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Activist group Everyone Hates Elon put up a photograph of Andrew Mountbatten-Windsor leaving police custody inside the Louvre in Paris Courtesy of Everyone Hates Elon
Activists mounted a photograph of Andrew Mountbatten-Windsor inside the Louvre in Paris on Sunday 22 Feburary, in a stunt timed to follow his arrest last week on suspicion of misconduct in public office.
The anti-billionaire campaign group behind the action, Everyone Hates Elon, posted a video of them hanging the photograph on Instagram with the caption “They say ‘hang it in the Louvre’ So we did.”
The image of the former Prince being driven away after his release from police detention in Norfolk, England, on 19 February was taken by Reuters photographer Phil Noble.
Placed in a gold-like frame, it carried the caption “He’s Sweating Now — 2026”—a phrase lifted from the front page of that evening’s edition of The Sun newspaper.
The photo and caption were reportedly on display for 15 minutes before Louvre staff removed them. A spokesperson for the activist group said: “We thought we’d show the former Prince Andrew how the world will remember him by putting up this iconic arrest photo at the Louvre. Let’s hope this is just the start. Justice for all Epstein survivors.”
Jeffrey Epstein was convicted of soliciting prostitution and soliciting a minor in 2008. He died in prison in 2019 in what was ruled a suicide, while awaiting trial on federal sex trafficking charges.
Mountbatten-Windsor was arrested on his 66th birthday (19 February) on suspicion of misconduct in public office. Authorities are investigating allegations that he shared confidential British government documents with Epstein while serving as the United Kingdom’s trade envoy. He has not been charged.
The US Justice Department has released emails that appear to show Mountbatten-Windsor sharing reports from official trade visits with Epstein in 2010. He has consistently denied any wrongdoing and has not responded publicly to the latest allegations.
Misconduct in public office carries a maximum sentence of life imprisonment in the UK.
The caption is a reference to Mountbatten-Windsor’s infamous 2019 BBC interview with Emily Maitlis when he claimed he didn’t sweat. This was a rebuttal to allegations by Virginia Giuffre, who said the King’s brother was “sweating profusely” while dancing with her at a London nightclub. Giuffre accused Mountbatten-Windsor of sexually assaulting her in the early 2000s when she was 17 and alleged she was sex trafficked by Epstein. She filed a civil lawsuit in 2021 against Mountbatten-Windsor, who denied the allegations. The case was settled out of court in February 2022 for an undisclosed sum.
The Louvre has not commented on the incident. Lydia Starbuck, the editor-in-chief of the independent website for news on royalty Royal Central, described the photograph itself as already “one of the defining images of the [British] royal family in the 21st century,” and one that captured “the fall from lofty heights of a former prince”.
The royal commentator Sarah Hewson told the ABC Australia news channel that the image “will go down in history and is a photo that will haunt him for the rest of his life”.
Newly released documents show the close relationship between the two men continued for years after Epstein’s first criminal conviction
Lang, 86, who has led the Parisian institution since 2013, has vigorously denied any wrongdoing after his name was found nearly 700 times within the Epstein files
Collectors Leon Black, Steve Tisch and Jean Pigozzi and the artist Jeff Koons are also mentioned in the documents
A lawsuit claims that the billionaire sexually assaulted a woman in Jeffrey Epstein’s New York mansion

