Art for Sale Page 2

March 19, 2026
The Haiti-born man received his U.S. citizenship in 2021.
A man born in Haiti lost his U.S. citizenship after a federal judge determined he defrauded COVID-19 relief programs out of millions of dollars and issued false statements during the naturalization process. 
A U.S. District Court in Florida ordered the revocation of citizenship for Joff Stenn Wroy Philossaint, 25, of Fort Lauderdale, Florida, after determining he hid his criminal activities when applying for citizenship. 
“United States citizenship is one of the greatest privileges our nation can offer, and it must be earned honestly,” U.S. Attorney Jason A. Reding Quiñones for the Southern District of Florida said in a statement. “This defendant built his path to citizenship on false statements while stealing millions from programs meant to keep small businesses alive during the pandemic. The court’s order revoking his citizenship restores accountability and reinforces a simple principle: if you lie to obtain immigration benefits and commit federal crimes, you will lose what you unlawfully gained.”
According to federal prosecutors, Philossaint engaged in fraudulent activity from April 2020 to May 2021, obtaining COVID-19 relief funds through his own companies. He also prepared fraudulent loan applications for five other companies and received a 10 percent commission from them. Authorities said the applications included false information about earnings and payroll. 
Philossaint and his co-conspirators submitted 40 fraudulent loan applications, securing about $3.8 million in loans,  prosecutors said. Investigators found that Philossaint received approximately $549,000 in loan funds and kickbacks.
Federal officials stated that Philossaint applied for U.S. citizenship in Feb 2020, before the fraud began. During a Dec. 15 naturalization interview, he allegedly denied providing false information to obtain COVID-19 relief funds. He received U.S. citizenship in Feb. 2021.
In Sept. 2021, prosecutors charged Philossaint with conspiracy to commit wire fraud, two counts of conspiracy to launder money, and unlawful procurement of citizenship. He pleaded guilty to the conspiracy charges, and a jury later found him guilty of obtaining citizenship unlawfully. In 2023, a federal judge sentenced him to 12 years in prison.
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The month-long DHS shutdown has led to TSA agents working without pay, with more and more TSA agents calling out or outright quitting.
The now month-long shutdown of the Department of Homeland Security (DHS) has most impacted everyday Americans at the airport, where TSA lines have gotten longer and longer in recent weeks. As TSA agents continue to call out from work, a TSA official is warning that airports may have to close if the call-outs continue to increase. 
“If the call rate does climb, there could be scenarios where we may have to shut down airports,” Acting TSA Administrator Adam Stahl told CBS News. “This is a serious situation.”
Before the DHS shutdown, the TSA callout rate averaged around 2%. In recent weeks, that number has climbed dramatically, with the callout rate reaching 10% nationwide on Monday. That number has increased at individual airports, with the Atlanta International Airport reporting a 37% callout rate on Monday, and Houston’s Hobby Airport reporting a 55% callout rate on Saturday.
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While TSA agents were receiving partial paychecks throughout the shutdown, last Friday marked the first entirely missed paycheck for TSA agents. This has led to TSA agents calling out to work other jobs, or simply making the choice not to burn gas for a job that isn’t currently paying them. With gas and grocery prices continuing to rise as a result of the war in Iran, it’s hard to blame TSA agents for calling out of a job that’s not paying them. TSA workers are already among the lowest-paid federal workers, so any disruption in pay is deeply felt. 
“Our people are hurting,” Stahl told CBS News. “We have individuals sleeping in their cars, drawing blood to afford to pay for gas to get to work.”
As of now, any airport shutdowns would largely be limited to smaller airports, and there doesn’t appear to be any airports at risk of closing as of this reporting. While closures aren’t imminent, the already long TSA lines are expected to get longer. NBC News reports that the Philadelphia International Airport has shut down two TSA lines due to a lack of workers, which has exacerbated the already long wait times. 
The impact of the shutdown will likely still be felt well after the shutdown ends. TSA is still trying to get its numbers up after the monthlong government shutdown last fall resulted in over 1,100 TSA agents quitting. The current shutdown has seen over 300 TSA agents quit, and it takes at least four to six months to properly train new agents. 
The DHS shutdown came as a result of Senate Democrats refusing to vote in favor of a spending bill unless DHS made several reforms to ICE and CBP protocols due to the shooting deaths of Alex Pretti and Renee Good in Minneapolis by federal immigration agents. 
The radical reforms Democrats are demanding entail better training for ICE agents, mandatory body cameras for every agent, a ban on face masks, and clear identification for ICE agents. Sure, this is considered the bare minimum for literally every law enforcement agency, but for some reason, the GOP believes it’s a bridge too far for ICE to operate by those same standards. 
Senate Democrats have introduced several proposals that would fund FEMA and TSA, but Republicans blocked them because why compromise when you can keep making life worse for U.S. citizens? So if you have any travel plans in the near future, be sure to give yourself ample time to navigate the TSA checkpoints. 
SEE ALSO:
TSA Lines Expected To Increase As More Agents Quit During Shutdown
Global Entry Program Restored As TSA Faces DHS Shutdown Staff Shortages
TSA Shortages Lead To Hours-long Wait Times At Airports

TSA Administrator Warns Airports Could Close Due To Call Outs was originally published on newsone.com

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The “Moonlight” director got real about what it took for him to bring films to fruition, even after he had the backing of a major studio.
According to Barry Jenkins, all filmmakers are facing a steep uphill battle in today’s industry, despite what may look like success from the outside.
“Right now, it is difficult for any person to make a film,” he said.
The director responsible for films like the Oscar-winning “Moonlight,” “If Beale Street Could Talk,” and the newly released feature, “The Drama,” starring Zendaya and Robert Pattinson, told the audience at the Directors Guild of America Theater in New York that even after he received a Focus Features deal and representation from CAA, he still had to have a side hustle working retail at Banana Republic for three years.
