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We are going to act like we didn’t see the rodent run up the wall though.
Jay-Z had Hip-Hop buzzing over the weekend after headlining The Roots Picnic. To nobody’s surprise, Dame Dash has weighed in on the set and the freestyle that had fans talking.
As spotted on Complex, Dame shared his thoughts during a recent sit-down with The Art of Dialogue, and let’s just say he was not exactly giving Hov a standing ovation. When asked about Jay-Z mentioning him during the freestyle, Dame dismissed the bars and said he expected more from the Brooklyn rapper.
“I thought that rap was bad. It was terrible,” Dame said. Jay-Z used part of his Roots Picnic freestyle to take aim at several people who have had his name in their mouths, including his former Roc-A-Fella partner. One of the lines fans immediately connected to Dame found Hov joking about his teeth while also calling him “down on his luck again.”
For anyone who has followed their history, the shot did not come out of nowhere. Jay-Z and Dame Dash helped build Roc-A-Fella Records together alongside Kareem “Biggs” Burke, but their relationship famously fell apart after years of success, business disagreements, and the eventual split of the label. Since then, Dame has had plenty to say about Jay publicly, so Hov apparently decided to use the Roots Picnic stage to return some of that energy.
Dame was not only focused on the lyrics, either. He also had jokes about Jay-Z’s hair during the performance. “I was like, ‘why would they let him come outside like that? Why do they keep putting you in these funny hairstyles?” he asked.
Dash also suggested that the version of Jay-Z he remembers would have come with something sharper, saying the freestyle sounded beneath the rapper he once knew. In Dame’s eyes, the bars were not clever enough for someone with Hov’s reputation.
Of course, the internet had plenty to say as well. Some fans thought Jay-Z’s freestyle was a reminder of why he is still one of the best to ever do it, while others were more focused on the names he decided to mention during the set. Either way, Jay-Z’s Roots Picnic performance has kept the timeline busy, and now Dame Dash has officially added his response to the conversation.
You can see Dame discuss Jay-Z’s Roots Picnic freestyle below.
Sure?: Dame Dash Says Jay-Z’s Roots Picnic Freestyle Was “Terrible” [Video] was originally published on hiphopwired.com

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June 4, 2026
San Francisco’s Black art scene is thriving.
The Golden Gate Bridge. Cable cars with a backdrop of San Francisco Bay. Fog rolling over the hills. That’s often the version of San Francisco that people see on postcards and crave when they finally make a trip to Northern California.
But San Francisco has long stood at the intersection of innovation, activism, and art, especially for Black artists. Tucked into the heart of the Yerba Buena arts district is the Museum of the African Diaspora (MoAD), where Black art, culture, and history are the main attraction and not just a footnote. It’s the other side of San Francisco that isn’t always on display, but is absolutely worth booking a flight for.
Situated at the center of San Francisco’s premier arts and culture corridor, the contemporary art museum is solely dedicated to the art of the African diaspora. Its reach extends far beyond its walls with world-class exhibitions, robust community programming, and an education initiative that serves more than 50 Title One schools across the Bay Area.
At the helm is Monetta White, executive director and CEO, who is notably a native San Franciscan. Leading MoAD is personal for White.
“I want to make sure that the representation of Black culture is here and shown,” she says. “The Bay Area has been a beacon of Black art … and to be able to really highlight those artists, to see them, to give them their flowers, especially for the older artists that hadn’t been seen, it really is a big thing for us.”
MoAD’s commitment to Black artists through its Emerging Artists Program is celebrating its 10th anniversary. It’s through this program that the late and great multimedia artist Joe Sam had his first-ever museum show. A well-known figure in Bay Area art circles, Sam spent decades creating without ever receiving institutional recognition until MoAD changed that. He passed away not long after the exhibition closed but had a chance to stand in a room and see his work on museum walls.
“That, to me, made me really proud,” White says.
Stories like Sam’s are exactly why MoAD’s Emerging Artist Program matters. Now celebrating its 10th year, the program functions as a launchpad for Bay Area artists at pivotal moments in their careers. Emerging, White is careful to clarify, has nothing to do with age or credentials.
“It’s really about timing and impact,” she explains.
The current cohort comprises Jasmine Ross, Demetri Broxton, Dorian Reed, and Tahirah Rasheed, who will each present solo exhibitions through early 2027, accompanied by artist talks, honoraria, and the kind of visibility that moves careers forward.
White says that a solo exhibition at a major museum, at the right moment, can change the entire trajectory of a career, opening doors to galleries, collectors, and institutions and creating pathways toward long-term financial sustainability.
But if there is one event that crystallizes everything MoAD stands for and gives travelers a specific reason to put San Francisco on the calendar, it is Nexus.
Now in its third year, Nexus: San Francisco Bay Area Black Art Week is a city-wide celebration of Black art and culture running Sept. 30 through Oct. 3. What began as a bold idea has grown into a national draw, pulling artists, collectors, and culture enthusiasts from across the country to the Bay Area for a week of exhibitions, artist talks, openings, and events rooted entirely in the richness of Black creative expression. MoAD leads the charge.
“If you’re looking for what’s happening in San Francisco around Black art,” White says, “this is something you should check out.”
For the culturally curious traveler, Nexus is more than an invitation. It is a reason to go. Find more information about Nexus, including the artists and exhibitions, on the event’s website.
RELATED CONTENT: A ‘Little’ Art Show Opens With A Big Bang At Atlanta’s Zucot Gallery 

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UPDATED — 11:40 AM 06/04/2026
Cardi B is extending an olive branch to Latto again for remarks made during a leaked call, insisting she never meant to disrespect the Atlanta rapper.
After catching wind of Latto’s confirmation that she shaded her on “Gimme Dat,” Cardi tweeted a lengthy statement saying she repeatedly tried to make things right behind the scenes, but Latto opted to air her grievances on wax instead.

“I truly understand how you feel…and that’s exactly why I chose to apologize publicly because the disrespect became public. On that call I didn’t even mean to call you that, I didn’t mean any harm..,” said Cardi before hinting that pregnancy hormones played a part in her comments.
“There’s a difference in what I said vs what I meant. What I could have said was you was too forgiving and gave too much mercy in that situation.. But it was a heated conversation and I let my mouth get the best of me. When the call came out I was eight months pregnant, had just released my album, and was extremely overwhelmed and emotional. Thats not to excuse what I said but to let you know where I was in my head.”