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Rihanna has once again teased her highly anticipated ninth studio album, here are all the times she’s hinted at new music.
It’s starting to feel like Rihanna enjoys teasing her fans with the possibility of new music and her highly anticipated ninth studio album. This week, the Fenty founder tapped into her cheeky energy in a new Instagram post giving fans a glimpse into a night in her life, which, to many’s surprise, included a visit to the studio. 
The mother of three begins the video at 9 PM with a meeting for her lingerie and loungewear brand Savage X Fenty, where she appears to be reviewing designs. 
“I still have to go to the studio after this, and I have to make a Mardi Gras costume for my son after the studio,” Rihanna is heard saying in the meeting, which lasted until almost 2 a.m. “Longest day ever.”
A post shared by badgalriri (@badgalriri)
And she fulfilled her promise. The next clip shows the “Anti” singer in the studio, writing, listening to beats, and dancing around. Though the clips did not offer any insights into what the new music sounds like, the image of Rihanna sitting in a studio was enough to give fans a glimmer of hope that “R9” will be released in this millennium. 
Though Rihanna has appeared on a handful of tracks since the release of her 2016 album “ANTI,” the Rihanna Navy (her fanbase) has been hanging on to the many clues she’s dropped through the years about the album in hopes of one day predicting its release date. 
“Me listening to R9 by myself and refusing to release it,” the star wrote in a 2019 Instagram post, trolling fans
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Her trolling post came months after the star told Vogue she was “very aggressively working on music.” And since then, she has continuously teased the project in interviews. In 2024, while launching her Fenty haircare line, the Barbadian native joked:  “This is probably the longest I’ve ever taken to create something… No, I lied, that’s R9.” A year later, she provided what felt like the biggest update in years about the album during an interview with Harper’s Bazaar. 
“This is becoming my new freedom, because when I’m in the studio, I know that my time away from my kids is to blossom something that hasn’t been watered in eight years. I’ve been in the studio the whole eight years,” she shared. “But it didn’t hit me. I was searching for it. I went through phases of what I wanted to do. ‘This kind of album, not that album.’ I know it’s not going to be anything that anybody expects. And it’s not going to be commercial or radio digestible. It’s going to be where my artistry deserves to be right now.”
“This feels right. It feels like it digs right into where I need to be, and I want this. This body needs to come out, and I’m ready to go there.,” she added, explaining feeling “optomistic” about the project. 
Now, only time will tell if we get R9 any time soon, but don’t be surprise if it’s in another five years.  
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The new series brings plenty of OGs back to Hillman College, including Kadeem Hardison, Jasmine Guy and more.
It really is about to be homecoming at Hillman.
Netflix has confirmed that the “A Different World‘ reboot has officially begun filming, sharing a behind-the-scenes look on Instagram on Thursday (Feb. 26).
“Freshman class loading!!! Production is officially underway on the A Different World sequel series!”
A post shared by Netflix US (@netflix)
Giving fans a glimpse of the old and new faces joining the series wasn’t the only thing they discovered. Aside from Jasmine Guy and Kadeem Hardison joining the show with Cree Summer, Chanele Brown, aka Kimberly Reese, and Jenifer Lewis, aka Dean Dorothy Danridge Davenport, are also joining the cast, according to Deadline. Darryl M. Bell will return to portray Ron Johnson as the series mixes several original cast members and incoming freshmen to the world of Hillman.
One cast member who hinted she might be available for the reboot? Dawnn Lewis. The veteran actress played Jalessa Vinson-Taylor for six seasons says while she hasn’t been cast, producers for the new series have been in touch.
“They have asked my availability date, so I’m sure at some point I’m going to be doing a guest star spot on the show,” Lewis told PEOPLE earlier this month. “They also indicated last summer that they’re going to be reusing the original theme song, which is especially special for me because I wrote it. So we’ll see if that actually manifests. That would be beyond cool.”
As previously reported by theGrio, the reboot will center on Dwayne Wayne (Hardison) and Whitley Gilbert Wayne (Guy)’s daughter Deborah Wayne (Maleah Joi Moon), the youngest daughter of the Waynes as she navigates being a legacy at the university and creating a legacy of her own as she attempts to establish an identity outside of her parents’ large shadow.
The new class at Hillman includes Alijah Kai as Rashida, Chibuikem Uche as Kojo, Cornell Young IV as Shaquille, Jordan Aaron Hall as Amir and Kennedi Reece as Hazel. While Netflix has yet to confirm when the reboot will air on the platform, fans can’t wait to come back to a show that not only means something to the culture but has become a comfort show ever since its debut as a spinoff from “The Cosby Show.”
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Khaled Sabsabi Photo: Anna Kucera
Few have travelled as rough a road to the Venice Biennale as Australia’s Khaled Sabsabi. The Lebanese-born Sydney artist was appointed to represent Australia in February 2025, dumped six days later amid bitter political posturing, and finally reappointed later that year in July.
Sabsabi’s supporters are ecstatic over news out of Italy today (February 25) that the artist will not only take over the Australia Pavilion in the Giardini, but he has also been invited to contribute to the Biennale’s main exhibition entitled In Minor Keys (9 May-22 November).
In a statement, the government body Creative Australia says Sabsabi’s double appearance in Venice is “a major historic first for an Australian artist”.
In Minor Keys was organised by the curator Koyo Kouoh, who made her artist selections before her death on 10 May 2025, aged 57.
Sabsabi tells The Art Newspaper that his works for the Australia Pavilion and In Minor Keys are separate but related, and draw on his devotion to Tasawwuf, or Sufism. “(Tasawwuf) is the so-called mystical branch of Islam,” Sabsabi says.
The artist’s Australia Pavilion work is titled conference of one’s self, and is underpinned by the Persian poet and Sufi theoretician Farid al-Din Attar’s Tasawwuf allegory, The Conference of the Birds (1177), about the journey to spiritual enlightenment.
Khaled Sabsabi’s Bring the Silence (2018) Photo: Anna Kucera, courtesy of the artist and Milani Gallery, Brisbane
The title of Sabsabi’s work for the exhibition In Minor Keys has not yet been released and further details about both works remain confidential for now, although the artist says they are designed to be meaningful whether a visitor stays for minutes or hours.
Sabsabi and his curator Michael Dagostino, the director of Sydney University’s Chau Chak Wing Museum and Seymour Centre, say they had been buoyed throughout their ordeals by the support of the arts community. “For us, it’s always been about the work,” Sabsabi says. “It was our only way to see through everything and remain fixated and focused on making the work.”
Simon Mordant, a philanthropist and a global ambassador for Australia’s participation in the Biennale, says Sabsabi had “faced obliteration” as an artist when his appointment was snatched away amid suggestions that two of his early works had glorified terrorists. “I think he’s now going to be the hero of the day in Venice,” Mordant says, adding that the artist is a “peacemaker”. “There’s always an element of the community that will seek to characterise him differently from that, and that led to the initial decommissioning,” he says. “But Khaled is someone who tries to bring communities together. Both the works that will be in Venice speak to that theme about uniting people, and I think they’re going to be extremely well received.”
The Biennale has pledged to honour Kouoh’s vision for the Biennale with the full support of her family. In Minor Keys will be on view at the Giardini and the Arsenale venues, and in various locations around Venice.
The head of Creative Australia’s visual arts department and the board member and artist Lindy Lee among those who have reportedly left their posts
Last year’s Golden Lion winner Archie Moore and the National Association for the Visual Arts are among those to speak out in support of Sabsabi after he was dropped by Creative Australia
An external review found that Creative Australia was unprepared for the risk of controversy in an atmosphere of antisemitism and Islamophobia
Sabsabi’s curator will be Michael Dagostino, who also came up through the multicultural western Sydney arts scene