“Because having a film on the year-end list at the New York Times doesn’t pay the rent,” Jenkins said.
Still, he said there were times when he worked non-directing jobs just to be a part of the film industry in any capacity he could.
“I was working at the Telluride Film Festival. I had been there in 2002 as a student, and I went back every year. I literally had a movie screening at the Toronto International Film Festival and I was the concession stand manager at the Telluride Film Festival.”
He continued, “I just wanted to be where cinema was, and I thought at some point being where cinema is is going to give me a better appreciation for what cinema is and how I can apply the things I’m seeing here to my own cinema. That didn’t guarantee that I was going to end up sitting on this stage right now, but just having faith in my own passion was enough. It kind of had to be enough.”

Calling himself “ruthlessly practical and pragmatic,” Jenkins also recalled looking at a disheartening social media comment where someone wrote, “Does worry anyone that not all of us gonna be successful?” The director said the comment broke his heart, but then he saw the reply, which said, “No, because success is subjective.” This led to his next anecdote, about one of his old film school classmates who did not go on to be a feature film director, but took a career with the DGA, and became “one of the gears that’s providing for everyone that has a DGA card,” showing that there are alternative ways to find a path in the industry.
Going back to the question of whether he was worried about everyone becoming successful, Jenkins said, “If we all continue to work, enough of us will be. And hopefully those of us that are will be the kind of success that wants to see the rest of us be successful as well and wants to do whatever we can to inspire success in the rest of us.”
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The “Because I Got High” rapper successfully argued that his satirical songs and postings about the 2022 police raid and the officers were protected by free speech. 
Rapper Afroman has won a legal battle against Ohio law enforcement officers who sued him over his use of police raid footage in a pair of viral music videos, according to USA Today.
The artist, whose real name is Joseph Foreman, prevailed in the case after Adams County sheriff’s deputies filed a lawsuit in 2023, claiming he used their likeness without permission in his videos “Lemon Pound Cake” and “Will You Help Me Repair My Door.” The footage in question came from a 2022 raid on Afroman’s home, which was captured on video by his then-wife while he was not present.
The deputies, who included sergeants and other officers, argued that the videos subjected them to ridicule, emotional distress, and even threats and, therefore, sought compensation. However, a jury ultimately sided with Afroman, delivering a verdict he described as a win for free speech.
“I didn’t win, America won,” Afroman said following the decision, emphasizing his belief that the outcome reinforces First Amendment protections.
The case centered on whether Afroman had the right to use the footage creatively in his music. After the raid, which was reportedly tied to allegations involving kidnapping and drug trafficking, no charges were filed against the rapper. He has maintained throughout that the search was a mistake.
In response, Afroman turned the incident into music. “Will You Help Me Repair My Door” humorously references property damage caused during the raid, while “Lemon Pound Cake” features clips of officers moving through his home, including a moment where a deputy walks past a cake in his kitchen. Both videos gained significant traction online, drawing millions of views.
During court proceedings, Afroman argued that the videos were not only part of his artistic expression but also a way to raise money to repair his home after the raid. He also pushed back on the lawsuit’s premise, stating that without the raid, there would have been no footage or songs.
“The whole raid was a mistake,” he said in court, adding that his work falls under his right to free speech as an entertainer.
The verdict closes a years-long dispute that began with the 2022 raid and evolved into a broader legal fight over artistic freedom and privacy. Afroman has continued to reference the incident in his music and in social media postings, even releasing a new track tied to the controversy during the trial.
For the rapper, the decision is about more than just one case, it’s about setting a precedent for how artists can respond to real-life events through their work.
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The board voted to pause operations at the Kennedy Center for two years, beginning after this year’s Fourth of July celebrations.
Welp, the thing everybody who isn’t a tongue-in-boot MAGA scrub knew was going to happen has happened. The John F. Kennedy Center for the Performing Arts is set to be shut down for at least two years — because it was taken over by the most unpopular president in any of our lifetimes.
Or as President Donald Trump claims, “renovations” need to be made.
“We’re going to ensure it remains the finest performing arts facility of its kind anywhere in the world,” Trump — who essentially installed himself as the chair after hand-picking the center’s board members last year — told reporters at the White House before the board met Monday, according to the Associated Press.
According to CNN, the president also said the center needed new seating and marble, which he said has already been purchased, among other “minor details” that he said “everybody agrees” the building needs. (It’s him — he’s the “minor detail” that needs to be removed for a proper renovation.)
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The board voted to pause operations at the Kennedy Center for two years, beginning after this year’s Fourth of July celebrations. It also voted to make Matt Costa, who served as the Kennedy Center’s vice president of operations for the last two years, the center’s new CEO and executive director, replacing Trump ally Richard Grenell.
Trump announced months ago that the center would close temporarily, and he has tried his damnedest to convince people it was being done because the center was badly in need of repair.
But we all know what’s actually going on here.
Since Trump took over the Kennedy Center, a myriad of musicians and other big-name celebrities have canceled their appearances at the venue left and right, and that began before Trump’s hand-picked board voted to add Trump’s name to it, desecrating what was meant to serve as a memorial to President John F. Kennedy after he was assassinated, and before House Republicans advanced a proposal to rename the Kennedy Center’s Opera House to the “First Lady Melania Trump Opera House.”
All Trump’s Kennedy Center takeover has done is tank the institution’s ticket sales, but we’re to believe it’s only closing down for two years because the seats and floors need an upgrade.
Like, bro, just admit nobody but your cultists like you, and everything you touch turns to shit, not gold.
And that’s not going to change in two years.
