T-Boz recalls the day TLC stormed their record label demanding to get paid

In a new episode of “Uncensored,” the TLC singer reflects on confronting executives, smashing records, and refusing to stay quiet while the group struggled financially at the height of its fame.
As 90’s R&B girl group TLC’s story continues to gain new attention on stage and screen, Tionne “T-Boz” Watkins is revisiting one of the most dramatic moments from the group’s real-life history.
While the story has circulated in TLC lore for years, Watkins revisits the moment in new detail during an upcoming episode of “Uncensored,” reflecting on the harsh financial realities behind the group’s success.
In an exclusive clip shared with theGrio, T-Boz recounts the day she and bandmates Rozonda “Chilli” Thomas and the late Lisa “Left Eye” Lopes nto the offices of Arista Records, demanding the money they believed they were owed..
“We went up to the record company like, ‘Y’all owe us money,’” Watkins says in the clip.
According to Watkins, the trio arrived at Arista Records with a plan: take down anything in the office that had TLC’s name on it.
“We said we’re taking anything off the walls or desks that says TLC,” she recalls.
Their confrontation eventually led them straight into the office of legendary music executive Clive Davis. Watkins says Sean “Diddy” Combs was there at the time playing music when the trio entered.
Another Arista executive, Roy Lott, was brought in as the situation escalated while the group continued pressing for answers about their finances.
The scene quickly became tense enough that someone inside the building called the police.
But according to Watkins, the officers who arrived weren’t exactly alarmed.
“They were laughing,” she says in the clip, recalling how the responding officers seemed amused that three young women had caused such a stir inside a major music label’s office.
Watkins jokes that the incident may have left a lasting mark.
“That’s why security is so tight at Arista now,” she says.
In 1995, TLC famously filed for Chapter 11 bankruptcy despite selling millions of records, revealing the financial strain created by their contracts with LaFace Records and Arista. At the time, their blockbuster album “CrazySexyCool” had already gone multi-platinum and produced several chart-topping hits.
The bankruptcy filing sparked widespread conversation about the music industry’s contract structures and how artists could achieve massive commercial success while still struggling financially behind the scenes.

The moment also reflects a broader reality that many women artists have faced in the music industry. TLC’s financial dispute became one of the most visible examples of how even chart-topping acts could find themselves trapped in unfavorable contracts. This fight resonates decades later as conversations about equity and ownership continue across entertainment.
As theGrio previously reported, the group’s story will soon enthrall theater audiences in “CrazySexyCool — The TLC Musical,” which is set to premiere June 26 at Washington D.C.’s Arena Stage. The production will bring the trio’s rise to fame, along with the triumphs and tensions behind it, to the stage through music, choreography, and storytelling inspired by their careers.
Watkins’ upcoming appearance on “Uncensored” revisits those moments while also exploring her personal journey navigating fame while living with sickle cell disease, a diagnosis she received as a child after being told she might not live past 30.
“Uncensored: T-Boz” premieres March 12 at 8 p.m. ET / 7 p.m. CT on TV One.
More About:
Weekly New Episodes
Stream Now

source

Calling All ‘Beyhive’ Members, The Beyoncé Fandom Is Now An Official Word In Dictionary.com

March 9, 2026
The Beyhive was among other fanbases in Dictionary.com’s latest word drop.
The Beyhive, the official fandom for Beyoncé, is now an official phrase in one popular word source.
Dictionary.com added a few more words to its platform this March, including the phrase for one of the biggest fanbases in the world. In the online database’s latest “word drop,” Beyoncé fans can check out their title among the 1,500 words added.
The “major language event” included more media-focused phrases, such as “Beyhive,” to add to the cultural lexicon. The word drop featured the additions of several worldwide fanbases, including lovers of Taylor Swift, “Doctor Who,” and “Harry Potter.” Dictionary.com shared the news on social media.
Are you part of any fandoms?

Our Word Drop is packed with over 1,500 new dictionary entries. This first drop of the year highlights words recently added to the dictionary. These words are new terms popping up everywhere, plus some words you may already know that have recently… pic.twitter.com/et3kKYGY4X
“These words are new terms popping up everywhere, plus some words you may already know that have recently been added to the dictionary,” detailed the platform on X. ” As fandoms grow, the language that fans use to describe themselves becomes more common.”
According to Hot 97, the Beyhive emerged in the early to mid-2000s. However, the phrase gained popularity amid the internet boom of the 2010s. As it stands, the definition of “Beyhive” is officially listed as “the fanbase of the singer Beyoncé and its online community.”
The entry also featured example sentences, taken directly from news sources that used the title. Most referenced Beyoncé’s impact during her “Cowboy Carter” era.
One example sentence, pulled from BBC, stated “Some seats that were sold in the Beyhive fan presale for £620 excluding fees are next to seats that were available this week for £141.60 without fees.” The reference made mention to the pre-sale ticket frenzy surrounding the A-list singer’s highly lauded tour.
Another focused on Beyoncé’s impact on reviving Western fashions. The example sentence, taken from the Los Angeles Times, also wrote, “The Beyhive showed out with their western-inspired outfits, heavily inspired by the Grammy Award-winning country album.”
However, Beyoncé ended her tour last year. Now, Beyhive members remain on the hunt for hints about her next project, rumored to be a rock-inspired album.
RELATED CONTENT: Minding Our Own Business: How Women-Led Savings Clubs Built The Black Middle Class

© 2026 Black Enterprise. All Rights Reserved.