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The Wake-Robin golf club, the oldest for Black women, is gearing up to celebrate 90 years of hitting the course. 

When you think of golf, your first thoughts might be white men, salt-and-pepper hair and designer khakis dotting the greens of exclusive country clubs. But for nearly nine decades, one club in the Washington, D.C., area has been challenging that narrative.
The Wake-Robin Golf Club, the oldest Black women’s golf club in the country, is preparing to mark its 90th anniversary next year. For now, members are reflecting on the legacy that began all those years ago in the living room of its founding member.
The club’s story dates back to 1936, when Helen Webb Harris—an educator and the wife of an avid golfer who belonged to the all-male Royal Golf Club, one of the oldest Black men’s golf clubs in the country—invited 12 friends to her home. Frustrated by being left behind while their husbands hit the links, the women, many of whom were part of the Black elite of that era, began discussing forming a club of their own. The following year, Wake-Robin was officially born.
“There was nothing for women to do in those days but keep house,” Elizabeth McNeal, then in her late 90s, told Andscape in 2017.
The club takes its name from the deep purple wildflower native to the Mid-Atlantic — a region stretching from Richmond, Virginia, to Philadelphia that was once a hub of the Black bourgeoisie. Members proudly wear the club’s colors: purple and gold.
From its earliest days, Wake-Robin members navigated the harsh realities of Jim Crow–era racism. They fought for access to all-white courses across the D.C., Maryland and Virginia region, including East Potomac, where they endured racial slurs and even objects — eggs and golf balls among them — hurled in their direction. Still, they persisted. 
“It’s a great organization. I mean, I would have never guessed that a group of women could keep something going for so long,” former Wake-Robin president Debbie Tyner told USA Today in a recent interview.
Today, with more than 50 members, the club continues to carry out Webb Harris’ vision: getting women onto the green, with or without their male counterparts. Members range from junior golfers and young professionals to women well into their golden years. The hope, longtime members say, is that younger women will take the confidence and connections forged on the course into other spaces — including boardrooms and offices where golf still serves as informal currency.
The club also hosts a tournament in honor of Webb Harris and is planning a multi-day celebration for its 90th anniversary to spotlight its resilience, fellowship, and commitment to growing the game.
And while there is plenty of camaraderie, members are quick to clarify that Wake-Robin is not just about socializing.
“We’re not a social club. We play golf,” said Tyner. “Don’t just come and think that we’re just going to sip wine and eat wings. We’re going out on the golf course, and we’re going to play some golf first.”
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Whether you’re looking for a March Madness that is school-related, player-inspired, or just plain hilarious, we’ve got you covered.
March Madness is near, and while the games are intense, your bracket name doesn’t have to be!
A clever, funny, or themed bracket name can add some extra fun to the competition.
Whether you’re looking for something school-related, player-inspired, or just plain hilarious, we’ve got you covered.
Here are over 200 bracket name ideas, broken down by themes to help you stand out in your pool.
Take a look below at the Funniest March Madness Bracket Names In 2026.
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Show your school spirit (or poke fun at your rivals) with these creative bracket names based on college names.
Pay homage to your favorite players (or poke fun at them) with these player-inspired names.
Keep it lighthearted with these laugh-out-loud bracket names.
For those who take their brackets as seriously as the game itself.
Keep it all about the game with these basketball-inspired names.
Celebrate the madness of the tournament itself with these creative names.
Perfect for office pools, friend groups, or family competitions.
Combine your love for March Madness with references to movies, TV shows, music, and more.
For the foodies and drink lovers who want to add some flavor to their brackets.
For those who love a good play on words, these pun-tastic names will make your bracket stand out.
Funniest March Madness Bracket Names In 2026 was originally published on 1075thefan.com