She continued,
“I genuinely felt bad about what happened. In 2025 and 2026 I made multiple attempts to connect…I spoke with your manager, your sister, and even texted you directly to take full responsibility. I always had love and respect for you ! I always wanted to make it right but making it right looks different for the both of us…
I wanted to connect with you but you wanted to address it on your album.”
Below this line, the original story begins. ___________________________
Latto has confirmed that the pointed lyrics in her new track, “Gimme Dat” are, indeed, about Cardi B—but she’s insisting it’s not a diss.
The Atlanta rapper wasted no time when asked about her perceived issues with Cardi during a new interview with The Breakfast Club on Thursday, June 4. When the morning show hosts asked about the heavily debated lyrics and whether or not they referenced the rapper, Latto confirmed fans’ suspicions and further explained the situation.
“Well, yes, it was about Cardi,” Latto said before going on to add that she recorded her album throughout her pregnancy. “I was at an early stage in my pregnancy, and I rushed to the studio to do this [“ErrTime” remix] verse for her, in time for the first week sales [of her album Am I the Drama?]. Literally two days later, I’m seeing all over the internet, I’m being called ‘pu**y.’”
“I’m pregnant, emotions high…and it’s someone I deadass looked at as a friend,” she continued. “Like, I understand this industry shirt first, too. But we was on a texting basis. So I feel like, ‘Yeah, you tweeted to the world, but we got each other number,’ you know? So then probably like two months later, something like that, she did text me, but by that time I’m like, ‘I’m not even thinking about that.’”
Latto went on to confirm that she hasn’t spoken to Cardi since their remix of “ErrTime” was released in September 2025, but says she is open to working things out.
“I’m open to the conversation,” Latto explained. “When? I don’t know cuz I got a baby now, life done kept moving. The people [are] just now hearing that song but like I made that song when that was a topic in my life. It wasn’t no diss, that’s just what was happening in my life. Like, you talking about buying Big Mama a bag? I don’t need no damn bag.”
“And not to make up for calling me ‘p***y’ either,” host Jess Hilarious chimed in.
“Yeah. Especially in exchange for that,” Latto agreed. “Like, I don’t know. It just left a bad taste in my mouth. I was in the booth and that’s just what was happening.”
In September 2025, Cardi and Nicki Minaj went off on each other on X, reigniting their longtime feud. While their back-and-forth was the main story, Latto and Ice Spice were also dragged into the mix via surfaced audio. A phone recording made its way onto the internet that featured Cardi ranting about Ice Spice, but in the midst of her anger, she ended up throwing a stray shot at Latto, for which she quickly apologized.
In the audio, which was allegedly old, Cardi goes off over Ice Spice, seemingly dissing her in a leaked track. She threatened to pull up on the “Munch” rapper and “beat her a,” before repeatedly saying, “She’s “not a p***y” like Latto,” and will actually follow through with her threats.
Shortly after the phone call was leaked, the “Please Me” rapper took to X to make sure fans understood she and Latto are on good terms.
“I was ranting and hot at the moment but I f**k with Latto HEAVY!! I respect everything about her including her team that’s so sweet,” she wrote on X. “AND NOPE! I’m not too prideful to apologize to somebody I really respect so this my public apology and now ima privately buy her a bag.”
Latto never responded, publicly, until now, confirming the below bars on “Gimme Dat” are about the incident with Cardi.
“B****h said what? Let’s clock it/ Really got a Hermes store in my closet/ Talkin’ ‘bout buyin’ big mama a bag like my n**** ain’t already bought it/ Like my n**** ain’t comin’ off racks/ Big bank over here, big facts/ Wish a b***h would get in that booth/ I’m callin’ up PlaqueBoyMax,” she raps.
Olive Branch Bardi Responds To Latto’s ‘Gimme Dat’ Dig, Says She Repeatedly Reached Out To The Rapper—’I Made Multiple Attempts To Connect’ was originally published on bossip.com

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Scroll Space installation at the Dallas Museum of Art, Texas, 2019
Courtesy Dallas Museum of Art

Steven Ladd tells The Art Newspaper that he and his brother William want people to understand the intricate, often self-referential details in their collaborations. “We love communicating that,” Steven says during an hour-long video call. “‘Beauty’ was kind of a dirty word back in the day.” William cuts in. “Steve is a big communicator,” he says as his brother laughs. “Steve would talk for hours, and I’d be like, ‘I’m just making things that are beautiful.’”
William, who did beadwork, weaving and macramé growing up, does not mind that he and Steven, who has made all of his own clothing for 30 years, have been called “craft” artists. “We have a very crafty mind,” William says.
Collaborators for more than 25 years and based in New York, they are making the final preparations for a monumental work in monument-rich Washington, DC, where National Scrollathon, which they call “America’s cultural project”, will preach unity and understanding at the John F. Kennedy Center for the Performing Arts, which the current president has taken to calling the “Trump Kennedy Center”.
Like the Second World War memorial a mile away, the project will have freestanding pillars labelled by state. One side will contain rolled up “scrolls” that 10,000 people across the country created, and the other will have photos of participants.
The brothers visited all 50 US states, five territories and the District of Columbia, where they gathered 25 to 35 people for each hour-long Scrollathon session. Participants rolled fabric trimmings to make a “scroll” and added a message or symbol. They shared stories ranging from surviving cancer to children talking about sushi. “You can be crying in a session, you can be laughing in a session,” William says.
Scrollathon workshop with Steven and William Ladd at the Sarasota Art Museum, Florida, 2022
Photo: Daniel Perales for the Sarasota Art Museum

Part of the project is recording videos of participants. In one, a man who titled his scroll “appreciation” said he has lived in a house for a year after five years of being homeless and lonely. Another, a Black man, said that he attended segregated schools in Sarasota, Florida, until tenth grade, and Scrollathon was the “perfect subject matter” to return to one of the schools.
Steven says the brothers love how scrolls are ancient and universal storytelling devices that hold “so much symbolism and meaning throughout humanity”. The abstract patterns of scrolls variously evoke cells under a microphone or complex iron-on bead designs.