source

NBA steps in and cancels Atlanta Hawks ‘Magic City Monday’ night

The themed night, an ode to the popular Atlanta gentleman’s club, was set to feature a collaborative Peachtree hoodie, a live performance from T.I., specialty wings and a podcast recording. Now the Hawks have adjusted plans.
Magic City Monday is not happening at the Atlanta Hawks‘ home arena.
The planned promotion, which was set to celebrate the “Atlanta cultural institution,” was scrapped by the NBA on Monday (Mar. 9), one week before it was set to take place.
“When we became aware of the Atlanta Hawks’ scheduled promotion, we reached out to Hawks leadership to better understand their plans and rationale,” NBA commissioner Adam Silver said in a statement. “While we appreciate the team’s perspective and their desire to move forward, we have heard significant concerns from a broad array of league stakeholders, including fans, partners and employees.
“I believe canceling this promotion is the right decision for the broader NBA community.”
The themed night included specialty wings from the Magic City kitchen, a collaborative hoodie, a live halftime performance from T.I. and a recording of the Hawks AF official podcast featuring T.I., DC YoungFly and Magic City founder Michael “Magic” Barney. Following the announcement that the promotion was cancelled, the Hawks confirmed that fans who pre-ordered the hoodies would still receive them, as well as the wings, but there would be no podcast recording.
“While we are very disappointed in the NBA’s decision to cancel our Magic City Night promotion, we fully respect its decision,” the Hawks said Monday. “As a franchise, we remain committed to celebrating the best of Atlanta — with authenticity — in ways that continue to unite and bring us all together.”
pic.twitter.com/ARpFImHcaQ
None of the promotional materials for the night mentioned the dancers of Magic City or that it was an adult entertainment venue. Jami Gertz, principal owner of the Hawks, has a tie-in with the club as he produced “Magic City: An American Fantasy,” a five-part docuseries that explored the club’s connection to hip-hop and the city at large.
Several NBA players voiced concerns about the idea of a “Magic City Monday” type promotion. San Antonio Spurs player Luke Kornet wrote a letter addressing those concerns, ones that former Atlanta Hawks player Al Horford echoed.
“The NBA should desire to protect and esteem women, many of whom work diligently every day to make this the best basketball league in the world,” Kornet’s letter read. “We should promote an atmosphere that is protective and respectful of the daughters, wives, sisters, mothers, and partners that we know and love.”
He added, “Allowing this night to go forward without protest would reflect poorly on us as an NBA community, specifically in being complicit in the potential objectification and mistreatment of women in our society. Regardless of how a woman finds her way into the adult entertainment industry, many in this space experience abuse, harassment, and violence to which they should never be subjected. I’d like to encourage the league, its owners, employees and fans to hold the Atlanta Hawks to a higher standard of what they find worthy of promoting.”

More About:
Weekly New Episodes
Stream Now

source

WHM: SZA Shines For Vans In Spring 2026 “Off the Wall” Campaign

Timed perfectly for Women’s History Month, SZA steps into her role as VANS Artistic Director by modeling the “Off The Wall” spring campaign.

Last summer, R&B’s reigning hitmaker SZA announced that she’d be taking her singing talents over to the sneaker community as the newly-appointed Artistic Director for VANS.
With much anticipation built up in the time since as fans have been wondering what her role will entail, we now are getting a glimpse at her first order of business: spearheading the brand’s signature “Off The Wall” campaign for spring 2026.

RELATED: SZA Remembers Label Telling Her SOS Wouldn’t Beat Taylor Swift On The Charts In 2023
Featured alongside equally talented forces in the music biz, including Franz Lyons of hardcore rock band Turnstile, Hayley Williams of famed pop-rock collective Paramore and Travis Barker of pioneering punk group blink-182 — pro skateboarders Lizzie Armanto and T-Funk also round out the bunch — SZA is surrounded by both good kicks and good company. The campaign is in celebration of VANS ringing in 60 years of service to the footwear and lifestyle community, be it singers, skaters or anyone who happens to fall in-between.

We care about your data. See our privacy policy.
The campaign specifically highlights the Authentic, a classic silhouette in the VANS roster. A variety of designs, prints and graphics will show up throughout the many drops ahead, including the signature checkerboard, floral mixed with “plant”-themed motifs, aquatic life and classic color-blocking.
As far as first times go, we’d have to say SZA is doing quite a bang-up job already in bringing a new look to a classic skate shoe — far from a snooze! — and we look forward to seeing her next move as Artistic Director. SZA Slip-On? SZlip-On? SZA “Low” Lowpro? Old SZkool? The possibilities are endless!

Related Tags
The 30 Most Beautiful Black Women In Hollywood
Rest In Power: Notable Black Folks Who We’ve Lost In 2026
8 Black-Owned Shoe Brands You Need On Your Radar
The 30 Hottest Black Men In Hollywood
We care about your data. See our privacy policy.
An Urban One Brand
Copyright © 2026 Interactive One, LLC. All Rights Reserved.

source

‘Do what we’ve never done’: Michelle Buteau is aiming high for the final season of ‘Survival of the Thickest’

The comedian first brought Mavis Beaumont to screens in 2023 and after three seasons, plus a few awards, the show is set to conclude with its third season.
Michelle Buteau is preparing to say goodbye to her Netflix show, “Survival of the Thickest,” but not without resetting the bar for herself.
The NAACP Image Award winner and comedian took PEOPLE behind the scenes of the show’s final season and even revealed a few special guests, including Ice-T.
“We had a mission statement,” Buteau says of the show, which is wrapping after three seasons on the popular streaming platform. “We wanted to uplift people. We wanted this job to not be a parallel move for a lot of people. And we did that, which was amazing.”
Going into season 3, after Buteau’s Mavis character rekindles things with Luca (Marouane Zotti), fans are going to be treated to plenty of other big names showing up in Mavis’ world, including Wanda Sykes and D.L. Hughley, plus the return of Garcelle Beauvais. As creatives, Buteau and the rest of the show’s crew went in with the idea to simply give the show everything they had.
“Let’s blow it up and do stuff that we’ve never done,” Buteau said.
One of those things is her getting behind the camera. Ahead of directing her first episode of the show, Buteau told the outlet that it was one of the “highlights” of her life, especially considering she was directing her own show with a cast and crew who’ve become friends and family. Asked whether she was nervous to sit in the director’s chair, Buteau said there was no better place or moment to do it.
A post shared by TODAY with Jenna & Sheinelle (@jennasheinelle)
“I thought, this is the safest space I’m ever going to do it in,” she said. “I was able to direct an episode and it was pretty fantastic. It is not often you can find a place and gather people together that make you feel like you’re at the tippy top of a rollercoaster, and you’re about to go fly and you feel safe. But somehow we were able to put all these people together who totally had my back and I have theirs. We created some really important television and the episode was very near and dear to my heart.”
Although ending the series wasn’t up to her, Buteau shared immense gratitude for Netflix allowing her a “safe space” to create something that was inclusive and eye-opening to people and that she could walk away from it knowing she was “f–king funny” and “really sexy.”
“I was so thankful for Netflix to say, ‘We really believe in this show. We’re going to do one more season, but this will be your final season.’ That’s such a gift that most creatives never, never get. You’re just sort of wandering and creating in this dark room of questions that are never answered,” she concluded. 