SEE ALSO:
More Musicians Cancel Kennedy Center Performance After Trump Renaming
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Gloria Gaynor Outed As MAGA Donor Following Trump Kennedy Center Honor

Kennedy Center Board Votes To Shut Down For 2 Years. We All Know Why was originally published on newsone.com

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Art Dubai 2026 will be postponed till May
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Art Dubai will adapt its forthcoming 2026 edition in response to the ongoing conflict in the Middle East that has broken out since the US-Israel war in Iran.
According to an email sent from Art Dubai’s organisers to its exhibitors, seen by The Art Newspaper, the fair’s forthcoming 20th edition will be moved from mid-April to 14-17 May, and held at its usual site, Madinat Jumeirah.
The event will be “adapted” into a “cultural gathering”. In the email, Art Dubai’s director, Dunja Gottweis, says this edition will have a “more focused, curated, and flexible format, bringing together galleries, artists and institutions through a combination of presentations, collaborations and public programming”. No further details on programming were given.
The funding model will also be adapted. According to the email, participating dealers for this edition will not be required to pay stand fees, but instead will be charged a percentage of the sales that they make, capped at the stand fee equivalent. Stand prices for Art Dubai 2026 are $739 per sq. m (plus VAT)—ranging from around $15,000 for a small stand, to around $60,000 for a large one.
Gallerists unwilling to participate in the 2026 edition will still be required to make a stand payment up front, which will be “rolled over” to the 2027 edition. For those who are wishing to participate in the 2026 edition but are unsure about travelling to the region, the fair is offering to present works shipped to Dubai “with support from the Art Dubai team”.
The fate of Art Dubai’s 20th anniversary edition has been unclear since the outbreak of war in the region in late February, as Dubai and the wider Gulf region remain under attack from Iranian missile strikes and drones. The UAE’s air defence has intercepted most of these, but only a few commercial airline flights have been leaving and entering the country.
Art Dubai’s email says that after careful consideration with stakeholders, the fair received “strong indications of support, particularly from the local collecting community”. In a statement to The Art Newspaper, an Art Dubai spokesperson adds: “We have remained in close dialogue with all our stakeholders and across these discussions, there remains a clear sense that maintaining the platform that Art Dubai represents is important for the wider cultural ecosystem.”
The UAE has projected a vision of normalcy even in the third week of constant bombardment. Schools in the country have brought their Eid holidays forward, and many expats have taken advantage of the timing and the availability of flights to leave on holiday or return to their home countries. Others have stayed and are both working from home and going to offices, and galleries have reopened. However, the conflict between Iran and the US and Israel continues with no sign of abating.
The Art Newspaper understands that some international galleries and collectors have found it difficult to get shipping quotes, to confirm flights, and to gauge broader attendance.

Postponed fair will now host almost half as many galleries as heightened restrictions prevent international travel
As the latest Art Dubai fair opens, the city’s art scene is maturing, with international collectors and curators snapping up young Emirati artists
Group behind the UAE’s biggest fair has selected Alexie Glass-Kantor as executive director, curatorial, and Dunja Gottweis as fair director
Dealers at the fair are hopeful for good sales, despite the prospect of a global recession

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The crime thriller debuted in 2024 and has quickly won over fans and critics, who cite Hodge’s performance as Alex Cross as a chief reason for tuning in.
Where there is crime, Aldis Hodge and Alex Cross will be there.
Following the airing of the show’s second season on Amazon Prime Video, the streamer revealed that “Cross” would be returning for another season of murder mysteries, trysts, twists and more in Washington D.C.
Without giving too much away, the tagline for season 3 reads that Cross will “continue to expand the high-stakes world of the iconic character, building on the show’s gripping storytelling and powerful performances.”
Where there’s crime, there’s Cross. #CrossOnPrime will return for Season 3. pic.twitter.com/DeU7b1p6DT
Starring Hodge as the titular character created by James Patterson, the Amazon Prime series features Isaiah Mustafa, Alona Tal, Samantha Walkes, Juanita Jennings, Caleb Elijah, Melody Hurd and Johnny Ray Gill.
Fans online flocked to the show’s second season after season one premiered to outstanding numbers in 2024, ranking as the third-most-watched premiere on the streamer in 2025.
“From the beginning, Cross has captivated audiences with its layered characters, pulse-pounding suspense, and emotionally grounded storytelling,” Peter Friedlander, head of global television at Amazon MGM Studios, said in a statement. “Aldis has delivered a definitive portrayal of Alex Cross, anchoring the series with depth, intelligence, and heart. We’re thrilled to continue this journey with Ben, our collaborators at Paramount Television Studios, and the rest of the incredible cast to bring even more of James Patterson’s iconic world to our global Prime Video audience.”
Season one became a hit with viewers following the weaving storyline of a serial killer attacking vulnerable people in D.C. as Cross came to deal with the trauma of losing his wife. Season two focused on a billionaire needing protection from the FBI after a dangerous killer pinpointed him as their next victim. However, the end of season 2 left viewers for a loop after Cross makes a shocking decision that will cause immediate ripples once season 3 kicks off.
Last year, the show won Outstanding Drama Series and Outstanding Writing in a Drama Series at the NAACP Image Awards.
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From DIY hair masks to glossy campaign visuals, the rapper’s hair products are finally here.
Cardi B is in her beauty boss era. From root to tip, she’s turning her hair journey into her next business move. And her fans—and their edges—are ready.
The rapper and entrepreneur is entering the hair-care space with Grow-Good Beauty. The line takes what she learned about taking care of her own hair and uses it to help others.
In a recent interview with WWD, Cardi shared, “When I was younger, I really used to hate my hair,” explaining how growing up in New York shaped how she saw herself. She compared her hair to the girls around her, adding that her cousins had “really long hair—like the Disney princesses,” while hers felt different—shorter and coarser.
