Looksmaxxing Streamer Clavicular Tried To Kick DaBaby Out His Club Over Guns

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Clavicular, a popular streamer part of the “looksmaxxing” trend, attempted to kick DaBaby out of his club for allegedly bringing in guns.
Clavicular, the streamer who found himself in legal trouble earlier this year, is back in the news. As seen in a pair of social media posts, Clavicular confronted DaBaby’s crew for bringing firearms into his nightclub.
Clavicular, who has been in some legal hot water this year, owns a Miami nightclub known as Bacara that he co-owns with Wack 100. As captured by a clip account on X, one clip shows the “looksmaxxing” streamer speaking outside the club, clearly frustrated by DaBaby and his crew for allegedly bringing guns inside the establishment.
While DaBaby was onstage, Clavicular attempted to shut down the performance, which the North Carolina rapper ignored and kept the show going.
Considering DaBaby’s past legal issues and onstage outbursts that offended a large group of people, it appears that he isn’t concerned about doing further damage to his career.
A quick scan of the streamer’s social media accounts doesn’t seem to address the dustup, nor did DaBaby offer any further words. We also looked for comments from Wack 100, who typically has plenty to say about anything he’s involved in, but to no avail.

Photo: Getty
Looksmaxxing Streamer Clavicular Tried To Kick DaBaby Out His Club Over Guns was originally published on hiphopwired.com

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Black Women Founders Raise $4.5 Million for Their Innovative Hair Extensions Brand

May 29, 2026
Tendai Moyo, CEO and co-founder of Ruka Hair, shares their fundraising journey and her best advice for other founders in a Black Enterprise exclusive
London-based biotech beauty brand Ruka Hair has announced $4.5 million in new funding that will help it bring its innovative hair extensions to the U.S.
Co-founded in 2020 by Tendai Moyo, who was born in Zimbabwe, and Ugo Agbai, who was born in Nigeria, Ruka Hair has built a loyal following by tackling a problem Black women know all too well: finding hair extensions that don’t compromise on quality, safety, or ethics.
Solving for the sourcing questions around natural hair and the harmful chemicals found in synthetic options, Ruka Hair created its own patent-pending, lab-grown fiber called Synths 2. Its hair extensions are made from collagen, are biodegradable and hypoallergenic, and look, feel, and perform like natural hair without plastics or carcinogens.
The new round brings their total funding to $10 million and will allow them to launch U.S. operations this year.
Freedom Trail Capital and Henkel Ventures co-led the round with participation from Big Issue Invest, Backed VC, and angel investors, including British track star Dina Asher-Smith, and retail and M&A expert Sophia Dennis.
“Ruka Hair exemplifies what we look for: founders solving a real problem with genuine commitment, building through community rather than hype,” said Samyr Laine, co-founder and managing partner of Freedom Trail Capital, in a statement.
“Tendai and Ugo built this brand during one of the most challenging periods for consumer businesses, scaled through an authentic community, and are now pioneering biotech innovation that could reshape an entire category,” he continued. “Ruka is on track to become a category-defining brand and a future household name for textured haircare products.”
Co-founder Moyo spoke with BLACK ENTERPRISE about their fundraising strategy and the lessons it has taught them:
What was behind Ruka Hair’s decision to pursue venture capital?
For us, venture capital made sense because Ruka was never just about launching another beauty product. We are building a new fiber platform for textured hair, and that requires significant upfront investment in research and development, testing, supply chain, manufacturing, education, and brand-building.
There are parts of the business that look like consumer packaged goods, but the ambition is much more infrastructure-led. We are trying to change the quality, safety, and experience of hair extensions for a community that has historically been underserved. To do that properly, we needed investors who understood that the opportunity was not just [about] short-term growth, but long-term category transformation.
What has the fundraising journey been like for you?
Fundraising has been stretching, humbling, and, honestly, character-building. We have raised through very different market conditions: from the peak of consumer enthusiasm to a much tougher environment where capital has become more cautious, especially for consumer brands.
As a Black female founder building in a category that has often been misunderstood, I have also had to spend a lot of time educating investors on the scale of the textured hair market, the depth of the consumer problem, and why this category deserves serious innovation.
But the journey has also been incredibly affirming. The right investors have understood that Ruka is not just a beauty brand. It is a science, community, and culture-led business tackling a huge global market.
How did you determine that it was time for another round of fundraising?
The timing was driven by the stage of the business. We had built strong community trust, proven demand, developed Synths 2—our collagen protein fiber-braiding hair—and reached a point where the next phase required more infrastructure.
This round allows us to move from proving the concept to scaling it properly. That means investing in research and development, product testing, supply chain resilience, manufacturing consistency, education, and the operational foundations needed to grow in the United States and beyond.
We were also very conscious of growing responsibly. In a difficult consumer environment, we deliberately constrained spend rather than chasing unprofitable growth. Now the focus is on building the foundations that allow us to scale with more discipline and longevity.
How is this new round of funding different from previous rounds?
This round feels different because it is less about proving that the market exists and more about proving that we can build the future of the category.
Earlier rounds were about vision, community, and the initial product-market fit. This round is more about infrastructure, defensibility, and execution. The conversations are deeper—around supply chain, intellectual property, safety, testing, gross margins, operational readiness, and what it takes to build a business that can last.
As a founder, it also feels more serious. You are no longer just asking people to believe in an idea. You are showing them the system you are building and the discipline behind it.
What will this $4.5 million infusion mean for your hair extensions?
The funding will help us continue scaling Synths 2, our collagen protein fiber-braiding hair, and the wider fiber platform behind it.
It will allow us to invest further into research and development, product testing, supply chain, manufacturing, education, and retail readiness. For us, it is about making sure the innovation is not only exciting, but safe, consistent, high-performing, and easy for customers to understand.
It also supports our United States expansion, including fulfillment, content, community building, and the foundations for larger retail partnerships. We see the United States as a major growth market for Ruka, both commercially and culturally.
Ultimately, this funding helps us build the infrastructure to take textured hair innovation seriously—at the level our community has always deserved.
What advice do you have for other founders about fundraising?
I would say: know what kind of business you are building before you decide what kind of capital to take.
Venture capital is not just money. It comes with expectations around speed, scale, and outcomes, so it has to match the ambition and structure of the company.
I would also tell founders to get very clear on the story behind the numbers. Investors need to understand the market, but they also need to understand why you are uniquely positioned to win. Especially if you are building in a category that has been overlooked, part of the job is education.
And finally, do not let the fundraising process define your worth as a founder. A no is not always a reflection of the quality of the business. Sometimes it is timing, mandate, market conditions, or simply a lack of understanding. The key is to stay close to the truth of what you are building, keep refining the story, and make sure the capital you take serves the company—not the other way around.

