s largest civil rights law enforcement office. She oversaw landmark enforcement actions that protected voting rights, fought against hate crimes, advanced police accountability, and more.
“The NAACP has stood on the front lines of justice for over a century, and I’m deeply honored to join this historic organization at this critical moment in our democracy,” said Clarke. “Our communities are under relentless attack—from the ballot box to their wallets—and this moment demands that we use the full weight of the law to promote justice and accountability.”
The NAACP also announced that Janette McCarthy Wallace, who has served as General Counsel for nearly five years and on the NAACP’s legal team for over nine years, has transitioned to the role of Special Counsel.
RELATED CONTENT: Ex-Deputy Sean Grayson Gets 20-Year Maximum Sentence For Sonya Massey’s Murder

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March 26, 2026
In June 2025, all nine Supreme Court justices voted unanimously that the family is entitled to move forward with the lawsuit.
Atlanta residents Trina Martin and Toi Cliatt are heading back to the 11th U.S. Circuit Court of Appeals in an attempt to hold FBI agents accountable for raiding their former home.
The appearance follows a unanimous U.S. Supreme Court ruling that reinstated their right to sue the FBI over a “wrong-door” raid in 2017.
The ordeal began in October 2017, when a flash-bang grenade and an FBI tactical team awakened the then-couple. At the time of the raid, both Cliatt and Martin believed they were being robbed. However, they were instead met with FBI agents who smashed down their door and interrogated them at gunpoint. Martin’s son, Gabriel Watson, who was only 7 years old at the time, recounted his terror when he was interrogated at gunpoint.
“They ran in my room, pointing guns at my face,” Watson told Channel 2 Action News. 
Only after agents had already entered the home, did they realize the mailbox number did not correspond to the address on the warrant. Though Cliatt and Martin are no longer together, they are united in their quest for justice, Channel 2 Action News reported. The plaintiffs have been fighting for nearly a decade to hold the FBI agents accountable for “personal injuries and property damage” caused by their error.
Historically, federal law enforcement has been protected by a form of immunity. Still, the legal journey of Martin and Cliatt has explored the boundaries of the Supremacy Clause and the Federal Tort Claims Act, which grant the federal government immunity for such errors. Initially, the 11th U.S. Circuit Court of Appeals ruled that constitutional immunity clauses barred the lawsuit, but the family successfully appealed to the nation’s highest court.
In June 2025, all nine Supreme Court justices unanimously ruled that the family may move forward with the lawsuit. While plaintiffs cannot pursue legal action against the agency, they can challenge individual FBI agents. Cliatt stated that the legal system had legitimized her claim and that she would continue to pursue the case.
“The highest court in the land sides with you, it lets you know you’re doing the right thing,” Cliatt told the outlet.
Cliatt’s and Martin’s continued efforts to attain justice serve two purposes. If successful, not only will both parties receive personal restitution, they will also set a path forward to challenge historical immunity that often shields federal agents from the consequences of botched raids.
RELATED CONTENT: Hip-Hop Community Pushes Supreme Court To End Practice Of Using Rap Lyrics To Justify Death Penalty Warrants

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Jarvis Butts was sentenced to 35-60 years in prison two weeks ago for the murder of Na’Ziyah and the sexual assault of five other girls.
Jarvis Butts, the 43-year-old man who was convicted of killing 13-year-old Na’Ziyah Harris and sexually assaulting multiple other girls, has died in prison. Authorities say that Butts may have taken his own life just two weeks after he received his sentencing, and they are investigating his death as a suicide.
“MDOC staff provided life-saving measures which were unsuccessful. The Michigan State Police have been called to the facility to investigate; the death is currently being reported as a suicide,” Detroit officials said in a statement, per Fox 2 Detroit.
Butts was being held at the Charles E. Egeler Reception and Guidance Center, a facility where prisoners are placed after they are convicted and before they are sent off to another state prison, when he was found dead, according to reporting from the Detroit Free Press.
Butts was given 35 years for killing Na’Ziyah and an additional 10-15 years for the sexual assault of five other girls between the ages of four and 13 years old. The local outlet reported that he would not have been eligible for parole until he served the 35 years. In September, he was also arraigned on a separate sex crime involving an eight-year-old female relative.