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That difference led to years of experimenting. Cardi got her first perm at just 7 years old, and by her early teens, she was bleaching, dyeing, and trying to recreate the styles she saw around her. As she put it, “It was just always a hot mess.”
What started as trial and error eventually became more intentional in her mid-20s. Cardi leaned back into what she grew up around—homemade treatments and Dominican beauty rituals—and stayed consistent with it.
She told WWD, “I always used to do hair masks and stuff like that, but when I was younger, I just wasn’t as consistent.” That shift changed everything. Over time, her hair grew longer, stronger, and healthier, becoming the foundation for what would turn into her brand.
“I made Grow-Good because I really put the work in on my hair,” she said, explaining that she was mixing her own treatments at home using what she learned from family and her own research. “I really took my time to get my hair looking healthy again after years of damage…now I wanna share my hair journey with everybody.”
The rollout speaks for itself.
We can’t keep our eyes off the visuals. They’re doing what they need to do. Cardi is front and center with long, glossy hair that looks smooth, moisturized, and full.
The product lineup follows that same approach. From shampoos and conditioners to a deep treatment mask and serum, everything is built around repair, hydration, and maintaining healthy hair. The formulas pull from the same ingredients she used in her DIY routines, including avocado, coconut, banana extract, and aloe.
Products start at $14.99—not a bad price for a potential product that could give you Cardi B thickness and length.
Grow-Good Beauty officially launches April 15, with presales beginning next week.
Cardi B’s New Hair Line Is Rooted In Her Real-Life Hair Journey – From Root To Tip was originally published on hellobeautiful.com

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March 18, 2026
Believe it or not, 16 states have no restrictions.
For Florida first cousins who are considering living in holy matrimony, there is still a chance after a bill banning the practice failed to pass in the state Senate, WFLA reports.
HB-733 would prohibit incestuous marriage from being recognized for any purpose in Florida, but failed to pass by lawmakers, making it one of 16 states where marrying first cousins is still legal. The legislation lays out what constitutes collateral consanguinity, meaning a man would not be able to marry any woman who is labeled his sister, aunt, or niece. The same goes for a woman, who cannot marry a man she is related to, listed as her brother, uncle, or nephew, listed under the same definition.
While a majority of the United States has incestuous marriages banned, the Sunshine State is keeping the practice alive. However, some lawmakers hope the bill will circle the block in 2027 and pass once and for all.
“I think we need to do the right thing for Floridians here. I think it should come back, whether it’s a standalone bill, or whether it’s tagged onto some other bill. Not really sure. We’ll have to see,” State Republican Rep. Dean Black told Action News Jax.
Black was surprised that the bill failed to pass after he didn’t receive any pushback when he included the measure in a broader Department of Health bill, but that wasn’t the case.
“There was a time when I think first cousin marriages were allowed because population densities were not great, and you know it was hard to find a mate back when Florida was a wilderness,” the politician said. 
“During the days of the Civil War—hundreds of years ago—cousin marriage was common, even being legal in 34 states. But that’s not the case these days. There are plenty of people here, and there are plenty of people you can find to be your lifelong partner without looking to your first cousin,” Black continued. 
Nine other states mostly ban the practice but have exceptions in place, such as one partner being infertile, both partners being above a certain age, or if the cousins are of the same sex. But Florida, California, New York, Massachusetts, and Georgia are among the 16 states with no restrictions.
“I’ll leave things in New York and California to them. They have their own way of looking at things, but I think we need to do the right thing for Floridians here,” Black said.
The lawmaker explained one of the reasons the bill failed was disagreements over legislative elements that created an impasse. The bill died as the session’s clock expired.
Black said cousin lovers may want to prep their proposals now, as he hopes the bill makes its way to a session again.
”So, yes. I think it should come back, whether it’s a standalone bill, or whether it’s tagged onto some other bill. Not really sure,” he said. “We’ll have to see.”
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“Obama has not had a single achievement domestically or internationally that Donald Trump has not taken a swipe at,” Democratic strategist Ameshia Cross tells theGrio.
Since President Donald Trump launched strikes in Iran and engaged in a widening military operation, resulting in the deaths of at least 13 U.S. service members, there is perhaps no one who is on the president’s mind more than former President Barack Obama.
To date, President Trump has mentioned his predecessor at least 17 times during at least six official public events since the Feb. 28 joint U.S.-Israel strikes in Iran. He’s also mentioned President Obama numerous times in countless social media posts. In nearly every mention, the president has repeated some variation of how Obama’s 2015 arms deal with Iran, officially called the Joint Comprehensive Plan of Action (JCPOA), was the “worst deal” in combating Iran’s nuclear threat.
“The other thing was Barack Hussein Obama made maybe the worst deal I’ve ever seen because he gave all power in the Middle East to Iran,” Trump said in his first live public remarks since Operation Epic Fury was launched.
Trump has also repeatedly focused on the Obama administration’s delivery of cash to Iran via plane as part of the JCPOA–a total of $1.7 billion.
“They took the seats out, and they put cash, and it was so much that there wasn’t a bank in Virginia, Maryland, or D.C. that had any money left. They stripped them of all their money, put it into place, [and] sent it to Iran almost as ransom,” Trump said on Tuesday, March 17.
While it is true that the Obama administration delivered multiple cash payments to Iran as part of its strategic deal to deter Iran’s nuclear proliferation, it’s worth clarifying that the funds delivered to the Islamic state belonged to Iran. The U.S. was simply returning Iran’s own frozen assets that were initially sanctioned to cripple the country’s nuclear program. U.S. sanctions banned Iran from using the U.S. financial system, making electronic transfers impossible.