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‘A Different World’ Sequel Series Will Hit Netflix Exactly 39 Years After The Original Show’s Debut

After decades of anticipation, Netflix is welcoming fans back to Hillman College in a major way.
This week, the streaming giant announced that its highly anticipated A Different World sequel series will premiere on Sept. 24, 2026—exactly 39 years after the original sitcom first debuted on NBC back in 1987. The reveal went down Friday (May 29) during the American Black Film Festival (ABFF), and honestly, the timing couldn’t be more perfect for longtime fans of the iconic HBCU-centered series.
According to Netflix, the premiere date is meant to honor the legacy of the beloved show while introducing Hillman to a whole new generation of viewers. And several familiar faces are coming back for the ride.
The new series follows Deborah, played by Maleah Joi Moon, who just so happens to be the youngest daughter of fan-favorite couple Whitley Gilbert and Dwayne Wayne. Jasmine Guy and Kadeem Hardison are both reprising their legendary roles as Deborah heads off to begin her freshman year at Hillman—the same school that made her parents TV icons.
But carrying the Wayne family name comes with pressure.
The show’s official description says Deborah struggles to step out of her parents’ shadow while trying to create her own identity and legacy on campus. Of course, she’ll also be navigating friendships, college chaos, and all the fun that comes with Hillman life alongside a brand-new crew of students.
The cast is stacked with both fresh talent and returning favorites. Alongside Moon are Alijah Kai, Cornell Young IV, Jordan Aaron Hall, Kennedi Reece, Chibuikem Uche, Vincent Jamal Hooper, Elijah J. Roberts, Renee Harrison, Famecia Ward, Dasan Frazier, Tichina Arnold, Joshua Suiter, Raven Goodwin, Cliff “Method Man” Smith, and Norman Nixon Jr.
Fans of the original series will definitely appreciate the reunion vibes because OG cast members Darryl M. Bell, Cree Summer, Karen Malina White, Ajai Sanders, Dawnn Lewis, Glynn Turman, Charnele Brown, Jenifer Lewis, and Jada Pinkett Smith are all returning, too.
Behind the scenes, the show is also keeping things in the family. Felicia Pride serves as showrunner and executive producer, while Debbie Allen—who directed much of the original series—is back as executive producer and director. Reggie Rock Bythewood, Gina Prince-Bythewood, Tom Werner, and Mandy Summers are also attached as executive producers.
Netflix officially ordered the sequel series in 2025, and production on the 10-episode first season wrapped earlier this year in April. Now, fans only have to wait a few months to go back to Hillman.
Check out the official teaser up above!
‘A Different World’ Sequel Series Will Hit Netflix Exactly 39 Years After The Original Show’s Debut was originally published on bossip.com