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The award-winning journalist and ‘PBS NewsHour’ alum followed her family tradition by giving her son a name beginning with the letter Y.
Yamiche Alcindor just added an extra little heartbeat to her family.
The seasoned correspondent, known for her work at NBC News and her former role as moderator on PBS’s Washington Week, announced that she and her partner have welcomed their second child.
“Our youngest son, Ydris Morrison Alcindor Cline, came bursting into the world on January 29, 2026. At birth, he weighed 7lbs., 9 oz. and [measured] 19¾ inches long,” Alcindor, 39, told PEOPLE. “Ydris is pronounced ‘Idris’ like Idris Elba, the actor.”
“My husband Nate loved the name Idris, and I agreed that it was a great choice,” she explained. “The Y at the beginning of his name honors my grandmother, who named all three of her children with Y names, including my mom Yanick. Ydris’ middle name honors my favorite writer, Toni Morrison, the Pulitzer Prize-winning author.”
A post shared by Yamiche Alcindor (@yamichealcindor)
Alcindor and husband Nate Cline also followed the naming tradition with their older son Yrie, who was born in May 2023 following a long IVF journey. She says her toddler has taken great joy in his newfound status as a big brother.
“Yrie, my oldest son, has been delighted to welcome his little brother into our home,” Alcindor said. “Yrie has been gentle and kind as he’s taken to playing with Ydris’ tiny toes and rubbing his chubby cheeks. It’s been so special to see them interact and start their journey as brothers.”
The White House correspondent also expressed her gratitude to NBC for providing generous maternity leave as she and her family adjust to their newest addition.
“Adjusting to life with two sons has meant embracing beautiful chaos,” Alcindor told PEOPLE. “My husband and I are blessed to have a village of support ot help us transition to parenting two kids. And while it’s been nonstop, I am so grateful to work for NBC News, which has given me a generous maternity leave, underscoring the importance of paid family leave.”

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Cornelia Stokes, assistant curator of the art of the African Diaspora at the San Francisco Museum of Modern Art and Museum of the African Diaspora Photo: Carlin Stiehl
Cornelia Stokes, the inaugural assistant curator of the art of the African Diaspora at the San Francisco Museum of Modern Art (SFMoMA) and Museum of the African Diaspora, started her three-year dual role just last month. Her new job is to bridge the two institutions through joint exhibitions and community programming related to the African Diaspora, as well as helping diversify SFMoMA’s permanent collection. Stokes took a break from her busy schedule to tell us about her favourite works on display at Frieze Los Angeles this year. (Some could even make their way to SFMoMA one day, she says.)
Photo: Carlin Stiehl
Narsiso Martinez was born in Oaxaca, Mexico, before he migrated to the US when he was 20 years old. He picked apples, asparagus and cherries in Washington State to put himself through art school. The images in his pieces are often of himself, family or friends; he frequently uses discarded produce boxes collected from grocery stores. “I love the strawberry boxes,” Stokes says. “I appreciate the migrant story and the labour connection. They matter too. Period.” Martinez was awarded the Frieze Impact Prize in 2023.
Photo: Carlin Stiehl
“Ebony G. Patterson is a Jamaican-born artist of the Diaspora,” Stokes says. “I fell in love with her work maybe five or six years ago, and then I saw her presentation at the New York Botanical Garden and was forever a fan after that. She creates these installations that are like experiences, these environments that you have to step into, and it’s almost like stepping into her world. I also like that the glitter, the glitz and the glam draws you in to talk about something serious—violence against Black and Brown bodies. It’s almost like they’ve got to trick you to get you in there.”
Photo: Carlin Stiehl
Born and raised in Texas, Hugh Hayden is a former architect turned sculptor. Now based in New York, he anthropomorphises everyday objects in an exploration of what it means to be human. In this series of powder-coated aluminium skillets, he used imprints of African masks and sometimes his own face in a commentary on the importance of Southern soul food in American culture. “I like this work because of the way he coats his objects—the intentionality, the execution. It’s flawless,” Stokes says.
Photo: Carlin Stiehl
“Kenturah Davis is a Black artist from Altadena. She lost her home and studio in the Eaton fire last year, and she recently had a baby. What I love about this drawing in particular is that it has these impressions—like a text by Zora Neale Hurston and sheet music.”
Photo: Carlin Stiehl
“Africanus is a friend of mine,” Stokes says. “He is of the Diaspora and making work based on the Diaspora, but what I love about his practice is that he mixes his media really, really well—media and techniques. It’s seamless.” The piece on the left uses a combination of silk screen, oil and burnt coconut milk that Okokon says feels like a photograph developing as the figures start to emerge in the art-making process.
Photo: Carlin Stiehl
“Robert Colescott is a legend in both the Diaspora and in painting,” Stokes says. “His colours are mesmerising. And this work is probably my favorite Colescott I’ve ever seen. I know SFMoMA has a Colescott, but he’s one of those people that you can collect again—in the same way that they have millions of Picassos or Lichtensteins. I’m really interested in growing SFMoMA’s collection of African Diaspora art, so that’s also what I’m looking for at the fair.”
Photo: Carlin Stiehl
Stokes is a big fan of Michael Rosenfeld Gallery’s entire stand this year. “It’s art history, art of the African Diaspora, African American art—it hits all those notes,” she says. On the stand are works by artists including Romare Bearden, William H. Johnson, Augusta Savage, Alma Thomas, William T. Williams and Sam Gilliam. “Gilliam is one of my top ten favourite artists of all time,” Stokes says, adding that she also has a special affinity for Thomas, who was from Stokes’s hometown of Washington, DC. “You can’t talk about the art of the Diaspora without these artists. And you can’t have places like the Studio Museum in Harlem without them.”
The England rugby player and gallerist discusses having no regrets, and why he’s on a mission to raise awareness about Black history
The superfan of printmaking workshop and publisher Gemini G.E.L. talks about her extensive collection of prints and her excitement for new art-fair discoveries
From the latest additions to Judith Baca’s “Great Wall of Los Angeles” at Jeffrey Deitch and “Monuments” at Moca and the Brick, to the Julia Stoschek Foundation’s epic pop-up show of video art and medieval creation stories at the Getty
The singer-turned-curator, and founder of two non-profits focused on uplifting women and underrepresented artists, shares her enthusiasm for Hiba Schahbaz’s paintings and her Oscars picks