More About:
Weekly New Episodes
Stream Now

source

The Big Review | The Woman Question 1550-2025 ★★★★½

Works in the show include (top, from left to right) Kateryna Lysovenko’s Untitled (2022), Lesia Khomenko’s A Woman in the Middle of the Explosion (Kharkiv) (2024), Kinder Album‘s Bleeding (2023) and Sana Shahmuradova Tanska’s War Widow (2023), above Vlada Ralko’s monumental Guests (2022) Photo: Alicja Szulc
The works: ★★★★
The show: ★★★★★
Before entering the main space of The Woman Question 1550-2025, two paintings immediately signal the collective mood and feminist ambition of the exhibition: Artemisia Gentileschi’s Susanna and the Elders (1610) and Miriam Cahn’s Must Strike Back (2024). Gentileschi portrays the biblical tale of Susanna being preyed on by lecherous elders as she bathes, her panic and discomfort emphasised by the drama of all the gesturing hands, the coldness of the stone bench under her nude flesh, and the dagger-like shadow under her right foot. Painted at the age of 17—shortly before she was raped by her art tutor Agostino Tassi and had to prove her innocence by undergoing torture by thumbscrew—it maps the personal and the political through allegory. Centuries later, the Swiss painter Cahn’s Must Strike Back also defies male aggression in an image of a naked woman—but now she has one hand in her vagina, the other in a fist, punching an erect male to her side.
That sense of women artists working to strike out against the male gaze and patriarchal society is reiterated with the looping of Gina Birch’s short film 3 Minute Scream (1977) over the entrance doors to the exhibition hall. Her punk, red-lipped screaming also powerfully reflects the curator Alison M. Gingeras’s exhibition concept and gathering of almost 200 works by some 140 women artists in a vast, powerfully unruly, survey spanning 500 years.
The exhibition title references “la querelle des femmes”, a phrase used by the Medieval court writer Christine de Pizan who authored The Book of the City of Ladies (1405) about an allegorical space that would protect and conserve the histories of important women.
The book called for “woman” as a new, prized category of citizen, and this show at the Museum of Modern Art in Warsaw calls for her rightful status as citizen artist. There is an old-school feminism about the exhibition and its banner-like thematic sections. Gingeras has taken inspiration from the pioneering exhibition Women Artists 1550-1950, organised by Linda Nochlin and Ann Sutherland Harris, which toured US museums in 1976-77. The show is also indebted to Nochlin’s (and Maura Reilly’s) exhibition Global Feminisms at the Brooklyn Museum in 2007. But this survey is more transhistorical and focused on figurative painting and sculpture, and, critically, at pains to show that hard-fought feminist victories are under constant threat.
The exhibition opens with the section “Femmes Fortes: Allegories of Agencies”, which includes Jane Graverol’s take on the biblical tale Judith and Holofernes (1949) and Lubaina Himid’s allegorical portrait of the sea goddess Amphitrite as a monumental black woman (2025), followed by a section on “Education and the Canon”, reflecting how women master their own image and insert themselves into the canon.
A gallery themed “Palettes and Power” makes mastery literal through a focus on the palette as an object whose womb shape becomes a symbol of empowerment.
This is the most cohesive room in the show as across one painting after another women wield the brush like a sword. Star works such as Sofonisba Anguissola’s Self-Portrait at the Easel (1554-56) disprove the idea that women only entered the painting academy in the 19th century, while Marie-
Guillemine Benoist’s Neo-Classical Self-Portrait (1786) insists on beauty plus brains in combining a sensual bare shoulder with a firm grip on her brush. The inclusion of Felicja Curyło’s tempera Self-Portrait (1950-59), a local artist known for her folk “painted cottage” art, is a pointed curatorial decision—Gingeras rightly taking back women’s work typically marginalised in the folk or ethnographic museum. It was also a treat to find the young artist Somaya Critchlow’s X Studies the work of Pythagoras (2022) in the mix with its cheeky sensuality mocking the Greek philosopher’s reduction of the physical world to numbers.
Vanessa German’s The Blood & The Animals, The Mirror & The Sky, an Ode to the Un-language-able Truth of Is-ness (2017) Robert Glowacki Photography
Women enjoying their own bodies takes a metaphysical turn in the “Surrealist Self” gallery with Anna Güntner’s enigmatic Shy Fiancé (1961) and Leonor Fini’s Sphinx (1973), both portraying bare-breasted women as totems of mystical powers, alongside Vanessa German’s figurative sculpture The Blood & The Animals, The Mirror & The Sky; An Ode to the Un-Language-Able Truth of Is-Ness (2017), constructed from found objects and, according to the artist, “the blood that binds us all together, light, light, light, glee, the glory of creativity, the deep truth that we are all here together”. This halfway mark in the show offered a necessary uplifting, poetic pause—though this critic does feel most at home in the surreal.
The theme of oppression then returns with a section called “No Gate, No Lock, No Bolt”, a quote from Virginia Woolf’s famous essay (and demand for) A Room of One’s Own. Many of the works are more about a boudoir of one’s own, with Tamara de Lempicka’s The Beautiful Rafaela in Green (around 1927), Teresa Tyszkiewicz’s vulvic “pin-painting” Red 1 (1986-87) and Jordan Casteel’s oil portrait of the black male nude Aaron (2013), all offering different renditions of full-frontal desire.
The last two rooms of the exhibition struck me as a kind of coda, summing up where woman is today. “Of Woman Born”, entered by an immersive mural by Karolina Jabłońska titled Weathering the Storm (2025)—where scraps of feminist quotes blow in a skyscape—uplifts the eye and soul with visceral imagery of goddesses and birthing by the likes of Monica Sjöö, Clarity Haynes and Frida Kahlo. And yet there is a reminder that rights won can be taken back, as a replica of Madame du Coudray’s 18th-century obstetrical mannequin for practicing mock births, and Ewa Kuryluk’s comic-strip like drawing Abortion on TV and Live (1974), speak to the medicalisation and pathologisation of women’s bodies, as well as the fact that there is still a near total ban on abortion in Poland.
Meanwhile, “Wartime Women” situates gender politics and feminist work within the collective memory of the horrors of the two world wars, including the Warsaw Uprising and the Holocaust, and more recently the war in Ukraine. Sharing the space are works by the likes of the 19th-century Russian aristocrat Marie Bashkirtseff; the Soviet Ukrainian artist Tetiana Yablonska; the Soviet dissident Alla Horska, an underground figurehead who was likely murdered by the KGB; and Sana Shahmuradova Tanska, who painted War Widow (2023) in Kyiv after the full invasion of Russia in February 2022.
At once about life and death, this finale feels urgent for the museum and its role in Warsaw at a time when the Women’s Strike movement rally cry for reproductive rights—“I think, I feel, I decide”—is so critical, and war and genocide so close to the country’s borders. Woman and her right to an equal and safe and celebrated place in the city remains the site of protest, in and outside the museum.
The Woman Question 1550-2025, Museum of Modern Art in Warsaw, Until 3 May
• Curator: Alison M. Gingeras
• Tickets: 35zł (£7, concessions available)