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Happy Birthday, Olandria! 5 Times She Reminded Us She Is The Ultimate Gemini

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Olandria Carthen turned 28 today and yes, she is a Gemini, obviously!
Olandria Carthen is a Gemini, obviously. The Bama Barbie is smart, gorgeous, a social butterfly and the muse of fashion designers around the world. As the charismatic reality TV personality, who shot to stardom on season seven of ‘Love Island,’ turned 28 on May 29 and we can’t help but admire how much she’s accomplished in the last year. But it all makes sense, as the twins of the zodiac the mahogany beauty embodies the core attributes of a Gemini, including her sharp intellect, adaptability, communication and social charm.
MUST READ: Olandria Carthen Is Our 2025 Beauty Of The Year
Intelligence
As a Tuskegee University alumni, Olandria Carthen graduated with her bachelor’s degree in supply chain management. And it wasn’t just a personal milestone, it was an achievement for her whole family as she became the first in her lineage to graduate from both high school and college, Yahoo reports. During a TikTok Live, Olandria revealed her time at the HBCU was the “best five years” of her life. “A lot of people would ask: Why would you choose to go to an HBCU? I’m like, I have the rest of my life to be a minority. I wanted to see how it felt to be a majority,” she said. “
Social Charm
Olandria has a magnetic aura, which drew fans in to her during her season on the wildly popular ‘Love Island.’ And it was only up from there. Shortly after the show, she became a fashion darling hitting the runway at NYFW, sitting front row at Paris Fashion Week, rocking couture looks outside the Louvre, countless brand deals, a recent collection with Brandon Blackwood that sold out in minutes and a collaboration with Mac Cosmetics and Painted By Esther.
Adaptability
Olandria was eliminated from ‘Love Island’ on the second night of Casa Amor, but that didn’t mean our girl wouldn’t find love. At the end of the episode, she pulled up to the villa to rescue Nic Vansteenberghe, in a cliff-hanger that turned into a true love story. She and Nic Vansteenberghe announced their relationship on Glamour Magazine ushering fans into the year of “Nicolandria.” While fans noticed the couple slowed down posting their relationship on social media, the two confirmed they are still together.
Nic told US Weekly in April, “I felt like, at first, I was pressured [to share]. We are filmed 24/7,” he shared. “Lately, I haven’t been posting anything. It’s actually so great, so sorry to not give you crumbs, Nicolandria Nation. But you know, mama and papa will be there for you.”
Communication
Olandria has the gift of gab. When she talks we listen. And when she isn’t talking, we listen. Just a gaze from her captivating eyes draws us in. During a candid sit down with Angel Reese, Olandria showed off her playful side (because Gemini’s operate in duality). She owned the conversation talking about hows she deals with social media hate, how she maneuvered after ‘Love Island,’ and being raised by two millennial parents.
Fun & Flirty
Gemini’s have a reputation of being fun and flirty and Olandria certainly channels that through her style of dress. As a top heavy woman, she often has the girls on display. Paired with her smooth skin, long legs and curvy shape, she is truly a Black Barbie.
Happy Birthday, Olandria!
Happy Birthday, Olandria! 5 Times She Reminded Us She Is The Ultimate Gemini was originally published on hellobeautiful.com

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A century ago, Tate borrowed five Van Goghs to inaugurate its new ‘modern foreign’ galleries