When they first lived in New York City, “broke basically for ten years”, William says, the brothers recycled fabrics that they were loath to throw away and wrapped them into scrolls. They worked with inmates at the Rikers Island prison, special needs communities and others. Around 20 years ago, they made scrolls with students of their longtime friend Angela Veninga, near their home town of St Louis, and students of their sister, who teaches in Brooklyn.
A Kennedy Center board member, who heard a talk connected to the brothers’ show at the Parrish Art Museum in Water Mill (2014-15), told them that they had to do a project at the centre’s new building, the Reach. “That’s when all of a sudden our mind kind of exploded on a national level,” William says.
In 2017, Steven says, someone from the Kennedy Center asked them what they wanted to do. They said they wanted to work with 1,000 Washingtonians on a permanent piece for the centre. When they visited, centre staff asked if they would make a national work for the 250th anniversary of the signing of the US Declaration of Independence.
“We were like, ‘It’s our dream to work all over America,” Steven says. “We are patriots. We love America. We love our family. We love this country.’ This was before all of everything in the current political climate.” When they began convening rooms of people for Scrollathon, the brothers found that Americans love one another and want to listen to others’ stories and tell their own, Steven says.
Traversing the country for the sessions, including during the pandemic, they created a network of relationships, which William calls the “hardest part”. They believe they have forged a model for a national cultural project that they can continue and that others could emulate.
“People love people,” William says. “People love America. Whether or not you’re protesting, or whether or not you’re waking up and believing in what’s happening, you still love where you are. You might disagree. You still love being here, being able to disagree.”
The brothers were never worried that the project would be cancelled, even as some artists severed ties with the Kennedy Center in protest of President Donald Trump’s policies and interventions at the centre. The centre will now soon close for two years of renovations, truncating the run of the Ladds’ project. Originally scheduled from 26 May to 7 September, National Scrollathon will now be on view from 29 May to 29 June.
“We had so many powerful people at the Kennedy Center that are still employed there that were always, from 2017 until today, advocating for the presentation of our project,” Steven says.
William thinks it is important to discuss politics. “We have Republicans in our family; we have Democrats in our family,” he says. “We know people that support Trump; we know people that hate Trump. We know people that didn’t like Obama; we know people that love Obama. It’s America.”
Walking away from the venue they told 10,000 people they would be showing their work at over Trump’s capture of the Kennedy Center “would just be wrong”, William says. “It was destined to be where it’s going to be. That’s the way we played it from the beginning and until this day, unless they cancel in the next month, it’s going to be there.” He adds that they signed a contract three years ago and plan to honour it.
“When you walk into the Kennedy Center, you’re going to see 10,000 Americans represented in that space, every age, every background, every political affiliation, every orientation, every race, Indigenous communities, Chamorro, Carolinians from Northern Mariana Islands and American Samoa,” Steven says. “That’s like the dream to have that kind of representation in that kind of space, and that’s happening now in this political climate.”
William hopes someone sees the work and offers to fund it for the rest of the brothers’ lives. He adds that he does not think there has been a US cultural project of this scope before. “That’s a lot to take on,” he says, “but I think that the Ladds are willing to take it on and change the world into a better place.”
From Lubaina Himid’s colonial cotton at the Holburne Museum to a group survey at the Barbican, the once maligned medium is in the spotlight
The fashion designer’s fantastical sketches are given equal billing with the dresses that made him famous

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June 3, 2026
A new investigation raises concerns about digital exploitation, consent, and the growing use of AI-generated Black female influencers
Whether people embrace it or fear it, artificial intelligence has infiltrated almost every aspect of the internet. From the controversial AI-generated content that President Trump has posted on Truth Social to the AI artists topping the music charts and the hundreds of thousands of workers being displaced by AI, AI has become inescapable. However, as AI disrupts the workforce and reshapes how content is created and consumed, it is also raising concerns about consent, ownership, and exploitation. A recent investigation by Glamour UK found that AI-generated influencers modeled after Black women are attracting millions of views online, often without the knowledge or permission of the women whose content and likenesses inspire them.
According to the report, these viral TikTok and Instagram accounts often feature dark-skinned Black women performing dance trends and creating lifestyle content. However, they’re not operated by real people. Instead, many are AI-generated personas designed to attract engagement and drive users toward paid subscription platforms featuring sexualized content.
According to Glamour, the creators behind these accounts frequently build AI models by scraping content from real Black women online. The technology can replicate facial features, body types, movements, and mannerisms. The investigation also revealed that many of the AI-generated characters are depicted with exaggerated physical traits and hypersexualized features. In some cases, the avatars are portrayed with unnaturally dark skin tones and content that appears increasingly tailored toward adult audiences, reinforcing longstanding stereotypes about Black women.
A 21-year-old TikTok creator based in Sierra Leone identified as Josephine says she was shocked to discover that her videos were being replicated by an AI influencer. One video, which featured a realistic, dark-skinned female avatar mimicking a dance video she had posted nearly four years earlier, garnered substantial views, far surpassing her original video.

“I thought someone was tagging me in their own version,” she told Glamour. “But then I realized it wasn’t even a real person. It was an AI version of a Black woman with a dark skin tone that didn’t look real, recreating my every move. From my network of creators, I had heard that there were dark-skinned AI-generated Black women going viral on TikTok. I never gave anyone permission to use my video. I felt like someone had created a sloppy caricature of me for views and likes.”
Cybersecurity expert Sarah Armstrong-Smith referenced the AI deepfakes as a form of “synthetic doppelgänging.”
“There’s enough similarity to mimic the look, traits, and personality of a real human, but giving it a synthetic and AI look…to try to bypass any potential claims on identity theft, or copyright infringement,” she told Glamour. “These AI-generated female personas can pose significant risks to real women and girls who are disproportionately targeted by non-consensual image manipulation, including sexual exploitation and reputational damage,” she added.
TikTok says multiple accounts and content were removed for violating its community guidelines, which prohibit content that promotes sexual services as well as AI that uses content published by private individuals without consent. The social media platform also bans spam and impersonation accounts. Furthermore, a spokesperson for TikTok notes that more than 1 billion videos have been labeled as AI-generated on the platform to help users identify content generated by humans versus artificial intelligence. Likewise, a spokesperson for Meta told the publication that accounts violating its policies have also been removed.
Still, as fake influencers become more sophisticated and widespread, critics say stronger safeguards, greater transparency, and clearer legal protections will be necessary to prevent the exploitation and monetization of people’s identities, particularly those of Black women, who have historically been disproportionately targeted by harmful stereotypes.