Bold pairings of paintings by the contemporary German artist with those of the Old Masters are both provocative and elegiac
Two exhibitions, in Boston and Baltimore, celebrate the overlooked women artists who were working in Europe from the 15th century onwards
The artist’s first major UK exhibition uses dramatic spaces and biographical detail to bring her career into closer focus
The 17th-century Bologna-based painter is the subject of a concentrated presentation at Robert Simon Gallery in New York

source

Cardi B to make her Essence Festival debut alongside Brandy & Monica, Patti LaBelle and more

Cardi B, Latto, Kehlani, Brandy, Monica and Patti LaBelle are among the first artists announced for the 2026 Essence Festival of Culture.
The countdown to Essence Festival of Culture is officially on. And in honor of Women’s History Month, organizers are giving fans an early taste of what’s to come in 2026—starting with a lineup led entirely by women.
On Monday (Mar. 9), the festival, presented by Coca-Cola, unveiled the first wave of performers for its 2026 Evening Concert Series at the Caesars Superdome in New Orleans. And true to the spirit of celebrating women’s contributions across music and culture, the initial roster reads like a who’s-who of powerhouse performers.
The Wave 1 lineup includes Cardi B, who will make her long-awaited Essence Festival debut, alongside fellow first-timer Latto. R&B favorites Kehlani and legendary duo Brandy and Monica are also set to take the stage, while the incomparable Patti LaBelle will appear fresh off the heels of her upcoming Queens Tour, which wraps May 31.
A post shared by MONICA (@monicadenise)
Monica confirmed the news on social media, sharing a photo of herself and Brandy following their wildly successful reunion tour earlier this year. “@brandy and I are SO happy to announce that WE #Bronica are headlining @Essence Festival 2026…on Saturday, July 4th,” she wrote, encouraging fans to grab their tickets early.
Every year, waves of women (and men) make their way to New Orleans for the iconic festival that honors and celebrates the various layers of Black culture. Though the festival has recently faced criticism from attendees and has recently made headlines for allegedly failing to pay contractors, things seem to be back on track as Essence Festival of Culture says it “has agreements in place to pay all contractors for work on last year’s festival,” as reported by Nola.com
As excitement continues to bubble up for the renowned festival taking place on July 3–5, fans can purchase tickets here. 
More About:
Weekly New Episodes
Stream Now

source

March Book Bag: from a Modigliani catalogue raisonné to a career guide for artists

Amedeo Modigliani’s La Bouquetière (1919-20) Private collection © Marc Restellini/Institut Restellini
This long-awaited controversial catalogue raisonné dedicated to the notorious early 20th-century artist Amedeo Modigliani, available in a limited edition of 1,250 copies, comprises six volumes: volume one outlines the methodology used for compiling the catalogue while volumes three to five contain Modigliani’s paintings, each represented by a full-page reproduction and provenance details. According to the publisher’s statement, the author “Marc Restellini has made use of scientific and technological tools including spectrometry, infra-red, and x-ray imaging to authenticate 100 works not included in the previous catalogue raisonné [by Ambrogio Ceroni, 1938] and remove 15 others due to lack of definitive evidence attributing them solely to the artist.”
Arms and amour tend to be overlooked in the Wallace Collection, the museum in central London housing famed works dating from the 14th to 19th centuries by artists such as Titian and Anthony van Dyck. “The pieces within the collection provide an expansive view of three key areas, Asia, Africa and the Ottoman world, and span the 17th, 18th and 19th centuries,” says a publisher’s statement. Objects featured include an early 17th-century jewelled dagger from north India, its guards (hilt components) sculpted in the form of lion heads, and a shield made from a single piece of translucent water buffalo hide dating from 1265, which hails from Iran.
Nancy Nicholson, one of the protagonists of the book Relative Ties, with Smuts in her Land Army uniform (around 1917) © Estate of Nancy Nicholson
This exhibition (Murray Edwards College, Cambridge, 6 March-6 September) and catalogue focus on four artists— Mabel Nicholson (1871-1918), her daughter Nancy Nicholson (1899-1977), Nancy’s sister-in-law EQ Nicholson (1908-1992), and EQ’s daughter, Louisa Creed (b.1937)—and how they are linked artistically and personally. “Relative Ties gathers the work of four women from three generations of one of 20th-century Britain’s most creative families, telling the story of how their artistic practice grew out of domestic life,” writes Rachel Polonsky, the acting president of the college, in the catalogue. Paintings, preparatory drawings, textiles, and wallpaper designs by all four women feature.
The Artist’s Roadmap, a guide to navigating the art world, addresses topics such as approaching galleries and representation as well as the basics of art business, such as tax affairs, shipping and insurance. The guide has been compiled by Delphian, which is an artist-run nomadic gallery and arts platform mainly based in London. Chapters cover areas such as “writing your artist statement”, “cataloguing, authenticity and proof” and “the trappings of social media”. Regarding selling work, the authors state that “selling in a high volume can be good for some things (money helps you pay bills) and harmful for others (with more sales, scarcity diminishes)”.
Our roundup of the latest art publications
Our roundup of the latest art publications
There is something for every art lover among our pick of the publications—from a forgotten 17th-century painter to a lively history of dyes
Our round-up of the latest art publications