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John Lavery’s King George V, Accompanied by Queen Mary, at the Opening of the Modern Foreign and Sargent Galleries at the Tate Gallery, 26 June 1926
Tate, London
Adventures with Van Gogh is a weekly blog by Martin Bailey, The Art Newspaper‘s long-standing correspondent and expert on the Dutch painter. Published on Fridays, stories range from newsy items about this most intriguing artist, to scholarly pieces based on meticulous investigations and discoveries. 
Explore all of Martin’s adventures with Van Gogh here.
© Martin Bailey
In June 1926, London’s Tate Gallery inaugurated its first rooms devoted to what it then called “modern foreign” pictures. King George V and Queen Mary presided over the opening, giving royal approval to the decision to broaden what had been a collection of solely British art.
It was a grand occasion, with the gentlemen wearing morning suits and clutching top hats, in a scene that was captured in an atmospheric painting by John Lavery. The ceremony was held in the Tate’s most impressive room, then housing work by J.M.W. Turner.
To celebrate the opening of Tate’s modern foreign wing, a massive loan exhibition was held, with over 250 works. The gallery’s own collection of international art was so modest that it did not have enough paintings to fill its walls. Although then called the National Gallery, Millbank, it was already informally known as the Tate, following British philanthropist Henry Tate’s 1897 donation for the building construction.
Catalogue listing of the Van Gogh loans to the Tate Gallery’s “modern foreign” exhibition
List of Loans at the Opening Exhibition of the Modern Foreign Gallery, 1926
The Van Gogh loans, all from British collectors, comprised four paintings and one drawing. These were hung in the northwest corner room, in an extension funded by Joseph Duveen and built on the former site of the Millbank prison. With advances in scholarship during the past hundred years, the Van Goghs lent in 1926 have been redated and retitled.
The five loans
Van Gogh’s Les Lauriers rose, now known as Oleanders (August 1888)
Metropolitan Museum of Art, New York (gift of Mr. and Mrs. John L. Loeb, 1962)
Among the most important early collectors of Van Gogh’s work was Elizabeth Workman, a woman who until recently has received little attention. Tate’s records show that she originally intended to lend Van Gogh’s Au bord de la Rhône, now known as The Trinquetaille Bridge, (June 1888), but at a late stage this was replaced by Les Lauriers rose, now known as Oleanders (August 1888). When her husband, a wealthy shipbroker, faced financial problems in 1928, she sold the floral still life. The painting was then offered to the Tate, which declined to purchase it. It then went to New York collector Anna Clark, and was later acquired by the Metropolitan Museum of Art in 1962 as a gift from John Loeb and his wife.
Van Gogh’s Café at Arles, now known as Interior of a Restaurant (1887 or 1888)
Private collection, courtesy of Simon C. Dickinson Ltd, London
Café at Arles was lent by another female collector, Esther Sutro. Along with her husband Alfred, they were among the earliest UK-based collectors to buy Van Gogh’s work. Café at Arles was acquired as early as 1896. Esther kept the painting until her death in 1933, and it has since passed through several private collections. At the time of the opening, the picture was thought to have been painted in Arles in 1888, although it is now dated to the previous year, when Van Gogh was living in Paris. The picture has therefore been retitled Interior of a Restaurant.
Van Gogh’s Village at Arles, now known as Stairway at Auvers (June 1890)
Saint Louis Art Museum
Herbert Coleman, a Manchester shipping magnate, lent Village at Arles to the Tate exhibition. He kept it until it was bought by the Saint Louis Art Museum in 1934. Although in 1926 the painting was dated from Van Gogh’s period in Arles (1888-89), it was later realised that it depicts the steps very close to the inn where the artist was staying in Auvers-sur-Oise in 1890. The painting was then retitled Stairway at Auvers (June 1890).
Van Gogh’s lost Landscape near The Hague, now known as The Hut (early 1881)
Private collection
Only one Van Gogh drawing was shown at the Tate in 1926: Landscape near The Hague, lent by a man called Frank Wilson, of whom nothing is known. A poor photograph of the work was published in 1928 and the drawing then disappeared. It may well have been done when Van Gogh was living in Brussels and it is now simply titled The Hut (early 1881).
The fake: Still life with Daisies and Poppies
Picton Castle Trust, Pembrokeshire
Still life with Daisies and Poppies was one of the earliest Van Gogh fakes to be inadvertently bought by a British collector. It was lent to the 1926 Tate exhibition by James Murray, an Aberdeen-based businessman. A year later he sold it at Christie’s, making it the first “Van Gogh” to be auctioned in the UK. The buyer was Laurence Philipps, the owner of Picton Castle in Pembrokeshire, Wales. The floral still life was exposed as a recent fake in the late 1920s, having come from the notorious Wacker Gallery in Berlin, the source of dozens of forgeries. The painting is still owned by the descendants of Philipps and kept as a curiosity. It has only been exhibited once, as a fake, in an exhibition curated by the author in 2006 at Compton Verney, Warwickshire and Edinburgh’s National Galleries of Scotland.
Van Gogh’s Landscape: Arles, now known as Peach Trees in Blossom (April 1889)
Courtauld Gallery, London (Samuel Courtauld Trust)
In addition to the five outside loans, the Tate also displayed another Van Gogh, Landscape: Arles, which had been bought earlier that year by philanthropist Samuel Courtauld, who had set up a fund to buy modern French art for the National Gallery. Now at the Courtauld Gallery, the landscape has been retitled Peach Trees in Blossom (April 1889).
The gallery that once housed the Van Gogh loans and other “modern foreign” art is currently known as room 4 and presents a dense display of British paintings from 1760 to 1815. The Millbank building is now Tate Britain, with international paintings from around 1900 having been hived off to Tate Modern at Bankside in 2000.
Tate Britain’s room 4 today, where the Van Goghs hung in 1926
The Art Newspaper
Tate has only acquired Van Gogh works on one occasion, thanks to a bequest. In 1933, the Dutch stockbroker and collector Frank Stoop gave three works on paper, which are normally in store for conservation reasons, and one painting, Farms near Auvers (July 1890), which is on long-term loan to the National Gallery.
Although Tate’s Van Gogh holdings remain small, it has nevertheless successfully acquired several thousand international works during the past hundred years, and now has absolutely no problems in filling its walls.
Martin Bailey is a leading Van Gogh specialist and special correspondent for The Art Newspaper. He has curated exhibitions at the Barbican Art Gallery, Compton Verney/National Gallery of Scotland and Tate Britain.
Martin Bailey’s recent Van Gogh books
Martin has written a number of bestselling books on Van Gogh’s years in France: The Sunflowers Are Mine: The Story of Van Gogh’s Masterpiece (Frances Lincoln 2013, UK and US), Studio of the South: Van Gogh in Provence (Frances Lincoln 2016, UK and US), Starry Night: Van Gogh at the Asylum (White Lion Publishing 2018, UK and US) and Van Gogh’s Finale: Auvers and the Artist’s Rise to Fame (Frances Lincoln 2021, UK and US). The Sunflowers are Mine (2024, UK and US) and Van Gogh’s Finale (2024, UK and US) are also now available in a more compact paperback format.
His other recent books include Living with Vincent van Gogh: The Homes & Landscapes that shaped the Artist (White Lion Publishing 2019, UK and US), which provides an overview of the artist’s life. The Illustrated Provence Letters of Van Gogh has been reissued (Batsford 2021, UK and US). My Friend Van Gogh/Emile Bernard provides the first English translation of Bernard’s writings on Van Gogh (David Zwirner Books 2023, UKand US).
To contact Martin Bailey, please email vangogh@theartnewspaper.com
Please note that he does not undertake authentications.
Explore all of Martin’s adventures with Van Gogh here