RELATED CONTENT: White TikToker Checked For Claiming ‘Hood Prom’ Happens Because Black Girls Won’t Get Married

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Decades after receiving support from The King’s Trust as a teenager, the actor and activist received one of Britain’s highest honors.
Idris Elba is officially Sir Idris Elba.
Elba received the honor during an investiture ceremony at Windsor Castle on June 2, recognizing the actor, activist, and musician for his services to young people. As theGrio has previously reported, Elba has a longstanding relationship with King Charles and The King’s Trust charity. The honor marks the highest formal recognition of a partnership that began when Elba received a grant from the organization as an 18-year-old and reflects his decades-long ties to the royal family.
People published photos from the ceremony showing the monarch tapping a sword on Elba’s shoulders as he knelt. The royal family also shared images from the moment on its official Instagram account.
A post shared by The Royal Family (@theroyalfamily)
“We are thankful. The work continues,” Elba, 53, wrote on Instagram Stories, sharing a photo of himself holding hands with his wife Sabrina at the castle grounds. He tagged the Elba Hope Foundation, the charity he and Sabrina co-founded in 2022 to support diaspora communities.
The honor was first announced as part of King Charles’ 2026 New Year’s Honours list. Speaking to People in January at the “Hijack” season 2 screening, he said the recognition had not fully sunk in yet.
“I haven’t really spoken about it, but I will say that it’s a real honor to be recognized for the work,” he said. “Especially trying to make as much noise for young people and the things that some of them are going through. So it feels like an honor. My family is honored by it. I don’t even know how to talk about it.”
Elba is a Goodwill Ambassador for The King’s Trust, which has helped over one million young people since King Charles founded it in 1976. Just weeks before the ceremony, the two reunited at a Buckingham Palace garden party celebrating the charity’s 50th anniversary, where they deejayed together.
“King Charles came over, and he wanted to do a back-to-back, so he got on,” Elba said.
Elba previously held down DJ honors at the reception for Prince Harry’s royal wedding.

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A new poll conducted by The Highland Project finds that 9 in 10 Black women living in the South say the country is heading in the wrong direction. However, many remain motivated to vote and fight for a better future.
A new survey sheds light on the sentiments of Black women in the South, revealing that while they are deeply dissatisfied with the direction of the country and the economy under President Donald Trump, they remain just as motivated to vote and prioritize joy and peace.
The poll, Making Joy Possible: Black Women Voters in Mississippi, is conducted by The Highland Project, in partnership with brilliant corners Research & Strategies and Springboard to Opportunities. It finds that 89%, or 9 in 10, Black women living in the South say the country is heading in the wrong direction. However, unlike other groups, they remain highly motivated (75%) to participate in the 2026 midterm elections.
“What Black women are pointing to in terms of lack of economic mobility, they’re pointing to system failures, structural challenges with voting rights …but it is a sign about knowing that these systems are inextricably linked, that they need to show up and advocate for the vision that they’re seeing,” Gabrielle Wyatt, founder of The Highland Project, told theGrio.
Black women — 92% of whom voted for Kamala Harris over Trump in the 2024 election — have disproportionately suffered during Trump’s second term in office. The 47th president’s executive actions, including attacks on DEI, cuts to the federal workforce, safety net programs like Medicaid and SNAP, and access to federal student loans, have left Black women most vulnerable in a rising affordability crisis. An estimated 300,000 Black women have lost their jobs since Trump returned to the White House–something critics say is by design.
While Black women were perceived as disillusioned after the 2024 election, in which a majority of the country voted in contrast to them, the survey’s sponsors say Black women, despite their hardships and frustrations, understand the assignment.
“What is that anger and that disillusionment going to gain? It won’t do anything,” Aisha Nyandoro, founder and CEO of Springboard to Opportunities, a nonprofit working to subsidize low-income residents in Jackson, Miss., told theGrio. “The beauty of living and growing up in the South is that you have a rich understanding of history, and when you have a rich understanding of history, you also know that you have a rich understanding of your responsibility, and so even though you can be frustrated, you understand what is to be lost.”
Understanding that history is probably why, among the issues most concerning to Black women in the South surveyed by The Highland Project, the very top issue is the erasure of Black history (71%), above things like lack of affordable health care (67%), the cost of basic needs (60%), and threats to voting rights (58%). The other top issues are the war in Iran (69%) and ICE or government agents violating rights and due process (67%).
“They are working double time to erase that history, to erase that knowing, and to take away our rights,” said Nyandoro. “They want the South to be disenfranchised because they know if the South is disenfranchised, the path forward for all of us will not be realized.”
Cornell Belcher, founder of brilliant corners Research & Strategies, told theGrio that he first picked up on the trend of Black women’s “anxiety” over censorship of Black history while polling voters in North Carolina several months ago.
“They were bringing up sort of censoring and book bans and names being taken off of buildings, and this sort of attack on Black history, and over the last year it’s been growing and growing,” said Belcher.
The Democratic pollster, who has worked with the presidential campaigns of former President Barack Obama, said it’s also not surprising that the Iran war was the second most important issue for Black women.
“We’ve seen in the past this conversation about spending resources on foreign policy in these wars that are desperately needed for issues within their communities,” explained Belcher.
Nyandoro says there’s a throughline between Black women’s concerns over the erasure of Black history and what’s happening in Iran and to immigrant communities.
“All of those are issues that impact everyone,” she told theGrio. “We are paying attention, and we understand what all of this means for all of us.”
Wyatt said the findings align with previous surveys conducted by The Highland Project, which showed that what keeps Black women up at night is “preserving the collective over the individual.”
As Black women remain the head of households and leaders in their communities, those surveyed in Mississippi name specific economic barriers to their mobility. Most named a lack of a good-paying job (38%), followed by unfair or rigged systems (32%), racism and discrimination (27%), and inadequate programs to help people in poverty (16%).
The Black women surveyed were also asked how they would use an extra $1,000 a month. They told The Highland Project that it would go toward immediate stability, such as basic expenses like housing and food, debt, and savings. The focus on extra cash payments aligns with Nyandoro’s work, whose nonprofit, Springboard to Opportunities, launched the Magnolia Mother’s Trust, a guaranteed basic income program.
