B-Side Bangers: Jill Scott

The hits made them stars, but the deep cuts made us fans! See if you know any of these “B-Side Bangers” by Jill Scott.
Today is about to be a soulful birthday celebration, as Philly-bred R&B queen Jill Scott celebrates her milestone 53rd lap around the sun!
In a career that’s spanned over 25 years and counting, it’s amazing to see how “Jilly from Philly” has evolved from the definitive Words And Sounds series up to her grand return in February 2026, after an extensive 11-year hiatus, with her sixth album, To Whom This May Concern.
The project’s latest single, “Pressha,” has been fairing pretty well for the neo-soul icon, even topping Billboard’s Adult R&B Airplay chart back in March.

RELATED: B-Side Bangers – Erykah Badu
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It’s safe to say that Scott knows her way around a hit record. Songs like “Gettin’ In the Way,” “A Long Walk” and “Golden” were staples in presenting her signature sound; collaborations like “Daydreamin’” with Lupe Fiasco, “So in Love” with Anthony Hamilton and “So Gone (What My Mind Says)” alongside Paul Wall proved she plays quite well with others. From contemporary R&B and classic jazz to a certified adults-only bedroom banger — we’re looking at you, “The Way”! — this is a woman that has all her bases covered.

We figured if anyone deserved a deep dive into their discography, Jill Scott is more than fitting for a “B-Side Bangers” exclusive. In addition to the aforementioned greatest hits, there’s so much more to love when you dig into the album cuts, soundtrack contributions, and feature guest appearances on albums by equally-talented musicians. This one will certainly be a treat on your ears.

*Following Jill Scott’s split after a decade with the label, Hidden Beach Recordings released The Original Jill Scott from the Vault, Vol. 1 of unreleased early material in response to a 2011 lawsuit settlement that also included her 2015 greatest hits compilation, Golden Moments.

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Renoir, Cézanne and Matisse works stolen in ‘three-minute’ Italian museum heist

Pierre-Auguste Renoir, Les Poissons (1917)
Fondazione Magnani-Rocca
Paintings by Renoir, Cézanne and Matisse have been stolen from a private museum near the Italian city of Parma in the north of the country. According to a statement from the carabinieri (Italian police), four men entered the Magnani-Rocca Foundation, housed in a rural villa south of Parma, on 22 March to remove Les Poissons (1917) by Pierre-Auguste Renoir, Still Life with Cherries (around 1890) by Paul Cézanne and Odalisque on the Terrace (1922) by Henri Matisse.
According to the Italian newspaper Il Corriere della Sera, the hooded criminals entered by forcing open a door. According to a statement provided by the foundation to the newspaper, the thieves took less than three minutes to carry out the theft, partly because the alarm system was activated, forcing the gang to flee.
The lawyer Christopher Marinello, the founder of the company Art Recovery International, tells The Art Newspaper that “the criminals, who must have scoped out the building in advance, will look to cash out as quickly as possible. They’ve also learnt from the Louvre theft [last year] that they can get into any museum if they cover their faces and move quickly enough. Museums need to start thinking about the possibility of the three-minute theft.”
In a post on LinkedIn, the intellectual property lawyer Eloise Calder said: “As methods evolve and operations seem to become more targeted and sophisticated, the challenge is no longer just recovery but prevention. For now though, the immediate focus is on the safe and swift return of these stolen works, something the art world will be watching closely.”
The Villa Magnani, home to the Magnani-Rocca Foundation
Photo: Chiara Saffioti
The Magnani-Rocca Foundation is one of the most significant private art collections in Italy, housing works by artists such as Dürer, Titian, Rubens, Van Dyck, and Goya. It was founded in 1977 by the collector Luigi Magnani and opened to the public in 1990. The foundation was contacted for comment.
UPDATE 30/03/2026: This article was updated on 30 March 2026 to correct an image error. An earlier version used an image of Paul Cézanne’s Still Life With Cherries And Peaches, rather than Still Life with Cherries.
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Four works recently returned to heirs of the influential French dealer Ambroise Vollard will go under the hammer in New York next month
The Estorick Collection of Modern Italian Art will display the 50 works by the Italian artist held in the Magnani-Rocca collection

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9 Bill Bellamy TV Shows and Movies You Must Watch

If you grew up on 90s and early 2000s Black entertainment, then Bill Bellamy is a name you definitely recognize. From stand-up comedy to iconic movie roles and hosting gigs, Bellamy helped shape a..
If you grew up on 90s and early 2000s Black entertainment, then Bill Bellamy is a name you definitely recognize. From stand-up comedy to iconic movie roles and hosting gigs, Bellamy helped shape a whole era of culture, humor, and storytelling.
Here are 9 must-watch TV shows and movies that showcase his range and impact:
Bellamy plays Hollywood in this classic Black romance film starring Larenz Tate and Nia Long. His comedic timing adds balance to one of the most beloved love stories in Black cinema.
This is prime Bill Bellamy. He stars as a smooth-talking ladies’ man trying to juggle multiple women at once. A true 90s cult classic.
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Directed by Oliver Stone, this football drama features Bellamy alongside Jamie Foxx and Al Pacino. He plays wide receiver Jimmy Sanderson.
A staple in Black film culture, this movie dives into love, commitment, and friendship among four men navigating relationships.
A high-energy action series where Bellamy plays Detective Deaqon Hayes. Think flashy cars, undercover missions, and early-2000s style.
Bellamy stepped into hosting, bringing charisma and humor while spotlighting rising comedians.
Created by Issa Rae, Bellamy pops up in this modern Black classic, showing he can still connect with new generations.
Before everything else, Bellamy was THAT guy on MTV. His personality helped define 90s hip-hop media culture.
Bill Bellamy is more than just a comedian, he’s a cultural bridge between generations. From classic Black films like Love Jones to hosting on MTV and appearing in modern shows, his career shows consistency, charisma, and evolution. If you’re building your watchlist, this is a perfect place to start.
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Black unemployment rate slightly dips, but Trump’s new 2027 ‘woke’ budget cuts threaten Black economy