Vincent’s audacious still-life was the first painting bought by a British collector, only three years after his death
Now owned by New York’s MoMA, the painting of Joseph Roulin is the star loan for a major exhibition opening in Boston
Painters from Brangwyn to Nash paid homage to the masterpiece, all illustrated on the Art UK site
Owned by the cosmetics king Leonard Lauder, the work could become the most expensive Van Gogh drawing ever sold
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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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OnlyFans Models Go Viral For Cheering On San Antonio Spurs, Thirsty Creeps Pop Out

Two OnlyFans models have become courtside fixtures during San Antonio’s playoff run against the Oklahoma City Thunder.
The San Antonio Spurs haven’t been in the playoffs since 2019, and with the team now in the Western Conference Finals, it’s thanks to having two back-to-back Rookies of the Year in Stephon Castle and Victor Wembanyama.
But when it comes to a few good luck charms—specific to the run against the reigning NBA champion, the Oklahoma City Thunder—fans have given that honor to OnlyFans models identified by TMZ as BlueBear and Julie J. Swan.
They immediately started trending in Game 3 at San Antonio’s Frost Bank Arena when the camera crew was showing head coach Mitch Johnson. But viewers were more concerned with the two scantily clad women sitting behind him, wearing a revealing t-shirt and the other an equally low-cut top.
Blue —who has nearly 2 million Instagram followers—took to X after the game to confirm it was them, and promised to pop out again, tweeting, “We will be at game 4 tonight, same seats. Come say hi and take a picture with us.”
She even tweeted a video from the opposite side of the court that showed the crowd cheering after a Wemby dunk, only to see Blue and Swan just feet away from the court. 
 While in attendance, the Spurs lost Game 3, 123-108, but came roaring back with a Game 4 blowout of 103-82.
Then they headed back to OKC’s turf and lost Game 5 before turning to Frost Bank for another blowout of the SGA-led team 118-91. And who was there again, just a few rows back, to witness the series-tying game? Blue and Swan.
Both girls have made the most of the newfound attention with a fury of “Let’s goooooooooo #spurs” tweets, but also documenting the downside, like when a fan creeped them out.
Game 7 will be in OKC’s Paycom Arena, but the ladies seem to be willing to make the trip after posing the question to their followers via a poll.
Bobby Portis even posed for a picture with them.
If the OF models aren’t your speed, there’s also a more family-friendly group of women supporting the Spurs’ championship journey, the Salesian Sisters of St. John Bosco.
Otherwise known as the ‘Spurs Nuns,’ about four of them have become very close to the organization, with even coach Gregg Popovich and his late wife visiting the convent several times. 
“So, the story of our sisters being avid Spurs fans actually goes back quite a few years, over probably about 20 years or so,” Sr. Bernadette Mota told Texas Public Radio. “We had some sisters who were local San Antonians who were really die-hard Spurs fans, and many of those sisters who were the original Spurs fans have passed away, but just the tradition of our sisters really supporting the Spurs community has been long-standing, and just a great way for us to build community in the recreation of sport.”
See social media’s reaction to the fans supporting the Spurs below.
OnlyFans Models Go Viral For Cheering On San Antonio Spurs, Thirsty Creeps Pop Out was originally published on cassiuslife.com