Nyandoro, who champions a federal guaranteed income program, says it would not only help families who need it but also the community and the economy as a whole.
“In our research, we show that the individuals within our guaranteed income, that money turns around six times in a community, because on average the radius in which they’re traveling to spend their income is about 15 [miles],” she told theGrio. “We are unlocking possibility, because the piece that we don’t talk about with poverty enough, is that poverty is a thief of imagination, and poverty is a thief of time.”
The Highland Project survey also tracks Black women’s views around success versus joy, finding that for Black women in the South, the two are viewed differently. While they desire relief from economic strain and experiences of racism, distrust in systems that do not listen to them and their needs, Black women have a “deep desire for a life defined not only by survival or success, but by joy, peace, faith, family, and freedom,” the survey finds.
“Having enough money to live comfortably, scores higher for joy than it does for success, and that’s, I think, counterintuitive,” Belcher said of the data point. He told theGrio, “Money isn’t primarily about status, it’s also about peace of mind and the ability to enjoy life.” He added, “Joy is important…it’s important to understanding and meeting these women where they are, and giving them what they need.”
Wyatt from The Highland Project explained it this way: “They want to live lives where a rug can’t be pulled from underneath them… what they’re naming at the heart of that for them is family, it’s faith. It’s having a job that they enjoy, it’s having access to loving relationships and healthy foods.”
“While money was named as a key factor in stability and in peace, we did not hear Nlack women name everyone needs to be a billionaire,” she explained. “It was about their well-being, the future’s well-being, their ability to live their lives now freely, to care for their families, to rest.”
Nyandoro said that while joy is top of mind for Black women, it is something all Black Americans should strive to attain, no matter the political environment.
“Nobody just wants survival, that’s not what our ancestors died and fought for,” she told theGrio.
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June 3, 2026
The proposed project would be located in southwest Atlanta and is expected to serve residents across the city’s southern neighborhoods.
Morehouse School of Medicine is partnering with the City of Atlanta on plans for a major hospital development to expand healthcare access in communities that have faced significant service gaps since the closure of several medical facilities in the region. The proposed project would be located in Southwest Atlanta and is expected to serve residents across the city’s southernmost region.
City officials and leaders at Morehouse School of Medicine announced the collaboration as part of a broader effort to address growing concerns about access to emergency and specialty care, according to Afrotech. The upcoming hospital is expected to be built at the MET Atlanta site, a mixed-use development south of Interstate 20. Early estimates place the project’s cost at roughly $800 million.
Atlanta Mayor Andre Dickens said the partnership would help improve medical services in underserved areas while creating additional training opportunities for future physicians. Morehouse School of Medicine, a historically Black medical institution founded in 1975, has long focused on advancing health equity and increasing the number of healthcare professionals serving underrepresented communities.
“They are a great institution with great leadership,” Dickens said of Morehouse School of Medicine, according to The Atlanta Journal-Constitution. “They heard our cry for many years about trying to have a hospital.”
The AJC also reports that the need for additional medical infrastructure intensified after the 2022 closures of Atlanta Medical Center and Atlanta Medical Center-South, which left many residents with fewer nearby options for emergency and inpatient care.
Funding for the hospital remains under discussion. Atlanta organizers have indicated that a portion of the financing could come through the city’s Neighborhood Reinvestment Initiative, a redevelopment plan that includes extending several tax allocation districts to support long-term community projects.
If approved, the hospital would represent one of the largest healthcare investments in Atlanta in recent years and could become a key component of ongoing efforts to improve health outcomes, expand medical education opportunities, and reduce disparities in access to care across the city’s southside communities.
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‘The Breakfast Club’ co-star has seen her life and career explode in the public eye, but after hard lessons learned, she’s keeping certain things to herself and her family.
Comedian Jess Hilarious built her brand on being an unfiltered woman from Baltimore, letting fans in on the journey. But, as fame increased, so did the desire to no longer allow everyone behind the curtain. The lessons learned from past mistakes have prompted “The Breakfast Club” co-host and author to maintain a bit of privacy about certain things, namely her marriage.
In a recent appearance on the “We In Miami Podcast,” to promote her book about co-parenting, “‘Til Death Do We Parent,” Jess explained why she decided to take a page out of Issa Rae’s playbook, protecting her husband from the spotlight and the trolls on social media.
“This is something worth protecting,” she said of her marriage in relation to public relationships around the 12-minute mark. “My marriage is worth protecting. My man is worth protecting. My family, my brand is worth protecting.”
The deciding factor in keeping her marriage off social media, in Jess’ eyes, came from her experience with prior public relationships: how even sharing moments of love and honest affection can turn into “content,” even after both parties call it quits. Megan Thee Stallion became the subject of such a moment earlier this year after her split with Klay Thompson, generating thinkpieces and allowing everyone outside the relationship to have a say on why it ended.
“If it don’t work, oh, you going to have to go back and explain to all these millions of people,” Jess said.
The comedian and her husband, Chris, a trucking CEO, first began their relationship in 2023. A year later, they welcomed their daughter, Marley Sky Moore Tolliver, in August 2024. However, it was all sparked when the two met eyes at a Baltimore restaurant and Jess shot her shot, offering to buy him a drink. After the pair exchanged numbers, things moved pretty quickly from there: “He hit me a week later, took me on a date, and I haven’t left his side since then.”
The relationship has been a blessing for her, who said becoming married changed her personally for the better.
“When you marry somebody that just breathes life into you and pour into you and empower you, lift you up,” she said. “It shows.”
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Cara Romero, Fawn, 2025 William P. Healey Collection of Native American Art at Phoenix Art Museum, Gift of William P. Healey. © Cara Romero. Image courtesy of the artist.
The Phoenix Art Museum has acquired 185 works of modern and contemporary Native American art from the collector William P. Healey, the largest gift of Native American art in the institution’s history. The collection, assembled over the past decade with the guidance of the Diné artist Tony Abeyta, will anchor a new show, The Way We Came: A Century of Indigenous Art, opening at the museum on 26 August.
The show will be co-curated by Abeyta, whose own work is included in the gift, and JoAnna Reyes, the museum’s adjunct and non-Native curator of the Americas. Other artists featured in the gift include Jaune-Quick-to-See Smith (Confederated Salish and Kootenai), Fritz Scholder (Luiseño), Allan Houser (Apache), T. C. Cannon (Kiowa, Caddo), Kay WalkingStick (Cherokee) and Emmi Whitehorse (Navajo).