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“Covering up direct evidence of a potential assault by the President of the United States is the most serious possible crime in this White House cover up.”
Records related to a woman who accused Donald Trump of sexually assaulting her when she was a minor are reportedly missing from the FBI files on convicted sex offender Jeffrey Epstein. Multiple reports of omitted documents have prompted an investigation by the U.S. Department of Justice.
According to The New York Times, the missing records are FBI memos summarizing interviews that the law enforcement agency conducted with a woman after Epstein’s arrest in 2019. The unidentified woman claimed Trump and Epstein sexually assaulted her as a minor in the 1980s.
The revelation of the accusations came as a result of an index published in the publicly released Epstein files, which showed that the FBI conducted four interviews in connection with the woman’s claims and wrote summaries about each one. However, only one of the summaries — about Epstein, not Trump — was released by the Justice Department. President Trump has repeatedly denied any wrongdoing.
Following public scrutiny, the Department of Justice told the Times that it would review the missing records and would publish any documents “found to have been improperly tagged in the review process” that are legally required to be made public.
By law, under the bipartisan Epstein Files Transparency Act, which President Trump signed into law after political pressure, the DOJ must release all files related to the criminal case of Epstein, who was convicted of child prostitution in 2008 and faced charges of child sex trafficking before his suicide death in 2019. Members of Congress, mostly Democrats, have rebuked the Trump administration for slow-walking the full release of the files after the law’s Dec. 19, 2025, deadline. Despite releasing more than 3 million documents in January, the agency released only 2% of the files.
The DOJ has said it is still reviewing the documents and ensuring that the necessary files are redacted. The Justice Department has also been criticized for redacting the names of powerful and wealthy men and not redacting personal details about Epstein’s victims.
Democrats in the U.S. House Committee on Oversight said they have been investigating the FBI’s handling of the allegations against Trump for weeks.
“Oversight Democrats can confirm that the DOJ appears to have illegally withheld FBI interviews with this survivor,” said Oversight Dems. “Covering up direct evidence of a potential assault by the President of the United States is the most serious possible crime in this White House cover up.”
U.S. Rep. Ayanna Pressley, D-Mass., a member of the House Oversight Committee, told theGrio, “It comes as no surprise that the same institutions that have denied justice for survivors for decades are shielding the abuser who occupies the Oval Office.”
She added, “This is not what accountability, transparency, or healing for survivors looks like. The DOJ needs to stop breaking the laws and release the full files—and that includes uncovering the names of all perpetrators.”
A spokesperson for the Democratic National Committee (DNC) said of the revelation, “Donald Trump continues to lie about his relationship with Jeffrey Epstein, while his administration works overtime to hide the truth about Epstein’s heinous crimes from the American people.”
“He and his administration must be held accountable for protecting pedophiles,” said DNC Rapid Response Director Kendall Witmer.