21 Black Beauties From The ’90s Who’ve Been Fine Forever
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Rest In Power: Notable Black Folks Who We’ve Lost In 2026
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‘I crashed’: Latto gets real on postpartum depression after having her daughter, and why she’s walking back retirement talk

The Atlanta rapper recently welcomed her first child into the world and says her baby girl makes her feel fulfilled, even though depressive moments kicked in shortly after she gave birth.
Latto is embracing motherhood while reflecting on moments when the postpartum period made her reconsider things.
In her first interview since giving birth, the Atlanta rapper explained to Apple Music’s Nadeska Alexis how a thought about her leaving her career behind made her realize that postpartum depression was a serious thing.
“That was definitely not one of the good days,” Latto admitted around the 15-minute mark. “Especially experiencing postpartum for the first time. You don’t know what to expect. I kinda underestimated it.”
Latto chalked up the moment to being overwhelmed in preparing for her “Big Mama” album. The reality behind the statement from the Atlanta rapper is that her fourth studio effort for her longtime label home, RCA Records, is the last one of her contract, making her a soon-to-be free agent. Even with the admission, Latto wouldn’t fully commit to saying goodbye to rapping as she did in one of her final maternity videos.
“I wouldn’t say I’m retiring today,” she said. “Talk to me next week again, I might say, ‘No, that sh-t was for real.’ So, I don’t know. I’m going through it. I crashed. It is what it is.”
Postpartum depression, according to the Cleveland Clinic, is a type of depression that happens after having a baby, affecting up to 1 in 7 women. Symptoms include “emotional highs and lows, frequent crying, or feeling worthless.”
Having her baby girl, Latto says, has given her even more focus to take care of herself, and that there was no avoiding this phase of the childbirth experience.
“I can confidently say, no amount of money, help, or anything can avoid postpartum depression,” she said. “It’s just it’s inevitable. And I think, ’cause I have help, everything’s good. But it’s just some days that are not good.”
After apologizing to fans and walking back her tweet, saying she’s not going to head to social media when she has a depressive episode, Latto revealed that although she was grateful to sit down and appreciate being a first-time mother, she’s not slowing down career-wise, and her baby girl will be by her side every step of the way.
“I don’t want to put everything about me to the side because I’m a mom now,” she said with assurance. “I got to still cater to me if I want to be able to show up for her. So, it’s like these are the things that make me happy. These are the things that provide for her … I gotta keep this ship sailing as long as I want to. I rediscovered my passion for music so I’m not going to stop now.”
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Los Angeles’s new Hospital of Emotions pop-up gives artists keys to the asylum