Of the 99 artists represented in the Healey collection gift, only one reflects the Tribes in the Phoenix area: Michael Chiago, who hails from the Tohono O’odham and Pima-Maricopa nations. The Akimel O’odham, on whose ancestral homelands Phoenix resides, appears to have no representation in the collection.
Laurie Steelink, an Akimel O’odham artist based in Los Angeles, was previously featured in the 2022 exhibition Desert Rider at the Phoenix Art Museum and considers herself, at 65, still in the process of reconnecting with her nation. Steelink was adopted before the 1978 Indian Child Welfare Act protecting Native youth from government adoption programmes operating under the “kill the Indian to save the child” mission, designed initially for 19th-century Indian boarding schools. The shortage of local Tribal artists in the gifted collection reflects “a gap between community stewardship and institutional collecting”, Steelink says.
Jaune Quick-to-See Smith, Xeriscape, 1991 William P. Healey Collection of Native American Art at Phoenix Art Museum, Gift of William P. Healey. Photo: Davin Lavikka. Courtesy of the Estate of Jaune Quick-to-See Smith and Garth Greenan Gallery, New York.
Reyes and Abeyta’s exhibition of works from Healey’s gift is framed in relation to the concept of “survivance” as defined by the scholar Gerald Vizenor (Anishinaabe): an active sense of presence and ongoing resistance that defies colonial narratives of Indigenous erasure and victimhood. The exhibition is being managed without permanent Native curatorial staff.
“Survivance does actually feel like it can encompass some of it,” says Joseph Pierce (Cherokee Nation), an associate professor at Stony Brook University and recent Ford Foundation Scholar in Residence at the Museum of Modern Art in New York, whose 2025 book Speculative Relations is about approaching art and culture through a framework of reciprocity and care rather than as objects of study. “Survivance makes sense if you’re thinking about works from the early 2000s. This isn’t an acquisition about right now, it’s an acquisition about the last 50 years.”
This acquisition by the Phoenix Art Museum is the third large gift of modern and contemporary Native American art to a major US museum in the past year, following the Art Bridges Foundation and Crystal Bridges Museum of American Art last July and the New York Historical last February. The gift expands the Phoenix Art Museum’s American art collection––comprised of around 600 objects––from approximately 25 Native works to more than 200.
Awa Tsireh (Alfonso Roybal), Untitled, around 1930s. William P. Healey Collection of Native American Art at Phoenix Art Museum, Gift of William P. Healey. Photo: Davin Lavikka
The majority of the artists represented in all three gifted collections are deceased, meaning the receiving institutions acquire cultural capital of Indigenous artistic production without the ongoing financial and relational investment that living artists require––no studio visits, no commissions and no community engagement.
“These donations are so celebrated but they are still informed by colonial histories that art collectors are embedded into regardless of the cultural sensitivity or consultation,” says Demian DinéYazhi, a Diné transdisciplinary artist who was featured in the 2024 Whitney Biennial.
“It’s really exciting on the one hand because these artists deserve to be recognized and have they work preserved; it’s also a reminder of vast resources prioritised to recognise collectors and their legacy.” says DinéYazhi. “Imagine how these resources could impact regional Native communities and independent curators, writers and artists.”
Pierce adds: “Artists that have gallery representation, those galleries are helping take the artists to art fairs and are helping frame the visibility of those artists, which is something that the deceased artists have no need for because they’re not here anymore.”
The Phoenix Art Museum has made no concrete commitment to hire a Native curator for the stewardship of the 185 works gifted by Healey, though its director Jeremy Mikolajczak says that is “our intention, yes, absolutely”.
The director and film-maker has donated around 375 works to his hometown institution—and will have a pair of restrooms named after him
The gift from the John and Susan Horseman Collection will expand access to Native art across the US
The works—including pieces by Jaune Quick-to-See Smith, Fritz Scholder, T.C. Cannon and others—were donated by the chair of the museum’s board of trustees and her husband

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Megan’s latest Instagram posts are giving yacht days, club nights, tequila shots, and Hot Girl Summer. Ahh!
Attention Hotties: Hot Girl Summer is officially back, and it’s because Megan Thee Stallion says so.
The Houston rapper has been all over our timelines giving bawdy, bars, and bold, in-your-face social media energy. From Miami yacht clips to club pics and bikini shots with the girls, Megan is outside—and she wants everybody to know it.
Over the past few days, Megan has dropped several clips and photos showing her living it up in Miami, promoting her Chicas Divertidas tequila. It’s time to get ready—Megan says so.
Megan’s posts follow a lit weekend where several celebs were in Miami. In one of them, the multi-hyphenate star hosted a hotter-than-hot swimsuit runway and spent time out and about.
In one pic, Megan and her friends are seen on a yacht enjoying the sun, swimsuits, and shots. In another, the “HISS” rapper poses in a black-and-white string bikini (from her line), slick, wet-look hair, and oversized bangles. She also shared a club-ready moment in a black sheer catsuit, a sleek high bun, and hoops while making it rain.
Not stopping there, Megan also dropped a white mini dress-bright green lace front moment. We’re talking a plunging white look with neon green hair swept across her face; grills, glam, and the kind of playful edge only she can pull off.
Chicas Divertidas visuals added to the flex. Pink bottles, yacht shots, Kiki trays, and bikini moments were everywhere. Meg knew exactly what she was doing—part liquor promo, part message sent.
And the Hotties are ready.
Fans immediately connected Meg’s post to recent breakup headlines involving Klay Thompson. One wrote, “Meg, thank you for giving them permission to be their true selves this summer.” A second added, “Torched mansions and cars all summer—figuratively—wifey ain’t here!”
Even Cardi B joined the fun, commenting, “Let me drive the boat.”
Whether it is a message or just Megan being Megan, one thing is clear: She is back in full force. So yes, if anyone needed confirmation, here it is: Megan Thee Stallion is outside, and the season belongs to the Hotties.
Megan Thee Stallion Just Declared That Hot Girl Summer Is Back was originally published on hellobeautiful.com

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Ten years after the death of “The Greatest,” the Ali Center is leading the charge in a global effort to act with kindness, assist others, and more.