Na’Ziyah was only 13 years old when she was reported missing in 2024 after her grandmother recalled her not coming home from school on Jan. 9. In a deeply disturbing case, which a judge called “a prime example” of how much more work needs to be done when it comes to protecting children, “especially Black girls,” trial evidence showed texts that Butts had met up with Na’Ziyah the day she disappeared, and that she was also pregnant. Butts, who had allegedly been grooming Na’Ziyah since 2022, was the on-and-off boyfriend of her aunt.
Prosecutors found searches in Butts’ phone for abortions, abortion pills, and drinking red antifreeze before Na’Ziyah died. Butts pleaded guilty in February and agreed to share the location of Na’Ziyah’s body as part of his plea.
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After “Love Is Blind” season 10 stars Vic St. John and Christine Hamilton appeared on Fox News Digital, fans are reeling.
After stealing the hearts and sympathies of “Love Is Blind” fans, even as Netflix appeared to pull away from their storyline, season 10 stars Vic St. John and Christine Hamilton seemed poised to be remembered as one of the franchise’s rare “good couples.”
But following recent appearances on Fox News and Fox News Digital in which the couple spoke openly about their Christian faith and credited God, not the producers, for bringing them together, the discourse around them has shifted. Instead of celebrating their union, fans are debating what their appearance may reveal about their couple’s ideologies.
“I am a firm believer that faith shouldn’t be forced. It isn’t forced on me—we have free will,” the 34-year-old college professor wrote Wednesday, March 25, in a post on Threads as backlash mounted. 
“I also believe that God’s love is for anyone regardless of nation, politics, race, etc. It’s available to anyone who wants that life (or not),” he continued. “In times where faith is weaponized (used to oppress & harm), it’s important to share what faith means to me—regardless if it’s on Fox, CNN, or the street. When asked to share my faith, there’s a good chance I’ll say yes. Always open for this dialogue.”
Since posting, St. John has engaged in nuanced debates with followers in his replies, with some questioning whether appearing on a network frequently criticized for promoting right-wing political narratives was appropriate, even if his intention was simply to share his faith. The moment and the sudden closer scrutiny of who both St. John and Hamilton appear to be after filming has also left some fans second-guessing the season altogether and whether they just watched the franchise lean hard into the right.
This season, set in Ohio, followed the show’s familiar format where singles meet sight unseen through a wall while sequestered in pods. They go on a series of “dates” in the pods where one can imagine all sorts of topics come up, ranging from upbringing, career, hopes, fears, religion, and of course, politics. But many viewers noticed the deeper ideological conversations that had defined some previous seasons were missing. Several contestants have since confirmed that political discussions they recall having didn’t make the final cut.
Contestants Jess Barrett and Keya Kellum have both said on recent podcast appearances they asked dates directly about their political beliefs. Barrett described politics as a major pillar of her life, while Kellum revealed that she made a point of discussing voting choices with potential partners.
Kellum said on the “What’s the Reality?” podcast in February that she asked all of her pod dates about their political leanings, hoping they would say they did not vote for Donald Trump.
“Not everything makes the cut, but something I stood really firmly on was my political beliefs,” she said. “And I had a ton of conversations about that in the pods with men who had opposing beliefs. The framing that it is Republican against Democrat is just so not true. It is all of us against hate. And what I do not stand for is hate.”
Barrett shared a similar experience on the “Love to See It” podcast, saying, “I specifically asked everyone, ‘Did you vote for Trump? Are you a Trump supporter?’ And I talked ad nauseam about human rights because that is such a pillar of my life.”
What did make it to air, however, included at least one explicitly pro-Trump moment. When Ashley Carpenter introduced her fiancé, Alex Henderson, to her parents, one of the first questions her father asked was who Henderson voted for. Henderson said he did not vote because he was out of the country, but added that he would have supported Trump.
With fewer political conversations shown overall, one visible pro-Trump exchange, and the season’s most stable couple appearing on Fox News — in what appears to be a first for a “Love Is Blind” couple — some viewers are left wondering what story the season was trying to tell.