David Otis Johnson’s installation in room five of Hospital of Emotions Courtesy of Hospital of Emotions
It can be easy to knock “immersive” art experiences. Many are outrageously expensive, made for Instagram and making Vincent van Gogh roll over in his grave. But the idea behind the new Hospital of Emotionswas more resourceful than exploitative: giving visual artists the chance to take over 80 spaces, examination rooms and operating chambers included, in the now-defunct St Vincent Medical Center in Los Angeles. The building is scheduled for renovation into a behavioural health centre.
The process was fairly democratic. The curator Yaara Sachs, who runs a pop-up agency called House of Art and Dreams, held an open call for proposals and chose around 70 artists. She selected a few gallery-sanctioned artists alongside street artists, set designers, fashion stylists and students. Every artist, established or not, received $4,000 for their project and up to $10,000 to cover materials.
The entrance to Hospital of Emotions at St Vincent Medical Center in Los Angeles Courtesy of Hospital of Emotions
Unlike the last major hospital takeover here ten years ago, when the art consultant John Wolf brought a series of unnerving (or actually bloody) works by artists such as Max Hooper Schneider and Tala Madani into a hopelessly grimy institution in West Adams, this one has a cheerier and more cartoon-y approach (think Pixar’s Inside Out).
“Normally when you go to the hospital, you treat the body, but this time the exhibition is about healing your heart,” Saachs says. She has divided the pop-up installations into different “departments” dedicated to emotional states such as joy, hope, fear and anger, with the idea that visitors will move through them and achieve some kind of catharsis.
The results are, as you might predict, all over the place. While some black-light or inflatable artworks scream Burning Man—more emoji than emotion—others put the intensity of the hospital setting to good, playful or serious use.
Cosmodernism’s installation in room 77 of Hospital of Emotions Courtesy of Hospital of Emotions
The Polish artist Kamil Cazpiga, working under the moniker Cosmodernism, has lined a small room with a grid of television screens that feature maze-like, bulging, fluid patterns that seem to be abstract. They are not. By putting paint drops under a high-powered microscope, he has exposed the unctuous and oozing amoeba-like beauty beneath the surface of painting.
Dioz’s installation in room 20 of Hospital of Emotions Courtesy of Hospital of Emotions
The Israeli street artist Guy “Dioz” Bloom has created a tender scene between a sick, grimacing patient in a hospital scene and what appears to be his anxious family members. But instead of playing out this storyline with human characters, Bloom has created carnivalesque, Play-Doh-coloured, horned monsters that he calls Techno Trolls. The monsters are fantastic; the emotions all too real.
Installation by Yaara Sachs in room 12 of Hospital of Emotions Courtesy of Hospital of Emotions
The curator Yaara Sachs has contributed her own simple yet exuberant piece: a cluster of IV stations where she has injected the sterile, saline water with different coloured dyes. The fluid bags now look like rainbow ice popsicles, if you ignore the antique operating lamps overhead.
Installation by Pablo Thomas in room 28 of Hospital of Emotions Courtesy of Hospital of Emotions
The Spanish art director and artist Pablo Thomas has covered the walls, floor and ceiling of a small hospital room with realistic paintings that look like family snapshots: a childhood bike ride here, father and daughter dance there, newborn’s arrival home here. The flood of images suggests the rush of memories that might overcome a person in their final moments.
Installation by Napo in room 51 of Hospital of Emotions Courtesy of Hospital of Emotions
The Los Angeles-born, Brazil-based and highly itinerant artist Napo has created fantastic, life-sized figures with human bodies and bird heads. They carry birdhouses on their back like migrants carry pieces of their home with them.
The massive, historic works at the core of “Monuments” were never meant to travel, and moving them has been an enormously complex job
From a Charles White retrospective to raw canvases inspired by the occult and queer sex magic
This Venn diagram of a gallery exhibition leans into the ongoing confusion of the Los Angeles artists
From Paul McCarthy’s monkey self-portrait to a New York apartment made of polyester, our picks of the city’s top exhibitions

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Universal Kids Resort Opening In Frisco Texas

Universal Kids Resort opens July 1 in Frisco, Texas, featuring beloved family characters from Universal shows, movies & more.
Universal has big news for its tiny fans. Frisco, Texas, is launching its universal destination and experience, which will be the first-ever theme park specifically designed for kids, officially opening July 1
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On Thursday, they announced that tickets, on-site hotel packages, and the park’s first annual pass options are now on sale. The 20- acre park is located in the heart of Frisco. The park invites families to experience kid-sized thrills made just for them.
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Guests will be able to visit seven lands celebrating beloved family characters from Universal shows and movies, such as 
The hotel is located right at the entrance of Universal Park. The colorful, 300-room hotel features standard and deluxe queen rooms that are able to sleep up to 5 guests.
There are also suites to accommodate bigger families that sleep up to six. Amenities include an outdoor pool and dining options, which are designed to appeal to even the pickiest of eaters. There are a variety of tickets that are available for purchase, including  1 &2 day general admission tickets, along with the Universal Kids Resort Silver Annual Pass, which offers 12 months of access with blackout dates.
Visitors can also build a special “create your own” package, which bundles hotel accommodations, ticket options, and flights. Including a specialty 15-day admission ticket with perks such as early park admission and privileges to resort-wide changing. The resort is designed as a destination where kids and their grown-ups can relax and create unforgettable memories together.
Universal Kids Resort Opening In Frisco Texas was originally published on majic945.com

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HBCU Founders To Make History With First Pitch Competition In Times Square