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The body of Nurul Amin Shah Alam was found four miles away from the doughnut shop where he was left behind by immigration agents days prior.
Buffalo, New York, police are investigating the death of a “nearly blind” refugee from Myanmar, formerly Burma, who was found dead five days after immigration agents left him at a Tim Horton’s shop. Nurul Amin Shah Alam was 56 years old.
The Erie County Medical Examiner has determined that Shah Alam’s death was health-related, per CNN.
Shah Alam was a Rohingya refugee who arrived in Buffalo in 2024, according to Investigative Post. The UN began hearings on the Rohingya genocide case against Myanmar in January of this year. The country has been accused of violating the Convention on the Prevention and Punishment of the Crime of Genocide by Gambia. The US has declared the country’s military crackdown on the Rohingya people a genocide.
The year after he came to Buffalo, Shah Alam was arrested by police and had an immigration detainer placed on him. On Feb. 15, 2025, he went for a walk using a curtain rod as a walking stick and stepped into a neighboring private property. Police beat and detained him despite his inability to communicate in English–he didn’t heed their instructions to drop his rod–and his nearly blind status. He spent a year at the Erie County Holding Center on weapons, assault, and trespassing charges. His family opted not to post bail out of fear of an ICE detention.
On Feb. 19 of this year, after taking a plea deal in the case earlier in the month, bail was posted for Shah Alam, and because of the immigration detainer placed on him, he was released into Border Patrol custody. Border Patrol agents eventually realized that the immigration detainer Shah Alam was placed under was inaccurate due to his refugee status.
According to Investigative Post, a Border Patrol spokesperson said that Shah Alam was then offered a courtesy ride by immigration agents to the Tim Horton’s after it was determined that he should not be in their custody, and that the agents resolved that the location was safe, warm, and close to his last recorded address. Days later, on Tuesday, Feb. 24, he was found dead about four miles away from the coffee shop at 8:30 p.m. local time.
“He showed no signs of distress, mobility issues, or disabilities requiring special assistance,” a spokesperson for the agency said.
The family of Shah Alam has said they were not informed of his release from jail.
Mayor Sean Ryan is calling Shah Alam’s death “preventable,” as well as “disturbing” and “a dereliction of duty” in his statement reacting to the news.
“A vulnerable man — nearly blind and unable to speak English — was left alone on a cold winter night with no known attempt to leave him in a safe, secure location. That decision from U.S. Customs and Border Protection was unprofessional and inhumane. U.S. Customs and Border Protection must answer for how and why this happened.”

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Lupita Nyong’o is speaking out about uterine fibroids and how little research has been done on noninvasive treatments. 