The president has also called out Obama on non-Iran-related topics, such as accusing him of not wanting a bust of Winston Churchill in the Oval Office, and complaining that, unlike him, President Obama’s nominees to the U.S. Supreme Court never ruled against his administration. During a White House event celebrating St. Patrick’s Day, Trump again mentioned Obama, noting that a White House assistant physician who worked for both the Trump and Obama administrations said Trump was the healthiest president he had ever worked for. It’s worth noting that the physician, Colonel James Jones, appeared to have been pressured by Trump.
“Obama has not had a single achievement domestically or internationally that Donald Trump has not taken a swipe at, and part of that is because Obama’s appeal from the beginning of his administration, even before he got elected, remains very strong, even today, and Trump is watching his wane,” Democratic strategist Ameshia Cross told theGrio. “He has been in a consistent, competitive race with Obama and Obama’s legacy since he got elected. The only thing that brought Donald Trump into the political sphere was this push to ensure that the legacy of the first Black president was going to be diminished.”
Victor LaGroon, a U.S. Army veteran who worked as an intelligence analyst and a former Biden administration official, told theGrio, “Donald Trump has had some level of resentment and grievance with President Obama, even going back to being one of those birth life deniers and saying that he wasn’t a U.S. citizen…I think you see this also in his obsession with a Nobel Peace Prize, because President Obama was awarded one.”
Despite Trump’s incessant digs at President Obama’s Iran deal, national security and foreign policy experts argue that the multinational agreement kept the Middle East region and, subsequently, the U.S. and its allies safe.
“There were some concerns about [Iran] developing weapons-grade plutonium, and thinking about how they could utilize this from a terroristic standpoint,” LaGroon explained.
Cross noted that what was remarkable about President Obama’s Iran deal is that it was achieved in partnership with allied nations.
“I think that we have to really understand the importance of that, because Donald Trump has done everything as a United States of one man, instead of bringing in the other nation states, instead of bringing in the power players in the [United Nations] and understanding that America cannot go it alone,” she told theGrio.
“Donald Trump does not value diplomacy, and he especially doesn’t value the diplomacy of Barack Obama. Part of it is because he does not believe in the strength of the minds of Black people in general, and we’ve seen that he doesn’t believe that they should be in leadership positions, and he still does not take into any level of account that Barack Obama deserved to be President of the United States.”
LaGroon noted that it was especially noteworthy that Obama managed to get Russia and China to sign on to the JCPOA, telling theGrio, “It was pretty incredible.”
By contrast, LaGroon described President Trump’s current military operation in Iran as “Super chaotic.”
“The President goes into this war, and he does not consider any of his intelligence. He made a claim eight months ago that we obliterated, his words, any ability for [Iran] to have any nuclear access or weaponry. And now he says this is the reason why the threat of the thing we say they destroyed is why we went back into Iran and started bombing these people again,” said LaGroon. “President Donald Trump has to reconcile why [he] went away from this agreement that was working.”
Since striking Iran, there has been political and economic fallout in the United States. Gas prices, airline prices, and mortgage rates have skyrocketed, and a majority of Americans do not support the current war in Iran.
The Trump administration also saw its first resignation over the Iran war on Tuesday. In a letter to the president, Joseph Kent, the director of the National Counterterrorism Center, said he could not in “good conscience” support the ongoing war, citing that the Middle Eastern adversary “posed no imminent threat to our nation.”
Trump’s Director of National Intelligence, Tulsi Gabbard, was grilled by Congress on Wednesday about the assessment claim that Iran posed an imminent threat to the U.S. and Israel. Gabbard notably said no intelligence showed that Iran had made any effort to rebuild their enrichment capability since the Trump administration’s strikes on their nuclear facilities last summer.
Ultimately, Trump’s war in Iran stands to cost him and Republicans politically.
“They are at a point where the affordability concerns have reached their peak, and for this president to act as though his actions in the Middle East do not impede them, even further, I think, is a huge miscalculation on his part, because he cannot message his way out of a higher cost of living,” said Cross.
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The annual Houston Livestock Show and Rodeo has long been a Houston tradition, but in recent years it has grown into something much bigger. What once felt like a regional celebration has now evolved into a national event, drawing visitors from across the country to NRG Park every spring. With the surge in attendance comes heavier traffic, larger crowds, more parties and a bigger spotlight on safety as thousands of fans pour into the city for the multi week celebration of music, culture and western heritage.
Another factor contributing to the massive crowds this year is timing. The rodeo overlaps with spring break across much of Texas, bringing an additional wave of college students and visitors into Houston. That means more concerts, more after parties and more people moving between NRG Park and nightlife spots around the city. With that growth has come a renewed focus on safety and crowd management.
Rodeo officials recently updated their Code of Conduct for the 2026 event, outlining rules designed to keep the grounds safe and organized as attendance continues to grow.
Some of the key rules include:
• No outside alcohol, narcotics or illegal substances are allowed on the rodeo grounds.
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• No firearms or weapons of any kind, including knives longer than 5.5 inches, chains, ammunition, chemical sprays like mace or pepper spray, Tasers or stun guns.
• No concealed carry firearms are permitted unless carried by law enforcement personnel.
• Glass containers are not allowed on the rodeo grounds.
• All guests and their belongings may be subject to security screening at entry points.
• No pets are allowed on the grounds, with the exception of service animals.
• Proper attire must be worn at all times, including shirts and appropriate footwear.
• Clothing that is excessively torn, exposes undergarments, or shows excessive portions of skin may be considered inappropriate for the family environment.
• Clothing displaying gang related symbols or affiliations is prohibited.
• No bicycles, skateboards, rollerblades, mopeds or hoverboards are allowed on the grounds.
• Guests cannot block walkways, entrances, exits, stages, booths or other operational areas.
• Fighting, threatening behavior, running through large crowds, shouting, littering or throwing objects can result in removal.