“The very programs the Trump administration rails against as ‘woke,’ normal households all across the country simply see as critical to their survival.”
The Black unemployment rate slightly dipped in March, showing modest signs of improvement for Black workers; however, critics warn that President Donald Trump’s newly proposed budget for FY2027 threatens to further drive economic disparities for Black Americans.
The new jobs report from the U.S. Bureau of Labor Statistics showed that the unemployment rate for Black Americans dropped to 7.1%, down slightly from 7.7% the prior month.
Economists tell theGrio that while the new jobs report is encouraging, pain points still exist for Black American workers, especially amid looming federal cuts to services and programming.
“The decline in the Black unemployed from 7.7% to 7.1% is significant and encouraging. But don’t be surprised if it rises again as month-to-month changes obscure the overall trajectory,” said Andre Perry, a leading racial and structural inequality researcher at The Brookings Institution. He told The Grio, “The unemployment rate is still troublesome as there seem to be fewer available jobs overall and fewer people seeking them.”
Angela Hanks, chief of policy programs at The Century Foundation and a former U.S. Labor Department official, told theGrio, “While this month’s decline in the Black unemployment rate is welcome, it is still nearly a point higher than it was a year ago and double the white unemployment rate.”
Hanks added, “Moreover, the domestic cuts the President proposed in his FY 2027 budget, combined with cuts to health care, food assistance, and education in his 2025 budget law and an ill-advised war with Iran, threaten to drive Black unemployment higher over the long term.” 
On Friday, President Donald Trump unveiled his 2027 budget, which includes a 10% cut to discretionary spending and a record $500 million increase in military spending. The White House also published a “Cuts to Woke Programs” list, highlighting budget cuts to several programs aimed at boosting Black employment and entrepreneurship.
Those cuts include the elimination of the Minority Business Development Agency, which the Trump administration said funded “many divisive and discriminatory projects, limiting award eligibility on the basis of race and ethnicity, only supporting businesses owned by designated ‘minority’ groups.” The White House specifically highlights $3 million that was previously awarded to a national Black Lives Matter organization, ‘whose president declared that antifa rioters during the Summer 2020 riots were ‘White Supremacists’ and ‘Russians’ in disguise.’”
The Trump budget proposal also makes cuts of hundreds of millions to various racial equity programs, including environmental justice, housing assistance, healthcare research, and education programs to drive literacy and create pipelines for diverse teachers.
The White House is also proposing eliminating the Community Development Financial Institutions (CDFI) Fund, citing former Vice President Kamala Harris’s involvement in the Fund’s Equitable Recovery Program to build a “more equitable, resilient economy.” During the Biden-Harris administration, investments in CDFIs through the Treasury Department were used to bolster community banks to issue loans to Black-owned businesses, which often face higher denial rates from larger, traditional banks.
“Trump’s economy has added fewer than 300,000 jobs in the past year, and the unemployment rate for Black Americans is still at pandemic-era levels. Those two pieces of data are scary to you and me, but for the White House, this is what their agenda called for the entire time,” said Brandon Weathersby, a spokesperson for the political research firm American Bridge 21st Century. “The latest budget request would gut another $73 billion from the programs that keep families afloat and put the American Dream within reach. The very programs the Trump administration rails against as ‘woke,’ normal households all across the country simply see as critical to their survival.”
Weathersby continued, “Meanwhile, Trump is burning through at least a billion dollars a day on a war in Iran that nobody voted for and nobody wanted. Instead of feeding families, this administration is prioritizing dropping bombs in the Middle East.” He added, “This war’s true cost is measured in the children who go hungry, the families stretched past their breaking point, and the futures gutted so that Trump can wage aimless wars across the globe. The MAGA agenda has always had its priorities, and now every American can see them plainly.”
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Exhibition of UAE-based art in Seoul looks beyond the gilded stereotypes

Farah Al Qasimi’s Signs of Life (2023) Photo: Cocoapictures
Proximitites, a wide-ranging exhibition of art from the United Arab Emirates (UAE) at the Seoul Museum of Art (SeMA) opened in a far more innocent world last December than when it closed on 29 March, several weeks into the US-Israeli war on Iran that has quickly escalated to include most of Gulf countries and beyond. The nuanced societal shifts and daily life in the UAE presented in Proximities is intended to balance out Emirati stereotypes of gilded excess.
“We were given complete freedom to really curate and think about the thematics without any interference,” says the independent curator Maya El Khalil, who co-organised the show with SeMA staff curator Eunju Kim alongside six artist-curators. “The whole idea was actually to present the multiple perspectives of these artists, of the work that’s taking place in the UAE, and also [art by] foreign resident artists. So there’s a lot of works that are revisiting or commenting on a certain socio-political reality.”
She cites Layan Attari’s Zen Dubai Fountain Soothing Water Sounds for Relaxation, Meditation, and Inner Peace (2019), a sculptural audio work that plays water sounds from the famous Dubai fountain—stripped of its usual music accompaniment—heard through an artificial conch shell. “It’s quite an interesting and poetic work, given the idea of the UAE being a coastal country, and [its] historic relationship with the sea. But also the reclaiming of the land that’s taking place, and […] how the landscape has changed […] how Dubai also is creating these fake [bodies of] water.”
Layan Attari’s Zen Dubai Fountain Soothing Water Sounds for Relaxation, Meditation, and Inner Peace (2019) Photo: Cocoapictures
The show of more than 110 artworks by 47 UAE-based artists (33 of whom are Emirati), spread over SeMA’s upper two floors, opened with a section titled A Place for Turning curated by the photographer Farah Al Qasimi. It included the artist’s bright maximalist photographs of private spaces and her compellingly funny video Um Al Naar (Mother of Fire) (2019), a mockumentary about a mischievous spirit, known in Arabic as jinn. Appearing in several sections are Shaikha Al Ketbi’s videos and photographs of ghostly, faceless figures haunting empty pools and abandoned playgrounds—including Sigh (2019) and Al Ukhra (2019)—in tribute to the nostalgiac pangs of spacial change.
Another section, Recording Distance, Not Topography curated by the artists Mohammed Kazem and Cristiana de Marchi, included Kazem’s photographs and videos Window 2003-2005 (2005) capturing the construction of a Dubai high rise through a window, as well as the lives of the migrant labourers who built it and the resulting fancy hotel that, due to social discrimination, they were unlikely to ever enter.”
Mohammed Kazem’s Window 2003-2005 (2005) Photo: Cocoapictures
The show is a collaboration between SeMA and Abu Dhabi Music & Arts Foundation, and seems to be part of the former’s efforts to connect directly with the cultures of other non-Western countries, without the usual Western intermediaries (another example is Working for the Future Past, a show of Latin American artists in 2017-18). Proximities was preceded by an exhibition of Korean art titled Layered Medium: We Are in Open Circuits that opened in Abu Dhabi in May 2025 and was co-curated by El Khalil and SeMA curator Kyung-hwan Yeo.
Though national shows always run a risk of artwashing, especially for countries with as many complexities as the UAE, Proximities went soft on the soft power. Instead it created a sense of place and sought to establish commonalities with South Korea, as former colonies turned economic juggernauts. “The UAE and Korea have a very similar history. We [experienced] colonisation from Japan and the UAE [experienced] colonisation from the UK,” Kim says. “Both had a very rapid process of development economically [and] share a very similar social environment.”
Proximities showed, in particular, the powerful female and feminist artist voices of the region including the under-appreciated and wide-ranging nuances of women’s experiences there and their battles to be better heard. Aliyah Al Awadhi’s painting Corpse (2022), depicting a naked woman hogtied and served on a platter, laments the devolution of reproductive rights in the US, according to the wall text.
Omitted from the show, though, is the two countries’ commonality as political protectorates of the US, which maintains military bases in both. In the final weeks of the exhibition, US bases in the UAE began taking Iranian fire in retaliation for the US-Israeli bombardment of Iran. It recalls the high cost South Korea has paid for its US protection, including the US carpet bombing of Seoul following North Korea’s invasion of South Korea in 1950. But as in works like the video of Maitha Ali’s performance work Goat House (2021)—presenting migration from Iran to the Gulf as told through memories, contrasting Arabic dialects, and the sunset over a goat shed made up of fragments from destroyed homes—the scars are loud even when the wounds are silent.
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Shamea Morton Mwangi shares an update on her daughter’s progress and her next chapter ahead of ‘RHOA’ Season 17