source

Former President Obama will welcome former President Bush, not Trump to Obama Presidential Center ceremonies, per report

The Presidential Center will be open to the public beginnong on Juneteenth.
Former President Barack Obama confirmed that the opening ceremony of the Obama Presidential Center would take place from June 18th through June 21, with the official public opening taking place on June 19. According to PEOPLE, we now know which President will be on hand with Obama during the unveiling, and it’s not the President currently in office.
The outlet confirmed President Donald Trump was not invited to the grand opening, but former President George W. Bush was invited. The ceremony will take place a few days from a UFC event held at the White House, which coincides with Trump’s 80th birthday.
In a social media post shared on Saturday (Mar. 7), President Obama reflected on the significance of the center.
“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,” he captioned a post 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.”
“That hope will have a home at the Obama Presidential Center,” the former president continued. “Today, Michelle and I are proud to announce that we will be hosting the dedication ceremony for the Obama Presidential Center on June 18th in Chicago, and welcoming the public on June 19th. We can’t wait for you to visit.”
A post shared by Barack Obama (@barackobama)
In a social media post of her own, the former First Lady remarked on what Chicago meant to her, her family and their journey from early public service to the White House.
“Chicago will always be home. It’s where Craig and I grew up,” she began. “Where Barack and I met and fell in love. Where we taught our girls to tie their shoes and reach for the stars. Where the ride of a lifetime took root — and took off. So when it came time to decide where we’d build the Obama Presidential Center, Barack and I knew exactly where it had to be: Jackson Park on the South Side of Chicago.”
The center, Mrs. Obama continued, is “a way of giving back to the community that has given us so much. But it’s more than that, too. It’s a tribute to the big-hearted, open-armed people and communities who have defined this city — and buoyed our family through thick and thin. It’s a launchpad for the next generation of young leaders who are going to change the world.”
A post shared by Michelle Obama (@michelleobama)

More About:
Weekly New Episodes
Stream Now

source

‘Power’ Play! 50 Cent Disses T.I. & Tiny On ‘Power: Origins’ Theme, Threatens They’ll Need ‘Crisis PR’ For Documentary On Assault Allegations

50 Cent’s diss track for ‘Power: Origins’ takes aim at T.I. and Tiny Harris. Read more about documentary threats and the social media war.
The long-standing cold war between New York’s 50 Cent and Atlanta’s T.I. has officially turned into a hate campaign. On Friday, 50 Cent proved once again that he is the undisputed king of being petty. Using the release of his latest television theme song to he launched a calculated verbal attack. 50 Cent’s diss, featured on the theme for the new spin-off Power: Origins, doesn’t just target T.I. It also takes aim at his wife, Tameka “Tiny” Harris, and their children, reigniting a feud that dates back nearly two decades.
In the new track, which features Leon Thomas, 50 Cent returns to his gritty roots to deliver lines that many fans interpreted as a direct shot at the Harris family’s ongoing legal troubles.
“I’m back on my dope boy grammar / Your daddy made your mama eat every box in Atlanta,” 50 raps, a line many believe is a dig at T.I.’s son, King Harris. The lyrics continue, “Freak s**t, peep s**t / Keep s**t, on the low / But everybody know.”
We care about your data. See our privacy policy.
To ensure there was no confusion about the target, 50 Cent shared a video of the theme alongside a picture of T.I. and Tiny. His caption was a chilling warning: “They are gonna learn to leave me alone.” This latest move comes after T.I. spent much of the early 2020s publicly provoking 50 Cent into a Verzuz battle. 50 famously ignored the challenge while choosing instead to attack Tip’s character and family on social media.
Even more threatening than the music is 50 Cent’s recent pivot into investigative content. Following the massive success of his Netflix docuseries Sean Combs: The Reckoning, which explored the sexual assault allegations against Diddy. 50 has suggested that T.I. and Tiny are next on his list. The Harris couple has been accused by over 30 women and one man of a pattern of drugging, kidnapping, and sexual assault, which they have vehemently denied.
50 Cent leaned into this narrative in a now-deleted Instagram post, sharing a headline about a potential docuseries focused on these allegations.
“Remember how quiet I got before the Diddy doc, Dame thought I wasn’t coming,” he wrote, addressing T.I. directly. “I hope this doesn’t mess up your promo tour they’re gonna ask about your 20 sexual assault cases. You might want to talk to a crisis PR person.”
As BOSSIP previously reported, the beef took a dark turn earlier this year when T.I.’s son, King Harris, entered the fray. Proving the apple doesn’t fall far from the tree when it comes to “trolling,” King went live with a profanity-laced rant that targeted 50 Cent’s late mother, Sabrina Jackson, who died when the rapper was only eight years old. King’s rhetoric was brutal, shouting, “Your mama dead as f**k, go dig her up.” He later wore a T-shirt featuring Sabrina Jackson’s face—a move that even T.I. admitted went too far.
In an interview on The Ebro Show, T.I. addressed his sons’ involvement. “I ain’t got nothing to do with—everybody moving on their own accord,” he stated. While he expressed pride in his family standing together, he admitted he told King to take a step back after the shirt incident. “I’m big on treating people the way I want to be treated… So I don’t want to see my children doing others [like that].”
The friction between the two rappers shows no signs of cooling. 50 Cent’s diss on the Power: Origins theme is just the latest volley in the war.