• Soliciting, selling merchandise or handing out flyers without proper permits is prohibited.
Rodeo organizers say the rules are meant to maintain a safe and enjoyable environment as the Houston event continues to grow into a national attraction. And while safety remains a top priority, the culture surrounding the rodeo has also evolved. Western fashion has become a major part of the experience, with some attendees showing up in extremely sexy western wear inspired by country concerts, nightlife and social media trends.
Despite the growing crowds and added security measures, the Houston Livestock Show and Rodeo continues to be one of the most anticipated events of the year. Between the concerts, carnival rides, livestock competitions and the endless parade of cowboy boots and western fits, the rodeo remains a celebration of Texas culture that now draws attention far beyond Houston.
Houston Rodeo Sets New Rules As Crowds And Sexy Western Fits Rise was originally published on theboxhouston.com

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Visitors to Art SG / S.E.A Focus 2026
Courtesy of Art SG / S.E.A Focus
The uncertain future of two regional institutions dominated discussions during this year’s Singapore Art Week (SAW), which ran from 22 to 31 January. For the first time, curated Southeast Asian boutique fair S.E.A. Focus, running since 2019, was folded into Art SG, now in year four.
Some participants quietly expressed concern that the step preceded the larger, more expensive fair absorbing S.E.A. Focus entirely. Meanwhile controversy over a widely-criticised edition of the Singapore Biennale, first held in 2006, culminated into an equally controversial article in local paper Straits Times calling for its outright termination.
Both the Biennale and S.E.A. Focus have, for all their shortcomings, been crucial nubs of activity growing the critical and commercial visibility of Southeast Asian artists. S.E.A. Focus’s combination with Art SG seems an effort to streamline SAW’s two commercial events into a coherent entity, though its sponsoring body, Singapore’s National Arts Council, has been coy about the exact reasons.
“Moving meant the platform could reach a broader audience and bring Southeast Asian art into a larger global dialogue,” says John Z.W. Tung, curator of this year’s S.E.A. Focus themed around art’s role in finding compassion amidst global turmoil. Tung has curated the fair since 2023, on a contract ending after this edition. He adds that the exposure also comes with new challenges: “The intimate community dynamics that defined S.E.A. Focus needed to be balanced with the scale of ART SG, which I feel we tackled successfully. I also see this as an opportunity to engage in dialogue that is not just about visibility, but about how art can reflect the political, ecological, and social changes within the region.”
Sales feedback was “generally strong”, says Tung: “there was palpable interest in the works, with a recognition that Southeast Asian art has long been evolving but still struggles with global recognition. Many galleries reported meaningful connections that extended beyond just transactional engagements, highlighting how important it is to foster an ongoing dialogue between collectors, artists, and curators.”
Tung would “welcome the chance to return,” if invited to renew his contract with S.E.A. Focus. “At the same time, we must continue to evolve the platform in response to regional and global shifts.” He says it must remain “about continuing to challenge the framing of Southeast Asian art within a global context. I hope we can keep pushing this conversation forward, even more effectively.”
Some Southeast Asian galleries anonymously described feeling like “sub-sectors” of the main fair, and suspicious that the move was undertaken to bolster Art SG’s diminished numbers—down to 95 galleries, from 2023’s 160. They fear that even if S.E.A. Focus survives there will be pressure on them to move over to Art SG, where booths are $900 per sq m, compared to S.E.A. Focus’s more affordable flat rate of SGD 8,000 ($6,320), which is made possible through the support of the National Arts Council.
However, the largely positive feedback augurs well for the platform’s return next year. “We found the venue to be well-organised, accessible, and thoughtfully integrated within the broader Art SG ecosystem,” says Deborah Iskandar, owner of Jakarta’s Isa Art Gallery. She felt the incorporation with the bigger fair was “especially beneficial, as it allowed for cross-regional visibility and brought in a more diverse group of collectors and institutions.”
Isa’s section provided a dramatic entrance to S.E.A. Focus with the dramatic ceiling-hung flags made by Indonesia’s Arahmaiani. Her Flag series works with communities around the world to embroider concepts most important to them, in their own languages, on the bright banners. Also exhibiting Ines Katamso’s ecological compositions, Iskandar says they “placed several key works with several collectors” for prices between $3,600 and $19,500. “We hope [S.E.A. Focus] continues to grow as a platform that supports critical discourse, long-term artist development, and deeper regional engagement beyond purely commercial objectives.”
“The inclusion of S.E.A. Focus at Art SG this year was a major success. This strategic collaboration brought a strong contingent of Southeast Asian artists and galleries to the fair, amplifying the platform’s reach,” says Art SG cofounder Magnus Renfrew. “Looking forward, I see S.E.A. Focus continuing to grow and provide more opportunities for local and regional artists to engage with the global market. The themes explored—especially around urgent global challenges like ecological crises, displacement, and peace—are more relevant than ever, and I’m eager to see how the platform evolves in the coming years.”
Overall, says Renfrew, “Singapore and Southeast Asian art markets continue to demonstrate remarkable momentum.” Visitors to SAW and the fairs this year included including Michael Govan, chief executive and Wallis Annenberg, director of the Los Angeles County Museum of Art (Lacma), Tate’s outgoing director Maria Balshaw, and the collectors Rajeeb Samdani and Han Nefkens.
The week also included Sotheby’s annual Modern and Contemporary, which achieved $13.1m across 62 lots, with new auction records for Southeast Asian artists Pacita Abad and Anthony Poon. “We really felt this confidence on the ground at Art SG,” says Renfrew, with major sales such as Danh Vo’s Untitled (2022) for €260,000, Michael Armitage’s 1: The Trial (2025) at $280,000, and three Cai Guo-Qiang gunpowder on canvas works for $120,000 each at White Cube. Johyun Gallery sold out all works of a presentation by Lee Bae for a total of USD 2,758,000.