As Morton Mwangi steps fully into her Housewife era, the Atlanta star opens up about her daughters, resilience, and building a future beyond the cameras.
For Shamea Morton Mwangi, “The Real Housewives of Atlanta” has never just been about the drama.
As Season 17 kicks off, the newly full-time Housewife is stepping into a chapter that’s neither defined by shifting friendships nor business ventures, but instead personal milestones like motherhood, legacy, and the quiet victories happening at home.
“I’m so happy you asked me about my girls—that’s my favorite thing to talk about,” Morton Mwangi told theGrio, her face lighting up as she shifted from Housewives headlines to what matters most.
While Bravo teases a season filled with tension, Morton Mwangi’s storyline is rooted in something deeper. Yes, there are fractured friendships—including the emotional fallout from her longtime bond with Porsha Williams —and yes, she’s exploring new ventures, including launching a rum brand. But at the center of the bigger picture are her daughters.
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Morton Mwangi is a mother of two: 7-year-old Shya and 3-year-old Shiloh, who has special needs. While reality TV often amplifies conflict, Shamea is choosing to highlight growth—especially when it comes to her children.
“Shya is amazing. She’s the best big sister ever,” she said. “She has handled having a little sister with special needs with such grace and kindness.”
That grace didn’t come overnight. Morton Mwangi is candid about the adjustment period her family experienced, but today, she sees a bond that continues to evolve in beautiful ways.
“She walks around like, ‘Shiloh, don’t do that, don’t touch that,’” she said with a laugh. “Shiloh will rake the table clean; everything will be on the ground. And then Shya’s right behind her, picking everything up.”
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Shiloh, who turned three on Valentine’s Day, is still nonverbal and continues to receive multiple therapies. But Morton Mwangi speaks about her daughter’s journey with a mix of honesty and optimism
“She’s walking now… she’s still nonverbal, but that’s temporary,” she said. “She’s still doing all of her therapies, from speech to OT to PT. My girl is kicking tail.”
Recently, Shiloh reached a milestone that felt especially meaningful—transitioning from purees to table food. While Morton Mwangi shared that she still has a G-tube (gastronomy tube) in case of emergency needs, she’s showing great signs of improvement.
“She ate some of my spaghetti,” Morton Mwangi said, smiling. “And some Chick-fil-A macaroni and cheese. We chopped it really small, but I want to celebrate all of those things.”
That celebration of progress is something she hopes viewers take with them this season.
As she steps more fully into her role on “RHOA,” Morton Mwangi is also thinking long-term about what she’s building for herself and her daughters.
“I think it’s important for me to leave a legacy… to show them that, yeah, you can be a kept woman,” she said. “But you can also stand on your own. You can bring your own bag.”
That mindset is fueling her next chapter, from entrepreneurship to future ventures rooted in community and children.
“I believe the children are our future,” she added. “By 2027, I will definitely have a business that has something to do with children.”
Keeping focused on the new positives in her life is a recurring theme for Morton Mwangi, who answered a question about her fractured friendship with Porsha Williams with an upbeat candor.
“I’m super excited to be coming into my sophomore season of ‘Housewives of Atlanta,’” she told theGrio. “The girls are lovely, right? I’ve gotten to know so many of them. I’ve even become best friends with Kelli. So, you know, in all of the mess, there’s always some blessings. But I will say it was very difficult to not only experience, but watch it.”
“That’s the thing that people don’t understand,” Morton Mwangi continued. “You live through it, then you watch it, and then you go over it all over again at the reunion. It’s never fun when those types of things happen, especially since we were childhood friends. So that wasn’t fun to watch or experience, actually.”
Season 17 may bring its share of tension, especially as friendships shift and new cast dynamics emerge, but Morton Mwangi says there’s still space for joy, growth, and even new beginnings.
A post shared by Shamea Morton (@shameamorton)
In fact, she’s formed an unexpected bond with newcomer Kelli Ferrell, calling their friendship “a breath of fresh air.”
“I used to be like, ‘no new friends,’” she said. “Now I’m like—that is total bull. I couldn’t be happier with the new friends I’ve gained. Not just Kelli, but our new castmates, Pinky Cole and K. Michelle.” 
“Kelli and I have become the closest because we have so much in common,” Morton Mwangi continued. “She’s a great mom to four beautiful daughters. I’m minus two shy of her record. But she does motherhood so well, and just being able to juggle it all, motherhood, being an entrepreneur, owning her franchise ‘Nana’s Chicken and Waffles.’ Just seeing her in her element and doing all the things, that’s the type of person I want to be around. It’s actually motivated me to dig into my entrepreneurship bag, and possibly open up some new things.”
The new season of “Real Housewives of Atlanta” premieres Sunday, April 5, on Bravo (8 pm ET/PT) and streams the next day on Peacock.