The situation has also placed St. John, a Black public policy professor, in the middle of a complicated cultural debate. He has maintained that his appearance was solely about sharing his faith. Still, some fans question how that decision intersects with the political realities associated with the platform.
The whole ordeal also highlights a deeper tension that has always existed within “Love Is Blind.” While the show presents itself as a social experiment about whether love can transcend appearance, it is still ultimately a produced television show where what audiences see is shaped as much by editing choices as by reality itself. And that may be the real issue fans are grappling with now. If politics were discussed but largely left on the cutting room floor, viewers are now left trying to piece together the full picture from interviews and social media debates happening after the fact. In a season where contestants say ideology mattered deeply in their dating decisions, the absence of those conversations on screen may say just as much as anything that aired. 
Whether intentional or not, it raises a bigger question about the responsibility of reality dating shows to reflect the real conversations people are actually having about values and identity in an increasingly polarized country. Because if love isn’t happening in a vacuum, the experiment shouldn’t be edited like it does.
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Taro Nasu’s stand at Art Basel Hong Kong 2026
© Art Basel
Art Basel Hong Kong is the latest event on the art calendar to project an uncanny vision of normalcy amid the “largest supply disruption in the history of the global oil market”, precipitated by the US-Israel war in Iran.
The fair’s director Angelle Siyang-Le hopes Hong Kong’s reputation as a stable trading hub can offer “a place for people to gather and build connections in difficult times”. International VIPs do not seem to have been deterred from travelling, she says, and their numbers are “on par with last year”.
Nonetheless, the crowd at Art Basel Hong Kong is increasingly a regional one, with European private buyers particularly thin on the ground at the VIP preview today (25 March). As the Belgian collector Alain Servais noted, “it’s basically just myself and Patrizia [Sandretto Re Rebaudengo] who showed up”. More US buyers were in attendance, particularly those associated with institutions on the West coast in areas with large Asian-diaspora populations, including a group from the San Francisco Museum of Art. Several leading museum heads, including the Guggenheim’s Mariet Westermann and Jochen Volz, the general director of the Pinacoteca de São Paulo, were also spotted in the aisles, having flown in to take part in the Hong Kong International Cultural Summit (22-23 March).
The Chinese art market is showing signs of stabilising after a prolonged downturn, with the latest Art Basel/UBS Art Market Report finding a slight uptick of 1% in its total sales last year. Siyang-Le notes that “while the highest-level prices have not yet returned to pre-Covid levels, the volume of transactions in China is still impressive”.
This assessment largely held true by the end of VIP day. No gallery reported selling work priced at more than $5m, including what is understood to be the most expensive brought to this edition of fair, an €11.5m Modigliani painting at Pace. But by the late afternoon, a steady stream of blue-chip sales were announced. Among the biggest sales reported are by David Zwirner, which placed a Liu Ye painting for $3.8m and a 2002 Marlene Dumas painting for $3.5m, and Bastian gallery, which sold a 1968 Picasso canvas for around €3.5m. Hauser & Wirth placed a $2.2m Louise Bourgeois sculpture of a hugging couple to a foundation and a George Condo painting for $2.3m to a private collector, both from Asia, and White Cube reported around £4m in first day sales, including a 2024 painting by Tracey Emin for £1.2m.
Visitors to the stand of Mother’s Tankstation at Art Basel Hong Kong 2026
© Art Basel
Local players acknowledge that the era of explosive Chinese growth is now a thing of the past, and local buyers have turned away from the speculative excess associated with the ultra-contemporary art boom. “Collectors are considered and taking their time,” says Dawn Zhu, the Asia director of Thaddaeus Ropac.
“It’s pretty slow, but that’s to be expected,” said one Hong Kong gallerist, who had placed two small paintings and a video work by the late afternoon. “We’ve all adjusted our expectations to a new pace.” This restraint could be detected at lower price points. Arario gallery, which has locations in Shanghai and Seoul, presented unsettling doll-like diorama sculptures and video works by Shih Yung Chun from its stand. By the late afternoon it had placed one video work for $4,500 to a Beijing collector, but no further confirmed sales.