Thaddeaus Ropac saw major sales including Raqib Shaw’s Fall of the Jade Kingdom I – Paradise Lost Chapter II, (2014–2023) for £475,000, Antony Gormley’s SET VII (2024) for £450,000, David Salle’s Bow Ties (2025) for $250,000 and Lee Kang So’s The Wind Blows – 230928 (2023) for $100,000. “There was a good energy at the fair and across Singapore’s art scene during the week,” says the gallery’s director, Asia, Dawn Zhu. “The fair felt busy and, in addition to the local attendees, we saw collectors from across the region including from Japan, Korea, Thailand, Indonesia, Hong Kong and mainland China, and notably more institutional attendance than last year, with a number of groups from major international museums.” SAW’s programming has continued to mature, she says, while “collectors are very considered in what they are buying, engaging deeply and thinking about long-term purchases. We saw strong engagement and sales of works by both established international names and artists with a connection to Asia, which reflects a desire to grow diverse and authentic collections.”
Singapore’s Ministry of Trade & Industry projects the city-state’s GDP to grow by 2% to 4% this after, after growth of 5% in 2025 driven by manufacturing and technology, despite a sluggish consumer economy. However, Singapore’s role within Southeast Asia means it also facilitates art sales to neighbours like Thailand, the Philippines and Indonesia, whose art scenes are maturing despite political instability.
“Singapore has been serving as an important gateway to the vibrant [Asia Pacific] art scene with robust interest amongst art collectors,” says Jin Yee Young, co-head of UBS Global Wealth Management Asia Pacific. She cites the Art Basel and UBS Survey of Global Collecting 2025 report, which “reinforces Singapore’s significance, showing it is now the fifth-largest global importer of art and antiques, with import values rising significantly by 74% to just under $1.7bn in 2024. Furthermore, optimism is high among collectors, with 81% of HNWI’s surveyed in Singapore feeling optimistic about the outlook for the global art market in the next six months.”
UBS this year presented the five hour performance I Love You (2007) by iconic Indonesian artist Melati Suryodarmo, part of a broader incorporation of performance art into this year’s Art SG through a special sector curated by X Zhu-Nowell, director of Shanghai’s Rockbund Art Museum. Suryadono joined Arahmaiani at S.E.A. Focus for a powerful cohort of mid-career Nustantaran women artists as the fair and the week’s standouts. Next to Arahmaiani’s flags hung photographs of vanishing Singapore traditions by this year’s Singapore Pavilion at Venice artist Amanda Heng.
In Art SG’s curated section Platform, Malaysia’s Anne Samat’s installation It Feels Like Home… The Journey Continues (Wide Awake and Unafraid Series) wowed by the fair’s first floor entrance and downstairs Bali-based artist Citra Sasmita’s Bedtime Stories covered her Platform booth with tapestries interweaving ritual and feminism viewed from reclining on the pillow-strewn floor. At the National Gallery of Singapore, Fear No Power: Women Imagining Otherwise celebrated trailblazing Southeast Asian women artists including Heng‘s performances and the powerful sculptures of Dolorosa Sinaga.
Hanging over this year’s SAW was a scathing editorial that ran 6 January in the Straits Times slamming the current Singapore Biennale (until 26 March) for its muddled messaging and impossibly far-flung venues. Longtime arts editor Ong Sor Fern called the show, themed “Pure Intentions” from a 1995 Rem Koolhaas essay, “a ticking of bureaucratic boxes” and “haphazard, disconnected from the community, and inaccessible”.
In a joint statement to The Art Newspaper, Low Eng Teong, chief executive of Singapore’s National Arts Council, and Eugene Tan, chief executive officer and director of the Singapore Art Museum, said they “appreciate the feedback and ideas from the arts community and the public” and were reviewing “through ongoing dialogue and reflection…how the Singapore Biennale can best serve artists, audiences, and the wider cultural landscape.”
Low and Tan said they have been working on ways to bring art closer to Singapore communities, and this edition’s format sought to “enable Singaporeans to engage with art beyond traditional museum settings.” They have worked on finding ways to improve signage, tours and print and digital maps over the show’s run, while considering how to improve future editions. They stressed that its role remains important, as “a key platform for local contemporary artists to showcase, experiment and engage through works that speak to local and global audiences,” helping to “develop the local arts scene and place Singapore on the global arts map.”
The decision has been made in order to “enhance S.E.A.. Focus’s prominence and strengthen its value propositions”, according to its founder
The city-state punches above its weight, with its government institutions, nonprofits and galleries championing not just homegrown artists, but of those from its neighbours across the region
Visitors to this year’s Singapore Art Week are spoilt for choice, with more than 160 events and exhibitions to take in, from art fairs to shows of established and emerging Southeast Asian artists

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A collaboration with Baptist Health System brings Tuskegee students early clinical experience and financial support, preparing them for successful careers in healthcare.
Tuskegee University has made history as the first historically Black college or university (HBCU) in Alabama to offer a nursing apprenticeship program, a move designed to give students hands-on experience and expand access to the healthcare workforce. The program, launched in partnership with Baptist Health System, allows students to pair one-on-one with experienced nurse mentors, providing early clinical training while still in school, according to Montgomery, Ala.’s WSFA 12.
The Registered Nursing Apprenticeship Program builds on Alabama’s broader Student Nurse Apprenticeship initiative, which began in March 2022. Unlike traditional nursing tracks, apprentices start practical training earlier in their academic careers, gaining exposure to specialty departments and earning wages during clinical rotations. This approach not only strengthens students’ clinical readiness but also helps reduce financial barriers that can prevent many from completing nursing degrees. Baptist Health System serves as the program’s “last-dollar” scholarship provider, covering remaining tuition and school-related expenses not paid through other aid.