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The NFL Says It Wants HBCU Talent, So Why Are These Players Still Getting Overlooked?

While Power Five athletes move through a well-established pipeline, many HBCU players are forced to take a different route.

HBCU football players keep proving they belong at the highest level. But when draft night comes around, the numbers tell a different story.
There’s no shortage of talent coming out of historically Black colleges and universities. That’s been true for decades. But according to reporting from HBCU Sports, that talent isn’t translating into consistent opportunities in the NFL Draft. At this point, the pattern is hard to ignore. Every year, fans tune in hoping to hear at least one HBCU name called, and the fact that it’s even a question says everything about the level of visibility these athletes are getting.
The 2025 NFL Draft made that gap even more obvious. Only one active HBCU player was selected. Just one. And while some might try to read that as a reflection of talent, that’s not what’s actually happening. The talent is there. The problem is how often it’s being seen—and who’s being prioritized.
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And now, with the 2026 NFL Draft just weeks away, that same question is back on the table. Because this next class isn’t short on ability. It’s full of players who’ve already proven they can compete. The real issue is whether the system will finally recognize it. Whether scouts, front offices, and decision-makers will expand who they see as “draft-worthy,” or whether HBCU athletes will once again be pushed to the margins and forced to prove themselves after the fact instead of being valued from the start.
Because while Power Five athletes move through a well-established pipeline, many HBCU players are forced to take a different route. Instead of hearing their names called on draft night, they’re signing as undrafted free agents, fighting for roster spots at rookie minicamps, and having to prove themselves all over again just to get the same shot.
That’s part of why events like the HBCU Legacy Bowl matter. The NFL has started putting more attention on these showcases, giving standout players a chance to perform in front of scouts and decision-makers. It’s a step forward, but it’s not the same as being fully integrated into the traditional draft pipeline. These players are still being asked to go above and beyond just to be considered.
And here’s the contradiction: the interest is there.
According to HBCU Gameday, multiple HBCU players continue to draw attention ahead of free agency, with teams recognizing their potential and bringing them into camps. So the league is clearly seeing the talent. It’s just not consistently translating into draft-day opportunities. That creates a frustrating reality where HBCU athletes are respected—but not prioritized.
At the same time, the landscape of college football is shifting. With the rise of the transfer portal and NIL deals, players with NFL potential are often incentivized to leave HBCUs for larger programs that offer more exposure and resources. And while that may make sense individually, it raises a broader question about what it means for HBCU programs in the long term. If the system rewards leaving, how do these programs continue to build and keep the talent they develop?
Maybe the question really isn’t about ability, but access. HBCU players are producing. They’re showing up. They’re earning opportunities wherever they can. But until the draft reflects that reality, the pipeline will remain uneven.
And that means too many of these athletes will keep taking the harder path to the same destination and working twice as hard just to be seen.
Jodi Ham is a junior broadcast journalism major at Howard University. She is interested in sports reporting. You can follow her on Instagram @jh_armani
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The NFL Says It Wants HBCU Talent, So Why Are These Players Still Getting Overlooked? was originally published on newsone.com

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J. Cole to play professional basketball with Chinese team Nanjing Monkey Kings

The rapper has previously played in the African Basketball League and the Canadian Elite Basketball League.
J. Cole is pursuing his hoops dreams once again.
The rapper, fresh off his album release in February, just signed to the Chinese Basketball Association team, the Nanjing Monkey Kings.
“The basketball s–t is like me just trying to scratch a last itch of, let me see if I can do this,” he said on the “Talk With Flee” show with Cam’ron. According to Cole, the Monkey Kings had been asking him to play for them since last year.
He continued, “I’m looking at the clock like, I’m getting older, like this might be my last shot. So I’mma keep my word to them and show up and play a couple games.”
ESPN confirmed the news on Wednesday (April 1) that the rapper was indeed coming back to the court.
J. Cole, whose full name is Jermaine Cole, began his professional career in 2021 playing with the Rwanda Patriots in the Africa Basketball League, and in 2022, he played for the Scarborough Shooting Stars in the Canadian Elite Basketball League. Before then, the last time he played basketball was in his Fayetteville, North Carolina, high school. Also an avid fan of the sport, Cole is a minority owner of the Charlotte Hornets.
Cole told Cam’ron he knew he was never the best basketball player, but he never stopped loving the sport and trying to find ways to play.
“Although I had love and passion for basketball, I always felt like, ‘Yo I left a lot on the table because I ain’t have direction.’ I ain’t have nobody around to be like, n—a you ain’t even good… But I always kept that love and that dream,” he said. “And what that dream did was it allowed me to get better over time.”
The 41-year-old artist announced he was in China on Wednesday by posting to the Chinese social media app Douyin.
“I’m excited to be in the vicinity,” he said.
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J. Cole will also be going on tour later this year, following the release of his album, “The Fall-Off,” kicking off in Charlotte, North Carolina in July.
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Corinne Bailey Rae turns the millennial classic ‘Put Your Records On’ into a story of empowerment for children