For many living with fibroids, the risk of them returning after removal is very real, and Lupita Nyong’o’s journey is proof.
The 42-year-old Academy Award-winning actress revealed on Wednesday, Feb. 25, during an appearance on the “Today” show that her fibroids have returned, this time with one the size of an orange.
Nyong’o, who was first diagnosed with fibroids in 2014 and had 23 removed, shared, “This time, I’ve been informed … that I have over 50.”
“And I’m being faced with the same options,” the “A Quiet Place: Day One” star explained. “Surgery or live with the pain.”
Uterine fibroids — noncancerous growths that develop in or on the muscular walls of the uterus — can significantly disrupt bladder function and menstrual cycles, often causing heavy, prolonged bleeding, pelvic pressure and severe pain. While an estimated 20% to 50% of women are diagnosed with fibroids during their reproductive years, per Johns Hopkins, research suggests that up to 70% of women will develop them by age 50. 
Meanwhile, according to the National Library of Medicine, more than 80% of Black women are expected to experience uterine fibroids in their lifetime, often at younger ages, with larger tumors and more severe symptoms, making them more likely to require surgical intervention. Treatment can include a myomectomy, an invasive procedure to remove the tumors, though it is not without risks. Many women also end up undergoing hysterectomies.
“The Wild Robot” voice actor said she is still weighing her options this time around.
“I’m not ready to make that decision,” she said. “It’s quite invasive … and it’s a big threat to our reproductive organs.”
Joined by Katy Brodsky Falco, founder and executive director of the Foundation for Women’s Health, Nyong’o used the appearance to raise awareness about the urgent need for increased research into uterine fibroids and more noninvasive treatment options.
“I think it’s high time we speak up to ensure that this is no longer trivialized and it’s no longer considered normal just because it’s common,” she said.
For the campaign, Nyong’o participated in a photo shoot where she posed with bowls of fruit to visually represent the varying sizes fibroids can reach.
“When you have fibroids, doctors usually use fruit to explain to you what size your fibroids are,” she said. “So your fibroid could be the size of a grape. My biggest fibroid is the size of an orange.”
During her appearance, Nyong’o admitted she initially felt isolated in her experience.
“I felt shame. What did I do to cause them? And I felt very alone and quite scared for my reproductive health,” she said.
However, the Oscar winner said that speaking out and connecting with other women navigating similar diagnoses has been transformative.
“I’m excited right now because speaking up has really empowered me,” she said. “I’ve found community. I’ve locked arms with women who have been fighting this fight for a long time.”
“There’s a lot of power in speaking up,” she added. “I spoke up and the amount of support I got hearing women say ‘me too’ and share their stories made me feel less alone and it’s honestly what has bolstered me to do the work that I do now.”
She is not alone in using her platform to spotlight the condition. Other Black celebrities, including Venus Williams, Amber Ruffin, Beverly Johnson, Eve, Cynthia Bailey and Yvonne Orji, have also publicly shared their experiences with uterine fibroids, helping to push the conversation forward and challenge long-standing silence around women’s reproductive health.
And this is far from the first time Nyong’o has spoken out. Last summer, she took to social media to shed light on her diagnosis. 
“I’m speaking up about uterine fibroids. This is my story,” she captioned a post on Instagram. “This Fibroid Awareness Month and beyond, I hope my experience will resonate with anyone else who has ever felt dismissed, confused, or alone. And I hope to seek answers for the far too many women dealing with uterine fibroids (80% of Black women and 70% of white women by age 50!). We deserve better. It’s time to demand it. Silence serves no one!”
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October Gallery Museum
Connecting People with Art since 1985
The exhibition In Minor Keys will take place in the Central Pavilion in the Giardini (pictured) and the Arsenale Photo: Francesco Galli
The curatorial vision of Koyo Kouoh, the late artistic director of this year’s Venice Biennale, has been announced at a briefing in the city. The 61st International Art Exhibition, titled In Minor Keys, will include 111 artists and artist collectives, with many participants coming from the Global South. The 2026 Biennale is scheduled to run from 9 May to 22 November.
Kouoh, a giant of the contemporary art world who tirelessly championed African artists, was the first woman from the continent to be selected to curate the Venice Biennale; she died last May in Basel, Switzerland.
At the briefing, Kouoh’s five-strong curatorial team elaborated on the themes of In Minor Keys, which was described as “neither a litany of commentary on world events, nor an escape from compounding or continuously intersecting crises”. Rather, it “proposes a radical connection with art’s natural habitat and role in society”.
“The artists [selected] are channels to the minor keys,” said one of the team, research assistant Rory Tsapayi. “[They all] stand as a collective score… artists who work at the boundaries of form. These are artists whose practices seamlessly bleed into society.” Gabe Beckhurst Feijoo, another member of the team, said that the the structure is “not abstractly determined… it is not organised in sections but in respect to undercurrent priorities.”
Another curator, Rasha Salti, described how the curatorial structure was devised. “After months of meeting online to discuss artists, [Kouoh] convened us in Dakar [at the arts centre she founded, Raw Material Company]. We gathered in April for an intense week of work. She was our conductor… she composed as we improvised. We noticed that fruit fell [from a mango tree] when the name of an artist was spoken. This happened often enough that when a name was spoken and no fruit fell, we paused, in expectation.”
The motifs of Kouoh’s show, which will be held in the Arsenale and Central Pavilion in the Giardini, are Shrines, Procession/Invocation, Schools, Enchantment, Physical and Spiritual Rest, the Threshold and the Creole Garden. Toni Morrison’s novel Beloved and Gabriel Garcia-Márquez’s One Hundred Years of Solitude are touchstones for the exhibition also.
The Shrines area will be in the Central Pavilion with tributes to the late Senegalese artist Issa Samb and the late African-American artist Beverly Buchanan. Artists whose work relates to the motif of Procession/Invocation include Nick Cave, Alvaro Barrington, Daniel Lind-Ramos, Ebony G. Patterson, Johannes Phokela, Tammy Nguyen and Kaloki Nyamai of Kenya. “Visitors are invited to become part of these assemblies,” said another curator, Marie Hélène Pereira.
The Schools motif will incorporate organisations dedicated to “networks that sustain artists” added Pereira. These bodies include the Nairobi Contemporary Art Institute, the GAS Foundation in Lagos founded by the artist Yinka Shonibare and Denniston Hill in New York State.
“Can an exhibition on the scale of the Biennale offer a place to rest your body?” asked Tsapayi, referring to the Creole Garden motif. Artists named here include Wangechi Mutu, Otobong Nkanga, Carsten Höller and Sandra Knecht.
“Performance and innovation” will also be a curatorial strand. A procession of poets will take place in the Giardini, drawing inspiration from Koyo’s Poetry Caravan, a voyage of nine African poets that she curated in 1999. “Poetry was to her the guiding light of curatorial gesture,” said Salti.
Special mention was also given to the catalogue which will highlight a “collaborative mode of making”, said editor-in-chief Siddhartha Mitter. Each artist will have a four-page spread with sketches and photographs highlighting studio spaces and artistic processes.
Born in Douala, Cameroon, Kouoh was the executive director of the Zeitz Museum of Contemporary Art Africa in Cape Town. She gained recognition as a champion of Black artists from Africa and the diaspora. Her death in a hospital in Basel prompted a wave of tributes from across the art world. Pietrangelo Buttafuoco, the president of the Biennale, described her as “a thinker who whispers from another place” and “a drawer of new maps”.
The acclaimed curator was due to present her plans for the exhibition next week
The focus of the show will be foreign artists—including refugees, émigrés and members of a diaspora
The Museu de Arte de São Paulo Assis Chateaubriand artistic director is the first Latin American curator to take up the position
The exhibition titled “In Minor Keys” will be realised by her core team “in strict accordance with the plan she defined”, it was announced at a press conference today
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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

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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.