“This apprenticeship represents a different way of thinking about how we prepare Alabama’s healthcare workforce,” said Meredith Smith, director of the Alabama Office of Apprenticeship. Smith noted that the program combines structured mentorship, practical experience, and financial support, creating a pipeline for well-prepared nurses entering the state’s hospitals and clinics.
The program’s creation involved collaboration among several state entities, including the Alabama Office of Apprenticeship, the Alabama Community College System, the Alabama Board of Nursing, and participating employers. Tuskegee University becomes the first four-year HBCU to join the initiative, joining 30 other postsecondary institutions across the state that already offer similar apprenticeship opportunities.
For Tuskegee students, the apprenticeship offers a rare combination of education, mentorship, and compensation. While nursing programs typically require extensive clinical hours, the apprenticeship ensures students are guided by mentors, helping them develop confidence and competence in real-world settings. The early exposure also positions graduates to transition more smoothly into professional nursing roles, addressing both workforce needs and the persistent nursing shortage in Alabama.
Experts say programs like Tuskegee’s apprenticeship can serve as a model for other HBCUs and four-year institutions nationwide, demonstrating how hands-on experience and financial support can improve retention and success rates in healthcare programs. By integrating mentorship, paid experience, and academic learning, the initiative is poised to not only advance individual careers but also strengthen Alabama’s healthcare system overall.
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Teyana Taylor has been named the Chief Curator of the 2026 Essence Festival of Culture, slated for the July 4 weekend.
Teyana Taylor is gearing up for a major role at this year’s Essence Festival of Culture.
On Wednesday, March 18, the media platform announced that the 35-year-old R&B star and actress has been named Chief Curator of Essence Fest.
“We said ladies first, and we meant it. Not just on the stage, but behind the scenes too,” a post on X read. “We are excited to announce Teyana Taylor is stepping in as Chief Curator for the 2026 ESSENCE Festival, and you already know the vibes are about to be next level.”
Organizers also made it clear that Taylor, a millennial multi-hyphenate creative force, will be working alongside “The Aunties” to help shape this year’s lineup across both the summer festival’s highly anticipated evening concert series and its daytime experiences.
“Along with her creative team, The Aunties are curating the moments, the surprises, and everything in between as the creative directors for one of the most celebrated festivals in the world,” the post continued.
Set to return for its 32nd year across multiple venues in New Orleans from July 3 through July 5, the festival will once again offer a full slate of programming celebrating Black culture and Black women. Earlier this month, as part of the first wave of performers revealed for the music festival portion held at the Caesars Superdome, it was announced that Cardi B is also set to make her ESSENCE Festival debut. The lineup also includes R&B stars Kehlani, Brandy, Monica, and Patti LaBelle. Meanwhile, in addition to Cardi, hip-hop will also be represented by Latto.
Festivalgoers can also expect the return of the daytime experience at the Ernest N. Morial Convention Center, where panels, brand activations, and shopping experiences will once again take center stage. Signature attractions are expected to include the ESSENCE Food & Wine Festival, Beautycon @ ESSENCE Festival of Culture, and SOKO MRKT, with additional performers and programming details set to be announced in the coming months.
As more details will become available soon, ticket sales for this year’s Essence Fest have begun. 
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March 18, 2026
Obama taps Edwards for a sports-driven video promoting his new Presidential Center in Chicago.
President Barack Obama has enlisted NBA All-Star Anthony Edwards for a sports-driven promotional video ahead of the opening of his Presidential Center in Chicago.
The Minnesota Timberwolves guard leaned into their easygoing rapport in a new video promoting the June 19 opening of the Obama Presidential Center in Chicago’s Jackson Park. Obama—recalling a 2024 meeting where Edwards declared himself “the truth” on the court—challenges the Atlanta native to a series of competitions, including a shooting contest, ping pong, and Connect 4, to determine who really lives up to the title.
The pair wrap up their friendly showdown by dipping their feet in the pool and vowing a rematch, one that Obama already has a location in mind for.
“The next one is going to be on my home court at the Obama Presidential Center on the South Side of Chicago,” Obama said.
The lighthearted clip builds on Anthony Edwards’ viral moment with Barack Obama during the 2024 Paris Olympics, featured in Netflix’s “Court of Gold.” When Obama stopped by USA Basketball’s 50th anniversary event in July 2024, he asked Joel Embiid what he thought of Edwards.
“He can hoop a little bit, huh?” Obama said, prompting Embiid to reply, “Just a little bit.”
Standing nearby, Edwards didn’t hesitate to respond with his signature confidence.
“Man, y’all better stand down. I’m the truth…” he said. “These boys know.”
As the center’s launch date approaches, reports are swirling about who will be invited, with a press release revealing that “legendary performances by global icons and powerful remarks from today’s most prominent voices” are expected. While former Presidents are expected to attend, it’s been confirmed that President Donald Trump is not invited to the grand opening, but former President George W. Bush will be.
“When visitors look up at the Obama Presidential Center’s Museum building, they’ll see three words: ‘You are America.’ Those words come from a speech I gave in Selma on the 50th anniversary of the march across the Edmund Pettus Bridge,” Obama wrote on Instagram. “They’re meant to honor the men and women who came before us, and to inspire the next generation to be messengers of hope.”
The center will feature a museum, a new library branch, and additional amenities across its expansive campus. Obama has previously said he chose to build the center—rather than a traditional presidential library—to help revitalize the Jackson Park neighborhood on Chicago’s South Side, where his wife grew up and where he launched his political career after being elected state senator in 1996.
RELATED CONTENT: George W. Bush Is Invited To The Opening Of The Obama Presidential Center, Trump Not Invited

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