In this exclusive interview with theGrio, Corinne Bailey Rae opens up about her children’s book, the legacy of the song, and more.
Twenty years ago, in February, the world first met the sweet, soulful voice of Corinne Bailey Rae on the hit song “Put Your Records On.”
The pop song, which was the second single off her self-titled debut LP released in 2006, climbed to No. 2 on the U.K. Singles Chart, landed on the Billboard Hot 100, and was nominated for both Song of the Year and Record of the Year at the Grammys. Meanwhile, the album itself reached No. 4 on the Billboard 200. It’s only been up from there.
The song, about self-empowerment through music, that greets nearly every millennial (and many other generations, too) like the warm hug of a childhood friend whenever they hear it, earned over a billion streams on Spotify alone. It’s also about to reach a new generation in a completely reimagined way.
Now, fans who may have been kids themselves when the millennial anthem first hit the airwaves can share it with their own children through the newly released children’s book “Put Your Records On” (Rocky Pond Books)
“I really wanted to share my love of music with children,” the mother, who shares two daughters with her husband, musician and producer Steve Brown, told theGrio in a recent interview. “I wanted to talk about how music can hold you in all different emotions. You know, no matter what you’re going through, music can be there, and it can be a friend.”
Arriving like an exclamation point during a year in which the “Like A Star” singer, 46, is celebrating the 20th anniversary of the album and the song with an anniversary tour, “Put Your Records On,” penned by the singer-songwriter and illustrated by Gillian Eilidh O’Mara, takes readers on the magical and musical self-empowerment journey of a young girl named Bea.
The book chronicles one Sunday afternoon in which Bea’s great-aunt Portia sets her imagination sailing through her record collection. Rae hopes the radical and vibrant self-acceptance, particularly the emotional self-awareness Bea gains by the book’s end, inspires young readers.
“I hope it’s really interactive,” Rae said, adding that she also hopes the book can serve as a “bridge” between generations as parents take the opportunity, while reading it with their children, to pull out their own records and share their musical backgrounds.
“I think [music is] such a good way to connect, because the song is telling you something about your family member, in words that they couldn’t use, really about themselves. But you know, you might get to see another side of someone, because they have this song that you wouldn’t expect them to like, or, you know, it carries a certain emotion, which maybe they haven’t sat in with you,” she continued.
She added that she hopes the book — and the greater lesson of music, which holds thousands of songs for every possible emotion — reminds “children that it’s okay to have any kind of feeling.”
At one point in the book, as Bea’s great-aunt Portia introduces her to Aretha Franklin, Portia explains that, just as a rainbow is filled with many colors, people are filled with many emotions that make us human.
“That’s another important thing in the book, that focus on the rainbow of feelings and how everything we feel is valid, that you can share your feelings with safe adults, and that life isn’t about kind of like painting on a smile and just having a fun time every day. But there’s, you know, there are difficult things and challenges,” the two-time Grammy award winner explained.
That same intentionality also extended to how Bea herself was imagined. Making the character a Black girl was important to Rae, not only as a mother raising daughters, but also because she remembers what it felt like growing up surrounded by books where few characters looked like her.
“There weren’t lots of images of young Black children in the books that I grew up with, you know, in the 80s,” she recalled, adding that whenever family members living in New Jersey would send her a birthday card or the occasional book featuring Black children, she would feel especially “seen.”
“It’s so great for kids not to see themselves as the sidekick, but to be the main character,” the musician said. “That’s just really important for young people and young Black and brown children to be the main character in the story.”
The concept of the book also draws from her own musical journey. Rae, who grew up in Leeds, recalled discovering music at an early age through her father’s record collection. Among it were 45s, smaller records with one song on each side that often came in simple blank sleeves, she said. The only way to know what was on them was to actually put them on.
“They were magic to me,” she gushed about her father’s records. “They just were so special. They sort of transformed the everyday and took me outside of myself, but also helped me to express myself.”
Looking at how the culture around music has evolved, Rae — believe it or not — sees a lot of positives in how technology has made music so readily accessible to younger generations. It amuses her to see young listeners discovering punk, metal, classic rock, and more, then diving deeper into the artists, who they were, and their aesthetics.
“For young people today, there isn’t a sense of, like, oh, they can only listen to music that came out in the last five minutes, you know, that they’ve got everything that existed,” she noted.
In the 20 years since her breakout, Rae has grown from a global pop discovery into a deeply experimental and multidimensional artist. Across four studio albums and two Grammy wins, she has continued to stretch her velvety neo-soulful sound while also expanding into visual and multidisciplinary art, a journey that has been shaped by both profound personal tragedy and a renewed sense of joy. 

Reflecting on how her song has endured over the past two decades and continues to move so many, Rae is still in happy disbelief. She also remembers where she was before it all began, playing for modest crowds before eventually reaching sold-out audiences around the world.
“It transformed my life,” she said. “This song and this record took me from playing to 100 people in a bar to playing all over the world, playing to my musical heroes, and just getting to meet all these brilliant people and experiencing all these different cultures. So I feel like I am really sort of in love with this song.”
Twenty years later, the message of discovering oneself through music continues to resonate just as strongly.
“The message of ‘Put Your Records On,’ of like finding yourself and being true to yourself, that’s something that I felt I needed to tell myself at that time,” Rae said. “But also it’s something that I engage with every time I play this song on stage.”
She recalled the joy she feels seeing so many different types of people, across backgrounds, genders, and generations, still singing along.
She said, “I just think it’s amazing who the song has got to and the way that it’s connected with people.”
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Cardi B Scores $20K In Legal Fees After Beating Security Guard’s Lawsuit

April 3, 2026
This win adds to a streak of successful litigation for the rapper.
Belcalis Almanzar, also known as Cardi B, has secured the right to recover $20,000 in trial costs from a security guard who unsuccessfully sued the rapper for assault. 
A Los Angeles County Judge Ian C. Fusselman ruled that the “Bodak Yellow” artist is entitled to $19,690 to cover deposition fees, court reporting, and photocopies. The decision follows a January jury verdict that unanimously rejected Emani Ellis’s claims. Ellis alleged that Cardi scratched her face during a 2018 encounter at a doctor’s office. Additionally, Judge Fusselman rejected Ellis’s attempt to move forward with a retrial, calling the attempt “meritless if not patently frivolous,” Rolling Stone reported.
Furthermore, the Judge believes the debt should be both “reasonable and necessary.” This win adds to a streak of successful litigation for the rapper, who recently celebrated the dismissal of a $50 million copyright lawsuit over her song “Enough (Miami).” By consistently securing these reimbursements, Cardi B is signaling a zero-tolerance policy toward what her legal team describes as frivolous litigation targeting high-profile figures.
Judge says the security guard, who claimed Cardi B assaulted her and called her ‘big,’ has no choice but to pay Cardi’s legal fees after dragging her to court. pic.twitter.com/MDwVajtty4
While securing thousands from the security guard case, Cardi B remains locked in a multi-million-dollar collection battle against blogger Tasha K. The rapper had been aggressive in her efforts to recover the $4 million defamation judgment awarded in 2022. Tasha K has sought bankruptcy protection and moved her business operations offshore. Cardi’s legal team has successfully blocked the discharge of the debt, forcing a court-approved payment plan.
As of April 2026, Tasha K has been presented with multiple options to repay the rapper. The embattled vlogger can make court-ordered payments of $20,000 per month. The blogger is required to pay nearly $1.2 million over the next five years, with installments increasing annually. The blogger recently launched a fundraiser to help her pay off debt. However, Cardi B’s team continues to demand transparency regarding wire transfers and offshore earnings to ensure the full $4 million is eventually realized.
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Don Lemon says he thinks about running for office: ‘I could definitely run this country better than Donald Trump’