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Night Out by Laurie Cooper
Original Pastel on Paper
Size: 10″ x 10″ (image) Approx

Laurie Cooper is artist born and based in Philadelphia, PA. She received bachelor’s degree from the University of Arts and received her master’s degree in fine arts from the University of Pennsylvania.  Laurie Cooper strives to highlight the inner and outer beauty of everything that she paints. She works diligently to showcase the special qualities of the black race. Her paintings are known for their inherent strength of character, strong unique facial features and richness of skin color. Collectors of her work include Dr. Samuel F. Quartey, Dr. Carey Tucker and Dr. Pete Smith.

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Conservative podcaster Candace Owens has released the trailer for her new documentary on Erika Kirk, sparking backlash.
On Monday (Feb. 23), conservative media personality Candace Owens released the trailer for her new documentary about Erika Kirk, the wife of deceased right-wing activist Charlie Kirk. The immediate reaction is one of outrage from quite a few figures on the far right.
Owens, who has publicly stated that she questions the circumstances of Charlie Kirk’s death and events beforehand, shared the trailer via her account on X, formerly Twitter. The film, entitled Bride of Charlie, does not have a set release date. “We’ll be back on Wednesday,” Owens wrote.
Kirk, the founder of Turning Point USA, was fatally shot Sept. 10, 2025, while speaking at an event at Utah Valley University in Orem, Utah. The death evoked an outpouring of grief from right-wingers and conservatives all the way to the White House. 
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However, Owens has accused the federal government of tampering with the investigation into Kirk’s assassination. She has also alleged that groups aligned with the Israeli government were involved in events leading up to his death, including billionaire Bill Ackerman who she claimed ordered the 31-year-old to “get in line.” Owens said that Kirk was set to change his viewpoint on the war in Gaza.
Erika Kirk, who has taken over TPUSA, had a lengthy conversation with Owens last December. But Owens walked away unconvinced. She claimed that Tyler Robinson, the suspect arrested by local law enforcement and the FBI, wasn’t responsible.
Owens received a wave of backlash after posting the trailer. An X user named Kevin Smith dismissed the trailer’s effect, writing: “She’s got a documentary filled with total randoms coming out that will prove nothing, as usual.” Another account on X named The Moderate Case, called out Owens writing: “Candace Owens is evil. The Overton window has shifted. Remember she said she’d never go here, well she’s here.”
Despite the backlash, the former Glenn Beck collaborator is recieving some support for the film. Former WABC radio host and media personality Lionel congratulated her, touting appearance in the film. Owens’ own response seemed to let others know she was unfazed. “Zionists are putting in real work hours promoting our upcoming series,” she wrote in another X post. “I would like to extend to them all my deepest gratitude. We are a small team and couldn’t do it without your steadfast commitment to hysterics. See you tomorrow.”

Candace Owens’ Erika Kirk Documentary Spurs Online Anger
 was originally published on hiphopwired.com

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The cosmetics brand, once valued at $1 billion, was recently put up for sale.
Pat McGrath Lab is already preparing for a comeback.
The cosmetics company announced it had secured $30 million in new funding from existing lender GDA PMG Funding, according to Retail Dive. The influx of new capital will also see founder Patricia McGrath transition from CEO to chief creative officer.
“Pat McGrath Labs is a house built on audacious artistry, cultural relevance, and singular creative vision—one that has shaped the modern beauty conversation for over a decade,” a press release stated. “GDA Luma undertakes this investment with profound respect for that legacy, combined with the operational discipline and strategic perspective of an experienced global investor with a proven track record of repositioning iconic brands for enduring success.”
The new deal includes $10 million in new debtor-in-possession financing and a commitment of at least $20 million in “post-emergence working capital.”
In January, the Black-owned beauty brand, which was once valued at $1 billion, filed for Chapter 11 bankruptcy. As theGrio previously reported, the venture started by McGrath, which became a worldwide known cosmetics line, was also seeking a buyer.
A spokesperson told Women’s Wear Daily, “During this process, the company will continue operations in the ordinary course of business while working to restructure its balance sheet and to forge a path to thrive. Pat McGrath Labs remains committed to its community, customers, partners and stakeholders as it continues delivering its signature, high-quality products and culture-defining artistry and innovation.”
Pat McGrath and GDA had been at odds after the bankruptcy filing. At the time, McGrath argued that her brand was involved in a dispute over its outstanding debts to GDA, leading GDA to trigger a sale of the brand’s assets with McGrath’s involvement. When the bankruptcy proceedings began, McGrath requested court approval for $1 million in DIP financing she provided. GDA objected to the proposal and accused her of mismanaging the company’s assets.

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