The post ‘Power’ Play! 50 Cent Disses T.I. & Tiny On ‘Power: Origins’ Theme, Threatens They’ll Need ‘Crisis PR’ For Documentary On Assault Allegations appeared first on Bossip.
‘Power’ Play! 50 Cent Disses T.I. & Tiny On ‘Power: Origins’ Theme, Threatens They’ll Need ‘Crisis PR’ For Documentary On Assault Allegations was originally published on bossip.com

The 30 Most Beautiful Black Women In Hollywood
Rest In Power: Notable Black Folks Who We’ve Lost In 2026
8 Black-Owned Shoe Brands You Need On Your Radar
The 30 Hottest Black Men In Hollywood
We care about your data. See our privacy policy.
An Urban One Brand
Copyright © 2026 Interactive One, LLC. All Rights Reserved.

source

Wunmi Mosaku reveals ‘Sinners’ win at BAFTAs was ‘tainted’ by N-word controversy as slur was also shouted at her during broadcast

The ‘Sinners’ cast, from Mosaku to Jayme Lawson to Delroy Lindo, have all spoken out about the incident ahead of the Oscars.
Despite her historic win for Supporting Actress at the BAFTA Awards, “Sinners” star Wunmi Mosaku says her victory felt “tainted” due to the controversial incident involving Tourette’s advocate John Davidson having an involuntary tic and yelling the N-word while Michael B. Jordan and Delroy Lindo were presenting.
Mosaku was on the red carpet for the Actor Awards on Sunday (Mar. 1), and when Entertainment Tonight host Kevin Frazier brought up the heartbreaking moment, Mosaku described her emotions and why she doesn’t hold any ill will toward Davidson.
“It was incredibly painful to have that celebration kind of really tainted for me,” she told Frazier around the two-minute mark of their conversation. “I have no hard feeling toward John Davidson at all – he has a condition. I feel like BAFTA has a lot of lessons to learn, but I think Jayme Lawson said it yesterday, it felt exploitative and performative to have someone there without the full protection of everyone, including him, and anyone in that audience.”
She continued, “Then the BBC is a whole other thing … That’s the bit that really kind of kept me awake at night and brought tears to my eyes. I was like, you really chose to keep that in. I can’t understand it. I can’t understand it and I’m not sure I can forgive it.”
According to Deadline, Davidson also shouted the slur at Mosaku, but that incident was edited out of the BBC broadcast of the award show. However, BBC Director General Tim Davie explained that there was confusion in the production truck at the first time Davidson yelled the slur and the second time he yelled it.
“Our understanding at this point is that the team editing the show in the truck mistakenly believed they had edited out the incident that was being referenced, on the basis that they had heard and edited out the slur shouted out during the Best Supporting Actress award,” wrote Davie. “Therefore, when they were told a racial slur had been shouted, they believed they had removed it.”
The incident has been the subject of a public back-and-forth between the BBC and Warner Bros., the studio that released “Sinners.”
Executives from the film studio lashed out, according to Deadline. They still wondered why the incident made the final cut for the BAFTAs despite the delay, why it remained online for 15 hours before being removed, and what steps the BBC would take to prevent future incidents.
More About:
Weekly New Episodes
Stream Now

source

Clash of the Renaissance titans: an intriguing double biography of Titian and Michelangelo