The independent journalist weighed the proposition of a presidential run, saying “it could happen if the right opportunity presented itself.”
Don Lemon isn’t ruling out a presidential run.
The independent journalist said he could run the country better than the current president if he were to take office.
“So do I ever think about it?” Lemon told Alex Wagner on “Pod Save America.” “Yes. Could it happen? Yeah, it could happen, if the right opportunity presented itself.”
He added, “I know people are going to think I’m crazy. This is going to be the headline, and people are going to laugh about it: ‘I think I could be president of the United States.’ I could definitely run this country better than Donald Trump.”
He also told Wagner that the idea wasn’t so far-fetched, using former President Barack Obama as an example—”Did anybody think Barack Obama, as he says, ‘This guy with a funny name, from a mixed background’ that he would become president?” But he admitted that there were plenty of cons to opening himself to an opportunity like public office.
“Why would I invite that sort of even more criticism? I don’t want to ruin my life with people digging into everything about me and campaign ads [airing] everything that I’ve ever said that seemed controversial… But I don’t even think people would care about that. I’ve never said that I was gonna grab anybody by the p—y, right? But also, I’m not a white man, and the rules are different for me. And so just like the rules are, I believe, sadly, are different for women.”
An outspoken critic of President Trump, Lemon made headlines in January when he was arrested, along with other Black journalists, after covering an anti-ICE protest in Minneapolis, where demonstrators entered a church. The Department of Justice charged him under the 1994 Freedom to Access Clinical Entrances Act, or FACE Act.
Since the arrest, the former CNN anchor has promised he “will not be silenced” in the face of what many see as an intimidation tactic from the Trump camp. He argues that he acted within the rights granted to him as a journalist under the First Amendment.
“Don has been a journalist for 30 years, and his constitutionally protected work in Minneapolis was no different than what he has always done,” his lawyer, Abbe Lowell, said in a statement. “The First Amendment exists to protect journalists whose role it is to shine light on the truth and hold those in power accountable.”

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Notable Black Golfers In PGA Tour History

The story of the Professional Golfers’ Association would not be the same without including these crucial names.
For Black folks, golf has always carried a weird kind of tension. On one hand, it is a sport built around precision, patience, etiquette, and access. On the other hand, access has long been the whole issue.
For decades, Black pro golfers were pushed out of country clubs, shut out of tournaments, and treated like they were trespassing in a game they were more than talented enough to play. That history matters because when we talk about notable Black golfers in PGA Tour history, we are not just talking about scores and trophies. We are talking about people who had to break into a space that was never exactly welcoming in the first place.
This is what makes the PGA Tour story so important. Charlie Sifford helped crack the door open after the PGA of America’s old “Caucasian-only” barrier finally fell, and the names that followed kept pushing the game forward in different ways. Some became firsts. Some stacked wins. Some became symbols for what Black excellence in golf could look like on the biggest stages. And over time, the presence of Black golfers on Tour helped change the way fans, sponsors, clubs, and young players imagined who golf was really for.
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Of course, the biggest names tend to dominate the conversation, but this history is deeper than one superstar. The full story stretches from pioneers who endured overt racism just to set it up, to winners who proved they belonged, to modern players carrying that legacy into a new era. With that in mind, here is a solid rundown of notable Black pro golfers who helped shape PGA Tour history.
Charlie Sifford has to be near the top of any list like this because he is the trailblazer. After a year of being excluded, he became the first Black golfer to compete on the PGA Tour, then went on to win twice on Tour and later became the first Black golfer inducted into the World Golf Hall of Fame. More than anything, Sifford belongs here because a lot of the names that came after him only got a real shot because he forced golf to deal with its own hypocrisy.
Pete Brown is notable for becoming the first Black pro golfer to win an official PGA Tour event when he won the 1964 Waco Turner Open. That alone gives him a permanent place in golf history, but it is also bigger than that: Brown showed that Black players were not just good enough to participate, they were good enough to win. In a sport that had spent so long trying to keep Black golfers on the margins, that was a major statement.
Lee Elder’s name will forever be tied to one of golf’s most important breakthroughs. He became the first Black golfer to play in the Masters in 1975, later became the first Black player to represent the United States in the Ryder Cup, and finished his PGA Tour career with four wins. He is on this list because he turned symbolism into substance, proving that barrier-breaking and high-level performance could go hand in hand.
Calvin Peete is one of the most accomplished Black pro golfers the PGA Tour has ever seen, period. His official Tour profile lists 12 wins, which made him the most successful Black golfer on Tour before Tiger Woods changed the scale of the conversation. Peete’s accuracy, consistency, and longevity made him much more than a nice story or a pioneer-adjacent figure. He was a legit star, and that kind of résumé demands respect.
Jim Thorpe deserves mention for keeping the Black presence on the Tour visible and competitive in the 1980s, winning three PGA Tour titles before later thriving on the Champions Tour. He may not get discussed as much as some of the bigger historical names, but three tour wins are real business, and his career helped bridge the gap between the earlier pioneers and the Tiger era. That matters in a history this layered.
Tiger Woods is the biggest name on this list and, honestly, one of the biggest names in sports history full stop. His official PGA Tour profile lists 82 Tour wins, tying the record, and his influence went way beyond trophies. Tiger did not just dominate golf; he changed who watched it, who talked about it, who picked up a club, and who could picture themselves in the sport. When people discuss Black golfers in PGA Tour history, he is not just part of the story. He is the story’s most transformative figure.
Cameron Champ belongs on this list because he represents a more recent chapter of Black golf visibility on the PGA Tour. The PGA of America’s timeline notes that his 2018 Sanderson Farms Championship win made him the seventh African American player to win on the PGA Tour, and his Tour profile reflects a multi-win career. Between the victories and his profile as one of the game’s most explosive modern talents, Champ has helped show that Black golfers still have a meaningful place in the current Tour conversation.
Harold Varner III is notable even without a PGA Tour win because visibility matters too. The PGA of America’s timeline credits him as the first African American golfer to earn his PGA Tour card by qualifying through the Web.com Tour in 2015, which made his rise significant in its own right. Varner’s presence on Tour, his personality, and the way fans connected with him made him an important figure in the modern Black golf conversation.
Joseph Bramlett makes the list because his path carried real historical weight. The PGA of America timeline notes that when he made his PGA Tour debut in 2011, he was the first player of African-American descent to play on the PGA Tour since Tiger Woods, and other reporting around his Tour card framed it as a rare breakthrough. He may not have the trophy case of some others here, but he absolutely matters in the timeline of Black golfers continuing to break through into elite pro golf.
Taken together, these golfers tell a bigger story than golf usually gets credit for. This is a story about exclusion, yes, but also endurance, style, excellence, and refusing to let an old gatekept sport decide who belongs. From Charlie Sifford kicking the door open to Lee Elder making history at Augusta to Tiger Woods turning golf into appointment viewing to newer names like Cameron Champ and Joseph Bramlett carrying the torch, Black golfers have left fingerprints all over PGA Tour history. And the real point is: they were never just guests in the game. They helped reshape it.
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Notable Black Golfers In PGA Tour History was originally published on cassiuslife.com
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Meet 5 Black candidates ready to take office in 2026