Some smaller galleries, particularly those selling works mostly below $50,000, seemed satisfied, or at least happier than previous years. “It’s been busy—I haven’t sat down in six hours,” said Sammi Liu, the founder of Tabula Rasa gallery, which has spaces in Beijing and London. The gallery has shifted to the main section after five years in Discoveries, the emerging section for solo presentations, meaning they “can show a more commercial booth”.
For Shanghai’s Vacancy gallery, this edition of the fair “is much better than last year”, said its director Lucien Tso. He attributed his success to different stand placement. “It can make a huge difference”. The gallery had sold its largest work, a painting by the London-based Henry Curchod for $46,000 to a forthcoming Los Angeles foundation.
The atmosphere of the week is notably optimistic, thanks in part to the opening of four new galleries in town. They have helped to counteract anxieties of Hong Kong’s decline following the retreat of Western dealerships like Pace and Lévy Gorvy Dayan from the city. Meanwhile Hong Kong yesterday announced that it had secured an agreement with Art Basel to be the region’s sole host for the next five years—a reassuring sign from the fair company of its commitment to the city, as the art hubs of Singapore and Seoul vie for regional attention.
Signs of maturation abound across the Chinese market, as well as the wider Asia Pacific region. Present at the fair were representatives from several newly established Asian institutions including Dib Bangkok and the Tanoto Art Foundation in Singapore.
Speaking to the advisory firm Art Intelligence Global in their latest quarterly report, Robin Peckham, the director of the forthcoming JD Museum in the nearby mainland Chinese city of Shenzhen, noted a promising new chapter for China’s increasingly sophisticated institutional landscape. “The emergence of state museums for contemporary art as serious players in mainland China—such as the New Guangzhou Art Museum (2023), the Bai’etan Greater Bay Area Art Center (2023), or the Suzhou Museum of Contemporary Art (opening later in 2026), to name a few—eases the heavy sense of responsibility that smaller, privately founded museums carry.”
The strategic arts planning of China is made more impressive when compared to its Western counterparts, where culture funding is being cut to finance wars. Tobias Berger, the founder of Gold, one of the new galleries to open in Hong Kong this week, reported a “great start” to the fair, thanks in part to the “phenomenal” presence of Asian galleries, biennials and museums across Hong Kong this week. Berger’s enthusiasm is matched by other local players who remain optimistic for the future of the city’s art scene, despite its imperilled free speech laws and prohibitively expensive rents. “Hong Kong,” he says, “is the most exciting city in the world right now”.
The city’s art ecosystem is rapidly expanding, but an economic slowdown across China and continued political interference from Beijing could mean stormy seas ahead
Travel restrictions continue to prevent the physical presence of many international exhibitors at the fair, with 75 galleries opting for satellite booths
Sotheby’s tests the waters with first oil painting at auction in Hong Kong

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The Xscape member said she was proud to see her sons stand up for her, but she didn’t take 50’s jabs that seriously.
Tiny Harris seems to have shrugged off any disrespect that 50 Cent meant toward her when he posted unflattering photos of her on his Instagram.
“I felt like it was uncalled for, because I feel like if you’re a man and you’re dealing with another man, you should keep the beef between you and that man,” she said on the “Tamron Hall Show“.
But Harris said on the daytime talk show that her sons, King and Domani, who dropped disses against 50 in response, were much more offended than she. Even her husband, T.I., who was originally the one feuding with the “Many Men” rapper, wasn’t crazy about their children getting involved.
“I wasn’t as affected as my family was,” she continued. “They really felt some kind of way. I was like, ‘Whatever.’ I appreciate them for wanting to step up.”  
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On the Breakfast Club, Harris expressed the same sentiment that her family felt more of a need to defend her than she did, though she did feel like it was a “proud moment” watching her sons stand up for her and show off their skills. She praised Domani, who shook the internet when he dropped the diss track, “Ms. Jackson,” where he rapped addressing 50’s mother.
“I felt like the songs were really good, especially Domani when he went in with the ‘Ms. Jackson,’ I was like ‘Damn, where’d this come from?’”
But she did tell hosts Charlemagne, DJ Envy, Jess Hilarious, and Loren Lorosa that she tried to censor her son King at one point, but he wouldn’t listen to her.