A portrait of Michelangelo (around 1575), attributed to Daniele da Volterra, and Titian’s self-portrait (around 1562) Metropolitan Museum of Art, New York; Museo del Prado, Madrid
Early in the 17th century, the Florentine nobleman Michelangelo Buonarroti the Younger, scholar, sometime Knight of Malta and owner of a tremendous moustache, commissioned a series of paintings and grisailles commemorating his great-uncle and namesake, to adorn the family palazzo in Florence. Michelangelo the Elder was depicted at various stages of his illustrious if somewhat chequered career: hobnobbing with five popes, Emperor Charles V, Doge Andrea Gritti and an embassy from the Ottoman sultan; declining to return to Rome after a disagreement with Julius II; designing fortifications for the short-lived Florentine Republic; refusing payment from Paul III for his work on St Peter’s Basilica; slumped over a manuscript in meditazione poetica; and, finally, dying.
The pictures testify to the huge success enjoyed by Michelangelo during his lifetime (1475-1564), as well as suggesting at least something of his character (his frugality, his piety—later in life, at least—his contrariness). But what they arguably illustrate most eloquently is how dramatically tastes had changed in the half-century since the maestro’s death.
There is a longstanding art-historical dichotomy that sets Michelangelo at the pinnacle of a tradition prioritising disegno, which means both drawing and design: thinking about what you are going to do before you do it, and setting down precise guidelines for your brush to follow when you eventually execute your painting. Conversely, Tiziano Vecellio, known as Titian (active around 1506, died 1576), Michelangelo’s younger Venetian contemporary, is said to be the fountainhead of another tradition based on colore or colorito, which does not simply mean rich, voluptuous colour, but also something more wide-ranging: a certain spontaneity of conception and freedom of execution.
This distinction was always a blunt instrument. Within the rigid limitations imposed by thin, fast-drying tempera and fresco, Michelangelo achieved thrilling chromatic effects, learned during his apprenticeship with Domenico Ghirlandaio and then perfected on the wide savannah of the Sistine Chapel ceiling. But, in painting at least, his work was always meticulously planned and exactly, even drily, executed—no Leonardo-esque pentimenti for him. Preoccupied with beauty in an exalted, ideal sense, he struggled with subjects that called for sensuality. Meanwhile Titian, working in oils, could break down the distinction between drawing and painting, building his pictures up in layers, changing his mind, switching between thin glazes and thick impasto, smudging and scumbling. He was undoubtedly a worldlier artist—and man—than Michelangelo: better at conveying emotion and atmosphere, less good when the brief called for an exact understanding of the human figure, or something heroic or sublime.
The celebrated art historian and Michelangelo expert, William E. Wallace’s elegant double biography attempts to consider the two artists, who probably met only twice, not as polar opposites, but rounded creative beings in active dialogue. It does not—spoiler alert—make good on the title’s claim of “rivalry”, despite Michelangelo’s famously bitchy remark on seeing Titian’s Danaë that it was a pity the Venetians had never learned to draw: Michelangelo had something of a talent for bitchy remarks, after all. But it does speculate intelligently about the impact Alfonso d’Este’s studiolo in Ferrara, which included commissions by Titian, must have had on Michelangelo; it notes similar poses in several works by the two artists; it outlines the ways in which ideas were disseminated during the period, not just through direct collaboration—some of Michelangelo’s best-known paintings are not painted by Michelangelo, but worked up by Sebastiano del Piombo and others from his designs—but through shared drawings, studio visits, a burgeoning print culture and simple hearsay. Wallace notes the impact of what modern Italians would call campanilismo but at the time was regarded as simple patriotism: a tendency to fly the flag for one’s home turf. Giorgio Vasari (1511-74) gives more weight to Michelangelo than Titian in his Lives of the Most Excellent Painters, Sculptors and Architects partly, at least, because the former was, like the author, a Florentine.
When Michelangelo and Titian slipped the surly bonds of earth, they were transfigured into the stuff of art-historical myth. Wallace mentions two artists, Jacopo Robusti, called Tintoretto, and Annibale Carracci, who implicitly or explicitly aimed for a synthesis of Titian’s colorito and Michelangelo’s disegno. He concedes, somewhat grudgingly you feel, that Titian’s influence on later centuries was the greater: he anticipates the “painterliness” of a Rembrandt, a Rubens, a Turner, a Monet, even a Pollock or a Twombly. He might have said more about the shared influence of the antique on both artists, and their contemporaries and immediate forebears, Ghirlandaio and Filippino Lippi in Florence, Luca Signorelli in Umbria, Giovanni Bellini and Giorgione in Venice, the brilliant, peripatetic Lorenzo Lotto: neither Titian nor Michelangelo sprang into being fully formed ab nihilo. Wallace is oddly preoccupied with Michelangelo’s footwear. But this is a fluent, readable and thought-provoking book about two great artists, and what they might have had to say to one another—whether or not they actually got to say it.
British Museum show focuses on the final three decades of the Italian master’s life
In the absence of large-scale works, the London show focuses instead on the objects that reveal the artist’s deepening spirituality
Three new books offer fresh angles on the Renaissance master
The National Gallery explores the highs and lows of this prolific partnership

source

International Women’s Day: The Women Who Shaped Hip Hop

March 8 marks International Women’s Day, a celebration of women whose impact stretches across culture, business, politics, and entertainment.
In Hip Hop, Black women did not just participate. They built movements, shifted sound, controlled narratives, and redefined power.
From the early days of rap to global superstardom, these women helped shape Hip Hop into the cultural force it is today.
Queen Latifah entered Hip Hop with presence and purpose. Her 1989 anthem “Ladies First” was more than a song. It was a statement.
At a time when women were often sidelined in rap, Latifah commanded respect.
She blended lyricism with social commentary and later expanded into television and film, proving that Hip Hop women could build lasting careers across industries.
She brought authority to the mic and business acumen to the boardroom.
Missy Elliott did not follow trends. She created them.
We care about your data. See our privacy policy.
From futuristic music videos to genre bending production, Missy reimagined what Hip Hop could look and sound like. Songs like “The Rain” and “Get Ur Freak On” changed visual storytelling in music.
She also became one of the first women in rap to dominate as a producer, shaping records behind the scenes while still owning the spotlight.
Her creativity expanded the boundaries of the genre.
Lil Kim redefined female confidence in Hip Hop. Her debut album Hard Core introduced a bold and unapologetic voice that challenged double standards in rap.
She embraced fashion, sexuality, and luxury in ways that influenced generations of artists who followed.
From red carpet moments to chart topping singles, Kim forced the industry to confront its biases while cementing her place in rap history.
Nicki Minaj ushered in a new era of commercial dominance. With animated flows, alter egos, and undeniable chart success, she broke records and expanded global visibility for women in rap.
She became one of the highest selling female rappers of all time and proved that women could compete at the very top of a male dominated genre. Her influence reshaped the mainstream and opened doors for the next wave.
The current generation continues to redefine the landscape.
Cardi B leveraged social media into chart topping success, earning Grammy recognition and becoming a cultural force.
Megan Thee Stallion brought Southern swagger, lyrical confidence, and viral anthems that amplified women’s voices globally.
Today’s Hip Hop women are business owners, brand architects, activists, and executives. They dominate streaming platforms, headlines, and award stages.
Hip Hop was born from storytelling, resilience, and community. Black women have been central to that story from the beginning.
RELATED: Rihanna’s International Women’s Day Post Proves Black Women Are Fearless (And Fly!)
International Women’s Day: The Women Who Shaped Hip Hop was originally published on hot1009.com

The 30 Most Beautiful Black Women In Hollywood
Rest In Power: Notable Black Folks Who We’ve Lost In 2026
8 Black-Owned Shoe Brands You Need On Your Radar
The 30 Hottest Black Men In Hollywood
We care about your data. See our privacy policy.
An Urban One Brand
Copyright © 2026 Interactive One, LLC. All Rights Reserved.