With many open seats, these potential candidates have a chance to change policies that have long affected Black communities.
The 2026 midterms are pivotal for Black men and women running for public office. With many open seats, these potential candidates have a chance to change policies that have long affected Black communities. From voter rights under attack, to federal government programs being dismantled, and redistricting laws that could change Black representation in both local and federal governments, the stakes have never been higher for who sits in these positions.
National Public Office Day, observed every March 31, has been hosted by Run for Something Civics since 2018, according to its website. The organization launched the initiative to celebrate civic leadership and create representation at every level of government and in local offices. This year, a new wave of Black Americans is stepping up to represent their communities and create change.
Here are five candidates nationwide preparing to run for public office in 2026. From City Hall to Capitol Hill, these candidates are ready to make a difference. Here’s what you need to know about them.
Austin Edwards, 35, civil rights lawyer, activist, Trenton school board member and Trenton NAACP president, is preparing to run for Mayor of Trenton, New Jersey, according to The Trentonian and his official website.
Born and raised in the “Capital City,” Edwards said he was inspired to run for office because the city of Trenton has often been forgotten in policy decisions, funding discussions, regional planning and inaugural ceremony locations.
“I’m running so we can fix those problems,” Edwards said, per The Trentonian, “so that we can bring more jobs to Trenton. And we can make sure our small businesses have the resources they need to succeed. And we have a targeted workforce development plan. Our homeowners have a chance where they’re not going to be underwater all the time, or our renters can live in the Trenton that they deserve. That Trenton City Hall is clear and transparent to the people that they serve.”
Everton Blair, 33, is running for Congress in Georgia’s 13th Congressional District, challenging 80-year-old incumbent Rep. David Scott in the Democratic primary. He is one of several candidates running for Scott’s seat, according to the Advocate.
Blair was born and raised in the Georgia district with a background in secondary and higher education. In 2018, he was the youngest-ever member and first person of color elected to the Gwinnett County Board of Education, the largest school system in Georgia. If elected, he would be the first Black openly LGBTQ+ member of Congress from the South.
His key campaign areas include strengthening public education, affordable housing, health care, economic development, women’s reproductive rights, LGBTQ+ rights, immigration and more, according to his website.
“We need a stronger set of Democrats who are willing to fight for their communities,” Blair said, per the Advocate. “We have to make sure we’re sending the strongest, most authentic, and surest fighter.”
Priscilla Williams-Till, cousin of 14-year-old Emmitt Till, who was abducted, brutally murdered and lynched by two white men in Mississippi, is running for U.S. Senate in the state.
Williams-Till will run as a Democrat against incumbent Republican U.S. Sen. Cindy Hyde-Smith. A native of Mississippi, she was also inspired to delve into politics after Hyde-Smith’s 2018 remarks about public hangings in a video, according to the Mississippi Free Press.
“If he invited me to a public hanging, I’d be on the front row,” she said in the video, referring to a rancher who showed up at a campaigning event to support her.
In August, Williams-Till spoke at a conference and called out Hyde-Smith over her comment, stating that “We will change the hate that’s come out of Mississippi,” per the Mississippi Free Press.
Williams-Till’s campaign issues include access to healthcare, quality education, climate change, strengthening the criminal justice system, and more, according to her website.
Jump Shepherd, 35, is running for the U.S. Senate in Illinois, and he’s making it clear from the jump that he’s not your typical politician.
A self-described grassroots candidate, Shepherd comes from a working-class Chicago background, raised by his mother and grandmother, who worked tirelessly to provide for their family, according to his LinkedIn.
Shepherd, a former elementary school educator and astronomer, now works as a union electrician and is bringing these unique experiences to the race.
His campaign platform includes ending the “pink tax,” introducing landmark legislation to tax billionaires at a 92% incremental rate, eliminating student debt, building affordable housing on a national scale, and codifying reproductive freedom at the federal level
“It’s not red vs. blue,” Shepherd says. “It’s oligarchs vs. you,” Shepherd said.
N’Kiyla “Jasmine” Thomas is a Black, white, and Native American (Chickasaw) citizen, nurse, and active-duty military spouse from Ardmore, Oklahoma, according to her website. Born and raised in the “Sooner State,” Thomas is running for U.S. Senate based on what she has witnessed and experienced firsthand.
As a nurse, Thomas has seen the strain on the healthcare systems, including burnout, inequalities and the racial discrimination she faced during her nursing education. She also had to challenge unfair healthcare and education systems for her two-year-old son with level 2 autism.
Her campaign issues include improving healthcare access and protecting women’s rights; investing in infrastructure; supporting farmers and ranchers; and ensuring quality education for all children, especially those with special needs. She also advocates for civil rights, including LGBTQIA+ equality, support for domestic violence survivors, and protection of tribal sovereignty and Native cultural heritage.
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‘Maurizio will offer the chance of a miracle’: artist-provocateur Cattelan opens hotline for confessions and reimagines pope-themed work