“King, he took it very personal, and he was just going so far. And I kept calling King, ‘Take this down, take this down right now!’ He’s like, ‘Nah, I can’t, mama.”
This isn’t the first time a rapper has taken verbal shots at Harris unprovoked. She divulged on the radio show that when the late Notorious B.I.G. aka Biggie Smalls dissed her and her Xscape bandmates on his single, “Just Playing (Dreams)” by calling them ugly, she was just as calm about the disrespect then as she is now. It took a while after the “Juicy” rapper chased them down from club to club trying to speak to the girl group, but eventually Harris heard him out.
“He was really nice, he apologized, and he told me, ‘Y’all are beautiful, and I’m ugly my damn self,’” she said, adding later that she didn’t bother to put him in his place either.
“He didn’t leave any room for me to curse him out,” she said.
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It was the same night that he finally spoke to Harris in person to apologize that Biggie was shot and killed while driving in a car in Los Angeles. Harris said that though she had elected to speak to Biggie that night, her Xscape bandmate Kandi Burruss did not, and Burruss regretted not having a conversation upon hearing the news.
“After that, when he passed, and we heard the shooting happened, she was like ‘damn, I kind of wish I would’ve said something.’”
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Increased debt, grade inflation and AI are making it harder for graduates to break into the art world
Evgenii Chernetcov
Is getting an internship as relevant as getting a master’s degree? For Brandon Busteed, the chief executive of the education company Edconic, these are not mutually exclusive outcomes.
He matters in our world because one of Edconic’s portfolio providers is Sotheby’s Institute, which has licensed the auction house’s name since it was spun out in 2003 but the businesses have since mostly maintained an arm’s-length relationship.
This changed in February, when Edconic joined forces with Sotheby’s to implement a formalised fellowship programme, which enables 20 of the institute’s master’s students in New York to work at the auction house for 12 weeks. They will be paid—well above the minimum wage, he says—and earn academic credit at the same time. Plans are afoot to roll the initiative out in London, likely from this time next year, with the aim of having a total of 60 students learn the trade from within.
Busteed identifies a triple-whammy that graduates are facing today. “Jobs are drying up, young adults are coming into the working world with more debt and they are now contending with artificial intelligence for many entry-level roles.” He notes, too, that grade inflation at universities makes it increasingly difficult for students to distinguish themselves.
Internships have long been a way into the working world: data from the National Association of Colleges and Employers shows an average offer rate of 72% from companies in the US to their interns, particularly in the creative industries where networks are the not-so-hidden codes to careers. Familiar, too, in the art world is that “a third of internships come through family connections, and not everyone has that social capital”, Busteed says.
He is putting his money where his mouth is. While the auction house has committed its experts’ time and resources to a new intake of staff, and will remunerate them through its own payroll, Sotheby’s Institute will reimburse any financial cost. “I see it as an extension of our faculty, like our library or careers service, and another way to meet the goal of our students getting jobs in the industry,” Busteed says. Meanwhile, the auction house is also doing its bit, with an existing scheme (beyond the Institute) that takes on around 40 interns each summer in New York.
I am biased in my admiration for the partnership. I sit on the board of governors at the Sotheby’s Institute, from where I also graduated 20 years ago. Thanks to a subsequent internship at this publication (via the Institute), I have worked in art journalism ever since. But it was a lucky break—as well as informal and unpaid—at a time when such arrangements were possible. It certainly isn’t a career path that could easily be mapped out for anyone else.
The Sotheby’s Institute programme is still for a lucky few—not everyone can afford postgraduate study—but offering students a practical bang for their buck seems to me to be forward-thinking and downright necessary, if we believe in the overall benefits of an educated population (a separate debate). To my mind, it certainly beats the status quo of a ton of qualified graduates not getting jobs.
The auction house’s swift reversal of its recently overhauled premium structure is an admission of how wrongly it read the runes, writes Melanie Gerlis
Shortening art market cycles and the politics around “flipping” artworks are leading collectors to conduct business away from public scrutiny
Less than a year ago, the auction house reduced buyer’s premium and tried to introduce a flat 10% vendor’s commission to avoid bartering. It did not prove popular with sellers
Executive salaries rises, while junior staff struggle to move up the ladder

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Rachel Lindsay, the first Black “Bachelorette,” recalls being “too risky” and now reflects on what happened with Taylor Frankie Paul.