source

Obama Criticizes Attacks on Democracy During Jesse Jackson Funeral

Former President Barack Obama used his remarks at the funeral of Rev. Jesse Jackson to reflect on the state of the country and the legacy of the civil rights leader who helped shape modern American politics.
Text “RICKEY” to 71007 to join the Rickey Smiley Morning Show mobile club for exclusive news. (Terms and conditions).
Speaking to a packed audience in Chicago, Obama praised Jackson’s lifelong work fighting for justice and equality while also expressing concern about what he described as troubling changes in the nation’s political climate. Although he never mentioned President Donald Trump by name, Obama’s comments made clear that he believes the country is facing serious challenges to its democratic values.
We care about your data. See our privacy policy.
“We are living in a time when it can be hard to hope,” Obama told the crowd. “Every day we wake up to some new assault on our democratic institutions.”
Jackson, who died last month at the age of 84 after battling the neurological disorder progressive supranuclear palsy, was remembered as one of the most influential civil rights leaders of the past half century. A former presidential candidate and longtime activist, Jackson spent decades advocating for voting rights, economic justice, and greater political representation for Black Americans.
His work helped open doors for many leaders who came after him, including Obama himself.
During his speech, Obama spoke about the importance of maintaining faith and perseverance during difficult times. He said the current political environment often feels discouraging, pointing to growing division and rhetoric that encourages Americans to fear one another.
LIKE US ON FACEBOOK. FOLLOW US ON TWITTER AND INSTAGRAM. SUBSCRIBE TO OUR YOUTUBE
“Each day we wake up to things we once thought were impossible,” Obama said. “We’re told to turn on each other, to believe that some Americans matter more than others.”
Despite those concerns, Obama emphasized that Jackson’s life offers a powerful reminder that progress often comes through persistence.
“This man inspires us to take the harder path,” Obama said. “His voice calls on us to be messengers of hope.”
The funeral service brought together a number of prominent political and civil rights figures. Former Presidents Joe Biden and Bill Clinton also spoke during the event, along with longtime activist Rev. Al Sharpton.
CLICK HERE TO DOWNLOAD OUR APP AND TAKE US WITH YOU ANYWHERE!
Biden echoed Obama’s concerns during his own remarks, saying the nation is currently facing a difficult moment.
“We’re in a tough spot,” Biden said. “But Jesse Jackson always pushed this country to live up to its highest ideals.”
Related Article: ‘Meet The Moment’: Barack Obama Lays Out Strategy For Democrats To Fight Back Against Trump
Related Article: Donald Trump & Cabinet Clowned For Trying To Mimic Barack Obama’s Bin Laden Situation Room Photo Moment
Clinton, who awarded Jackson the Presidential Medal of Freedom in 2000, focused primarily on celebrating Jackson’s accomplishments and influence. His speech highlighted Jackson’s ability to inspire people across generations to believe that change was possible.
President Donald Trump did not attend the funeral. After Jackson’s passing, Trump posted a tribute online, calling the civil rights leader “a force of nature.”
For many of those gathered in Chicago, however, the day was less about politics and more about honoring the life and legacy of a man who spent decades fighting to expand opportunity and hope for others.
HEAD BACK TO THE RICKEYSMILEYMORNINGSHOW.COM HOMEPAGE
Obama Criticizes Attacks on Democracy During Jesse Jackson Funeral was originally published on rickeysmileymorningshow.com

The 30 Most Beautiful Black Women In Hollywood
Rest In Power: Notable Black Folks Who We’ve Lost In 2026
8 Black-Owned Shoe Brands You Need On Your Radar
The 30 Hottest Black Men In Hollywood
We care about your data. See our privacy policy.
An Urban One Brand
Copyright © 2026 Interactive One, LLC. All Rights Reserved.

source

Can you feel the love tonight? Elton John’s cosy family portrait captured by Catherine Opie

October Gallery Museum
Connecting People with Art since 1985
Catherine Opie’s Elijah, David, Elton and Zachary (2025) © Catherine Opie; courtesy of the artist, Regen Projects, Los Angeles and Thomas Dane Gallery
The Rocket Man—aka the legendary musician Elton John—has been captured in all his (domestic) glory by Catherine Opie ahead of a major retrospective dedicated to the LGBTQ+ trailblazing photographer opening this week at the National Portrait Gallery in London (Catherine Opie: To Be Seen, 5 March-31 May). In the new portrait, on show in Room 30 (Mary Weston Gallery), the Private Dancer singer is shown at home with his husband David Furnish and his sons Zachary Furnish-John and Elijah Furnish-John. 
“Through this family portrait Opie celebrates queer and celebrity lives within the visual language of domesticity and belonging,” the gallery says. Opie chose to photograph the Furnish-John family with their pet Labradors Joseph and Jacob at their family home in Old Windsor. Opie says: “I arrived at Elton and David’s house three days before Christmas. I met the boys and the dogs and after a great lunch together I made this family portrait of them in their library. It is truly an honour to photograph Elton, David, Zachary, and Elijah. For me it represents the humanity of what family can be.” The commission is supported by the art foundation iArtis.
The new portrait will go on show in a Covid-delayed exhibition at the National Portrait Gallery in London
A sneak peek into the mammoth photo collection of Elton John and David Furnish
source

The October Gallery Museum places art in the community. Here are partner locations where you can have an art experience.
Some locations art is installed inside buildings and visits are during regular business hours. Other locations are by appointment only. Schools are not open to the public. In addition, we have many outdoor installations that you can enjoy around the clock. Check each location below for details. Tours are available upon request. 215-352-3114.
Here are some of our patrons that have donated art and art related items installed as part of our Art in the Community program. Thanks!
Watson and Sonia Brown
Stephanie Daniel
Chad Cortez Everett
Gail Gaines
Dr. Darryl J. Ford
Kelly R. Harrison
Deborah Kelly
Betty Ann D. Lawrence
David Lawrence
Leon McDuffie
Michael Muhammad
Jay R. Ogilvie
Marjorie H. Ogilvie
Junious Rhone, Sr.
Robin Rhone
Shirley Rhone
April Rice
Karen Roach
Monica Rocha
Steve Satell
Deborah Stephens
Staci Watson 
Stephanie R. West
Horace Wright

Sign Up Now
Art and art related items may be returned to October Gallery in good condition within twenty (20) days of the purchase for store credit ONLY – unless otherwise stated on an invoice.
Items on layaway or even items paid for will be held by the gallery for no more than ninety (90) days from the original sale date. Refund is in store credit ONLY – unless other stated on an invoice.

source