Maurizio Cattelan, La Nona Ora (2026)
Image: Avant Arte

The mischief-making Italian artist Maurizio Cattelan—known for notorious interventions such as the duct-taped banana Comedian (2019)—is resurrecting one of his most (in)famous works this Easter. The Italian provocateur is launching a miniature sculptural edition of La Nona Ora (1999), available in an edition of 666, via the London-based online platform Avant Arte.
La Nona Ora (The Ninth Hour) shows Pope John Paul II (1920-2005) lying on the ground, having seemingly been struck by a meteorite; the “ninth hour” meanwhile refers to the moment Christ died on the cross on Good Friday. The new miniature editions, measuring 30cm long and 12.5cm high, are made of hand-painted resin and cost €2,200. The chance to purchase the edition will be allocated by a random draw closing 23 April.
Cattelan heightens the drama by inviting callers to confess their sins from 2 to 22 April on a special hotline via a freephone number in the US or on WhatsApp outside the US. Those deemed to be in “most acute need of absolution” will be personally selected by the artist and invited to phone in and have their confession heard live.
“The confessional will culminate in a live-streamed event at the end of the three-week period, in which Maurizio will hear confessions publicly, offering not only forgiveness, but the chance of a miracle,” says a statement. Individuals selected to confess live will be entered into a draw to receive a free edition of La Nona Ora.
Asked if he is again pushing boundaries, Cattelan told The Guardian: “Catholicism is something you grow up inside, even if you try to step out of it. It’s belief, theatre, control, comfort, all at once. I’m not trying to defend it or attack it. I’m interested in the images it produces and the tension they carry. If someone feels offended, it probably means the image is still alive.”
Since the early 1990s, Cattelan has been considered one of contemporary art’s most high-profile japesters. His praying schoolboy Hitler (Him, 2001) and fully functioning 18-carat gold toilet (America, 2016) have all garnered headlines. But Cattelan surpassed himself with his 2019 showstopper at Art Basel Miami Beach. Comedian was just a banana attached to the wall with grey duct tape but the conceptually audacious, over-ripe readymade drew crowds and divided critics.
In a 2021 interview, he said: “Life is often tragic and comedic at the same time, and my works address these two facets. I use playfulness to express myself or to approach sensitive subjects, but not to make fun of anyone or to make people laugh.”

“Comedian” (2019) is one of the most viral (and controversial) works of art of the past decade; Sotheby’s is betting it has not lost its a-peel
Miami collectors William and Beatrice Cox will donate the fruit piece to an unnamed institution
The artist’s latest work, on show at Gagosian, was created with the help of a Brooklyn gun range

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Trump Iran ‘Update’ Was All Lies, Self-Gratification With No Substance

Trump spent his entire speech repeating all of the same barely coherent thoughts he had been posting on social media all week.
Here’s the thing: When President Donald Trump gives a speech, it’s never for the American people; it’s for himself.
Whenever Trump schedules some random, nationally televised address, it’s virtually always because he can see how increasingly unpopular he and his policies are, and he’s hoping that babbling behind a podium for an hour or so will turn everything around for him, which these speeches never do, because they never include any substance.
On Wednesday night, Trump delivered a speech his administration had announced earlier that day, saying he would provide an “important update” on his war in Iran. Predictably, there was no update. What we got was all we should’ve expected to get: the president repeating all of the same barely coherent thoughts he had been posting on social media all week, and more of his delusional praising of himself and the job he has been doing as president, which, of course, is a job like “no one has ever seen before.”
So, basically, the most insecure president we have ever seen made himself feel better temporarily by boring us with self-gratifying lies, while saying nothing new.
Let’s get into it…
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“In these past four weeks, our armed forces have delivered swift, decisive, overwhelming victories on the battlefield,” the president said Wednesday night. “Victories like few people have ever seen before.”
Since nearly the start of his and the Israeli government’s strikes on Iran, Trump has been claiming the war is virtually won, that Iran has been decimated, and that its government has been “begging” to make a deal with the U.S. to end it all. And that might make some of the American people feel better about his aggression in the Middle East if not for the fact that he has consistently jumped back and forth between saying those things and saying that Iran’s nuclear capability still needs to be stopped, that our NATO allies need to help, which they have refused to do, prompting the president to change his withering mind on the spot and say we don’t need them. He has taken a similar approach to discussing the Strait of Hormuz, which he said “we don’t need” and that it would “open up naturally” after the conflict is over during his speech, despite the fact that, earlier that same day, he posted on social media that he would only consider ending the conflict “when Hormuz Strait is open, free, and clear.”
Of course, he also said in that social media post that the Iranian government ” just asked the United States of America for a CEASEFIRE!” which the Iranian government denied, as it has every time Trump has made a claim about negotiations with the nation, and how they’re falling in his favor.
But fine, the war is going great. So, that means there’s an end to it in sight, right? Maybe an exact date? At least an approximate timeline?
Please just don’t say two weeks.
“We are on track to complete all of America’s military objectives shortly, very shortly,” Trump said. “We are going to hit them extremely hard. Over the next two to three weeks, we’re going to bring them back to the Stone Ages, where they belong. In the meantime, discussions are ongoing.”
*sigh*
It’s always in “the next two to three weeks.” He said the exact same thing about the complete, comprehensive healthcare plan that would replace Obamacare and save the nation from our failing healthcare system. He said repeatedly that such a plan would manifest in about two weeks — during his first term as president. Since then, that complete, comprehensive health plan became “concepts of a plan,” and now, the president of “no new wars” and great healthcare is saying that because of his new war, the country can’t afford to take care of people’s health.
“We can’t take care of daycare. We’re a big country. We’re fighting wars. It’s not possible for us to take care of daycare, Medicaid, Medicare, all these things,” he said.
Mind you, during that same speech, he spent significant time lying about how well the economy has been doing under his presidency, how there’s been “no inflation,” and, of course, how much better he’s been doing than “the last administration.”
But, whatever. When TF are we getting out of Iran, Trump?
Again, he didn’t say how long it would be before the conflict is over, but he did make an effort to make us feel better by essentially saying, “Hey, at least it probably won’t be as long as World War I, World War II, Vietnam or the war in Iraq — nah, it definitely probably won’t be as long as those.”
OK, so the war is going great, the economy is great, Trump is great. Anything else you want to talk about, Mr. President? How about your completely irrelevant thoughts on Somalia and its people? You still hate them? Still think they’re “low-IQ”? Wanna tell us about that for no discernible reason?
Again, who was this speech even for, if not himself? What did we learn that we hadn’t already heard? What reason is there for us to believe any of it?
Don’t bother trying to answer any of those questions — because the president sure as hell won’t.
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Trump Iran ‘Update’ Was All Lies, Self-Gratification With No Substance was originally published on newsone.com

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