When Muhammad Ali spoke, people listened, not with an eagerness to respond for the sake of it, but with the glee and curiosity of what he might say next. A decade after his death, his wife, Lonnie Ali, and the team behind the Muhammad Ali Center hope that his actions and charity during his lifetime will resonate in the hearts and minds of thousands across the country. 
On Wednesday, the Ali Center kicked off its inaugural Day of Compassion, urging municipalities across the country and the world to take time out to participate in acts of service. The Ali Center is even encouraging employees to take a paid day off to work and serve in the community.
“Compassion was the center point of Muhammad’s life,” Lonnie Ali, the late boxer’s wife, told theGrio in an exclusive interview. “It’s how he showed up every day, how he treated people with kindness, empathy, care, and respect. He never passed by a person he felt was in need; he did not stop to see that person and try to help them in some way. He always connected with people.”
The impact of Ali’s life, plus witnessing the nation’s current fractures, compelled Lonnie and the Ali Center to launch the Day of Compassion, with the aim of reconnecting people to their humanity and to the greater good of helping others rather than only helping themselves.
As she stood by his side from the mid-1980s until his passing on June 3, 2016, Lonnie was present for various acts by “The Greatest,” observing him and being aware of who in a room needed the most and whom he could gravitate toward to help. Even as one of the most famous people in the world, someone who was “extraordinary” according to Lonnie, Ali routinely found a way to remain true to himself.
“He was able to relate to people everywhere,” Lonnie says. “He never tried to solve the world’s problems, but he tried to help and uplift those people he saw, like in the moment. I think that’s what he tried to teach us. It doesn’t have to be some grandiose action that you do; it’s the little things that count.”
One of Ali’s biggest mantras, engraved on his tombstone, has become one of Lonnie’s favorite sayings, which she repeats often: “Service to others is the rent we pay for our room here on earth.” The Day of Compassion, in her eyes, is the greatest gift anyone could have given to the champion boxer and humanitarian.
Last year, the Ali Center launched a Compassion Index, examining 20 cities in the United States by identifying cultural and behavioral trends and establishing the Net Compassion Score. One finding was that many still believe in the “American Dream” and that compassion is a major component of it. Lonnie says the index will expand to include international cities in 2026, taking a deeper dive into what motivates people to be compassionate, what keeps them from being compassionate, and more.
In Ali’s native Louisville, he has never truly gone. The airport bears his name. Walls along buildings bear his visage through murals and more. When he entered the ring, he proudly represented the city, one that aims to be a “shining light” for what can be done in terms of giving back, being compassionate, and thinking of others. The Day of Compassion might originate in Louisville, but its reach is global.
As the Day of Compassion unfolds, Lonnie laughs when asked about her favorite memory of her late husband’s generosity.
“How much time you got?” she asks with a laugh, before recalling a moment when Ali woke up one morning and decided to visit children in the hospital, at a juvenile facility, or even men and women at a retirement facility. One day, when en route to a juvenile detention center in Los Angeles, a man down on his luck exchanged paths with Lonnie and Muhammad, unaware of who he was walking near.
“Muhammad noticed him, and we stopped,” Lonnie recalled. “He stopped about ten steps afterward and turned around and jogged back to this gentleman and tapped him on the shoulder, because he was still walking away. The guy turned around, looked up, and saw who it was, and, of course, his face lit up; he was happy, you know.” 
She continued, “That probably would have been enough, but it wasn’t enough for Muhammad. Muhammad reached into his pocket, took every dollar he had, and put it in this guy’s hand. So, of course, this guy was elated, you know. And Muhammad came, turned around, started walking back to me, and he had this little skip, little smirk on his face. When he got to me, I said, ‘Muhammad, why did you do that? That gentleman didn’t ask you for anything.’ He said, ‘I know, but he looked like he needed it.’” 
Acts like “gave Ali joy,” according to Lonnie, just for his ability to do it. Now that the Day of Compassion appears poised to become an annual tradition, she and others seeking to uphold her husband’s message hope to hear similar stories from others.
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June 3, 2026
This new advisory group aims to provide strategic advice to BET as the media company expands its programming, audience engagement, and business
BET Founder Robert L. Johnson returns to the famed network he founded in 1980. BET, now owned by Paramount Skydance, announced the formation of its first Board of Advisers, which includes influential leaders from entertainment, business, and media. Notable members include Queen Latifah and LL Cool J, along with Johnson, Variety reported.
This new advisory group will provide strategic advice to BET as the media company expands its programming, audience engagement, and business efforts. The board consists of a host of executives and industry insiders chosen for their experience in entertainment, entrepreneurship, and brand development, including Troy Vincent, the NFL’s executive vice president of football operations; Raymond J. McGuire, president of financial advisory and asset management firm Lazard; and George Cheeks, chair of TV Media at Paramount Skydance.
The advisers’ board will collaborate with BET executives to shape long-term goals and find growth opportunities while maintaining the network’s long-standing focus on Black culture and storytelling.
In a statement to Variety, BET’s President Louis Carr described the group as “visionary leaders.” He stated that their expertise will assist the company in navigating future opportunities.
“BET has always been more than a platform. It is a cultural institution with a responsibility to serve, reflect and advance our community. As we enter this next chapter, this board brings together leaders whose influence, perspective and integrity will help ensure we continue to honor that responsibility while building what comes next.”
The creation of this advisory board comes as media companies face ongoing changes in streaming, advertising, and audience habits. BET believes the advisers’ combined experience will guide the company into its next phase of growth while supporting its cultural and business goals.
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Vendors and artisans at Chichén Itzá prior to the recent closure Courtesy CIGPC
Chichén Itzá, Mexico’s most visited archaeological site, reopened today (1 June) after an unprecedented 13-day closure amid community opposition to a new tourist complex. The conflict centred on the relocation of more than 600 vendors and artisans—who for decades have offered products at the market and within the site—to the new 16-hectare visitor facility known as Catvi.
Chichén Itzá is a Unesco World Heritage Site and one of the New Seven Wonders of the World. Its visitors provide the main source of income for the surrounding communities. According to Mexico’s National Institute of Anthropology and History (INAH), the site attracts more than 8,000 people daily, for a total of 2.2 million visitors per year.
The Catvi is part of the infrastructure for the controversial new Maya Train, which includes a station near Chichén Itzá. Similar facilities have been planned elsewhere along the route as well, including at Palenque. The $46m Catvi includes 962 commercial spaces, food courts and guide facilities. A new ticketing system was also introduced, reducing wait times.