Black people have to work twice as hard just to get half as much. This isn’t a new concept. And for most Black people, especially Black women, it’s not a revelation. It’s a reality we learn early, often as a response to our first encounters with prejudice and injustice. But every so often, society offers up a case so blatant, so undeniable, that it demands to be named, documented, and added to the ever-growing list of proof behind that truth.
Most recently, ABC’s “The Bachelorette” provided just that.
The network’s response to Taylor Paul’s casting, and subsequent scandals, has reignited a familiar conversation about who gets grace, who gets protection, and who is deemed “too risky” from the start. The “Mormon Wives” star’s journey for love on the long-running reality show was cut short after a video surfaced showing her assaulting her ex, Dakota Mortensen. As reported by NBC News, the video was tied to a 2023 incident that led to Paul’s arrest, which had already been public record. Still, it was the footage’s resurfacing that ultimately led ABC to scrap the season amid backlash.
“In light of the newly released video just surfaced today, we have made the decision to not move forward with the new season of ‘The Bachelorette’” at this time, and our focus is on supporting the family,” Disney Entertainment said in a statement reported by the Associated Press.
For Rachel Lindsay, the franchise’s first Black Bachelorette in 2017, the contrast in how the network navigated her season versus Paul’s isn’t just noticeable; it’s telling. Speaking on a recent episode of her podcast “Higher Learning,” Lindsay unpacked the glaring double standard.
“It was funny to me that the show wanted to take this risk, but for you to have a lead of color, that was too risky, right? When it came to ‘hey, we’re going to have our first lead of color,’ which took 15 years, that person had to be damn near perfect on paper because that had to make sense to your audience. They had to be digestible to your audience,” she noted. “So, it was funny to me that this is okay. The ideal bachelorette, that they have presented to us over these 20-plus years, was not this– not someone with two baby daddies, divorced, three kids, a soft swinging scandal, and a felon.”
She continued: “As a person who’s been through it and has experienced it, I thought, seriously, after everything that I’ve been through with this franchise, as [a person] of color, this is the risk you want to take?”
Lindsay has long been candid about her experience within the franchise—from navigating on-air microaggressions to enduring the toxicity of its fandom. In a 2021 op-ed, she described the emotional toll of constantly defending herself against what she called the “Bachelor Klan.”
“The franchise has spent 19 years cultivating a toxic audience. They have constantly given it a product it wants: a midwestern/southern white, blonde, light-eyed Christian. Not all viewers are like that,” she wrote in the piece. “There is a Bachelor Nation, and there is a Bachelor Klan.
The Bachelor Klan is hateful, racist, misogynistic, xenophobic, and homophobic. They are afraid of change. They are afraid to be uncomfortable. They are afraid when they get called out.”
Behind the scenes, Lindsay says the pressure to be palatable was just as intense.
“Having been through it, it was ‘so you can’t act like this.’ ‘We’re not going to air this scene because the audience will name you an angry Black female.’ ‘You can’t go confront your men because you’re frustrated with something you’re hearing, because that won’t look good.’ It was so risky for me to be opinionated or have a personality,” she shared.
Even with those precautions, the label of the “angry Black woman” followed her—along with blame for broader issues within Bachelor Nation.
“There are people or fans out there, particularly fans of this franchise, who will always find a way to blame the Black woman without ever holding the other ones accountable,” she noted.
And that’s the crux of it.
Reality television has never been a neutral playing field for Black contestants. From “The Bachelorette” to “Love Island” to “Summer House,” these predominantly white spaces have made slow, often performative strides toward diversity. But the burden placed on Black cast members, paired with the scrutiny of deeply loyal, and at times hostile, fan bases, reveals a disconnect between what audiences say they want and what they actually allow.
At its core, this isn’t just about two women or one franchise. It’s about a pattern. One where Black women are expected to be exceptional just to be considered, while others are allowed to be flawed and still be chosen.
Rachel Lindsay carried the weight of being the first. And years later, the contrast in how “risk” is defined makes one thing clear: in reality TV, much like in real life, the standard was never equal to begin with.
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