“This is the biggest infrastructure for visitor services in Latin America,” said INAH’s director, Joel Omar Vázquez Herrera, during a 26 May press conference. He added that it would “increase security and boost visits to the Great Museum of Chichén Itzá”, which opened in 2024 and features artefacts uncovered during the Maya Train’s construction.
INAH first announced the closure of Chichén Itzá as “maintenance work”, but the conflict with the site’s vendors soon became evident. After days of unsuccessful talks, authorities rejected pleas to keep the old access points open. On 26 May, INAH announced that 220 of the 666 vendors had agreed to relocate. “No one will be evicted,” Vázquez said, noting that dialogue was key. Yet that same day, the Indigenous Governing Council of Pisté Chichén Itzá (CIGPC), a newly formed local Maya organisation, held a street protest denouncing a “halt” in dialogue.
On 27 May, CIGPC filed a legal injunction to halt the relocation of vendors, claiming there had been insufficient community consultation. “We are acting peacefully under a legal framework showing things can be done differently,” a CIGPC member who requested anonymity tells The Art Newspaper. “We did not close the site; authorities did so without notice. What began with vendors now includes taxi drivers, guides and landowners helping each other in a temporary camp.”
Authorities celebrate the new facilities, but CIGPC does not. “The new spaces lack dignity and are far from the main pyramids, where we traditionally offer products,” the CIGPC member says. INAH proposed a phased relocation and placing vendors along the path connecting Catvi to the site, yet the CIGPC member believes that many tourists will prefer car service. He noted that the group seeks “guarantees” for the more than 1,500 people affected, which exceeds the number of registered vendors.
Community issues in Chichén Itzá are longstanding. In 2023, locals blocked the highway for ten days, demanding the then director’s removal over corruption; he was soon replaced. Other Maya sites have also faced conflicts. Toniná, home to one of Mexico’s tallest pyramids, was closed for more than two years due to land disputes but recently reopened after expropriation. Meanwhile, Mayapán has been closed since February 2024 because of unresolved land and financial disputes.
But the Chichén Itzá conflict was particularly worrisome for the tourism industry given the site’s international renown. “Chichén Itzá helps position Mexico as a top destination,” José Enrique Molina Casares, the president of Mérida’s Chamber of Commerce, Services and Tourism, said in a statement. “Any interruption affects thousands of tourism workers and businesses, the regional economy and Yucatán’s global image.” During the closure, nearby sites like Ek Balam reportedly saw more visitors.
Negotiations led to the site’s reopening with access only through Catvi. But CIGPC continues fighting to keep the former tourist centre open. “We are proud of our nonviolent resistance and will continue advocating for affected families,” the group said in a statement.
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Many organisations, including Unesco, fear the project will negatively affect the region’s cultural heritage, natural environment and residents when it opens in December

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Keith Sweat, the R&B legend, shares his excitement for his upcoming performance on the One Voyage Cruise, where he’s set to deliver a string of his chart-topping hits.
There’s something about his presence, calm, confident, unbothered, that reminds you exactly why Keith Sweat’s music has stayed with us for nearly four decades. Between laughs and real talk, he opened up about his legendary career, new music on the horizon, and his upcoming performance on the One Voyage Cruise.
Text “RICKEY” to 71007 to join the Rickey Smiley Morning Show mobile club for exclusive news. (Terms and conditions).
Keith Sweat is set to perform on the One Voyage 2026 cruise, sailing October 26 aboard the Virgin Voyages Resilient Lady, and if you’re a lover of classic R&B and a good time on the water, this is the experience you’ve been waiting for.
“I got hit after hit after hit,” Sweat said with a smile, and he wasn’t bragging; he was simply stating facts.
Picture this: the ocean breeze, a cold drink in your hand, and Keith Sweat on stage delivering every song you’ve ever slow danced to. That’s what One Voyage is offering. To secure your cabin, head to onevoyagecruise.com and use code Ricky at booking for a $500 onboard credit.
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Rickey Smiley took Keith back to the beginning, and what a beginning it was.
Keith Sweat didn’t just arrive on the music scene. He helped build it. Alongside producer Teddy Riley, he was instrumental in creating New Jack Swing, the genre-defining sound that fused R&B with hip-hop and dominated the late ’80s and ’90s. “Without me, there wouldn’t have been a him, and without him, there wouldn’t have been a me,” Sweat said of his relationship with Riley.
What many fans may not fully appreciate is how wide Keith Sweat’s fingerprints are across R&B history. He wrote “Freak Me” for Silk, “Just Got Paid” for Johnny Kemp, and contributed material for Ron Isley, The O’Jays, Immature, and Dru Hill, among others.
His pen has shaped the soundtrack of Black love for generations. That kind of legacy doesn’t happen by accident; it takes vision, discipline, and an ear for what people actually feel.
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Keith Sweat isn’t living in the past. He dropped news of a new Southern soul single titled “Good Love, Part 2“, featuring Calvin Richardson, King George, Cupid, and Roy.
He also revealed an Afrobeat album with a track that hit number one in South Africa, proof that his sound travels far beyond American borders.
The man has an American Music Award and a lifetime achievement award from the Soul Train Awards on his shelf, but it’s clear he’s still chasing new peaks.
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The One Voyage Cruise is bringing fans an unforgettable opportunity to see a laundry list of legendary artists in an once in a lifetime performance. This isn’t just a cruise with a performance, it’s a celebration of music, culture, and community, all while raising money for students attending HBCUs all aboard a luxurious cruise designed to create memories that will last a lifetime.
Set sail with us on the One Voyage Cruise, departing October 26 thru November 1, 2026, on Virgin Voyage’s Resilient Lady from Miami to the breathtaking destinations of Nassau, Bahamas. and Bimini. Don’t miss your chance to be part of this once-in-a-lifetime experience, featuring world-class entertainment including T.I., Rick Ross, Keith Sweat, Pastor Mike J, and more, enriching experiences. Secure your spot today at onevoyage.blackamericaweb.com or call 214-495-1963
HEAD BACK TO THE RICKEYSMILEYMORNINGSHOW.COM HOMEPAGE
Hit After Hit: Keith Sweat Talks Upcoming Performance on the One Voyage Cruise was originally published on rickeysmileymorningshow.com

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