May 29, 2026
Venture for T.H.E.M. announced that it will partner with The DM Firm and the Times Square Alliance for the inaugural HBCU Pitch Competition in Times Square
Morgan State alums and entrepreneurship leaders are set to bring a first-of-its-kind HBCU startup pitch competition to the center of New York City during New York Tech Week this upcoming June.
Venture for T.H.E.M. announced that it will partner with The DM Firm and the Times Square Alliance to host the inaugural HBCU Pitch Competition in Times Square on June 6 as part of Activate LIVE!, a public showcase highlighting emerging founders and innovators.
The event will take place in Times Square during New York Tech Week. It will feature five entrepreneurs connected to historically Black colleges and universities competing before a panel of business and technology leaders. Organizers said the initiative aims to increase visibility and investment opportunities for Black founders and student entrepreneurs.
According to a press release, more than 300,000 visitors typically move through Times Square on summer weekends, giving participating founders exposure on one of the nation’s most recognizable public stages. 
The competition will include presentations by founders from several HBCUs, including Peter Iwuh of Morgan State University, founder of Tykoon AI, a platform focused on NIL and athlete brand management; and Daryl Riley Jr. of North Carolina A&T State University, founder of the fashion technology company Tendaji, among others.
Additional competitors include Taylor Davis of Howard University, creator of the restaurant discovery application Troodie, and Carolyn Alston of Bowie State University, founder of the conversational card game Communic8 It!
Judges for the event include executives and leaders from companies and organizations such as  Moët Hennessy, Base 11, the  NBA Foundation, and the Milken Institute.
Organizers said the event reflects a broader push to create equitable access to capital and networking opportunities for underrepresented entrepreneurs. Venture for T.H.E.M., a Maryland-based accelerator, focuses on supporting founders from historically underserved communities through mentorship, access to funding, and business development initiatives.
RELATED CONTENT: 15 HBCUs Create Association With Goal of Reaching Coveted R1 Research Status

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Young Birmingham Engineering Scholars Recognized By Historic Women’s Organization

May 29, 2026
The students were recently honored by the Birmingham chapter of The Links Incorporated and its members of the Society of Women Engineers.
A group of young engineering students in Birmingham has been recognized for academic achievement and leadership by The Birmingham Chapter of The Links Incorporated and its members of the Society of Women Engineers, a group supporting women in engineering, highlighting continued efforts to expand opportunities for girls in STEM fields.
The students were recently honored during a ceremony celebrating middle and high school students pursuing engineering and technology education in Alabama. The recognition spotlighted students who demonstrated excellence in academics, innovation, and community involvement, according to AL.com and local education organizations. The NSBE organization, founded nationally in 1950, is considered one of the oldest advocacy groups for women engineers in the United States and works to increase female representation across engineering and technology professions.  
“The importance of the NSBE program is that it’s family, it’s a community, it’s a group of people who look like you,” said Andrea Montgomery, a Links member, mechanical engineer, and member of the National Society of Black Engineers.
The Birmingham-area students honored this year participated in engineering-centered activities ranging from robotics and leadership academies to science competitions and mentorship programs. The Birmingham Chapter of The Links Incorporated acknowledged 28 students from Carver High School, Ramsay High School, and Parker High School during its National Society of Black Engineers Junior Honors and Awards Day. Local school systems and community partners have increasingly invested in STEM education initiatives to prepare students for careers in engineering, computer science, and advanced manufacturing.  
NSBE says that the recognition serves not only as a celebration of student achievement, but also as encouragement for more young women and underrepresented students to pursue technical careers. National studies continue to show women remain underrepresented in many engineering disciplines despite years of recruitment efforts. Programs led by organizations such as the Society of Women Engineers seek to address those disparities through scholarships, networking opportunities, and student outreach.  
The event also reflects Birmingham’s broader push to strengthen educational pipelines connected to science and technology industries throughout Alabama.
School leaders and community advocates said honoring students at an early age can help build confidence and long-term interest in STEM careers, particularly among girls who may not traditionally see themselves represented in engineering fields.
RELATED CONTENT: Howard University Receives Nearly $2M Gift From AutoDesk To Support Engineers In AI Training

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A century ago, Tate borrowed five Van Goghs to inaugurate its new ‘modern foreign’ galleries

John Lavery’s King George V, Accompanied by Queen Mary, at the Opening of the Modern Foreign and Sargent Galleries at the Tate Gallery, 26 June 1926
Tate, London
Adventures with Van Gogh is a weekly blog by Martin Bailey, The Art Newspaper‘s long-standing correspondent and expert on the Dutch painter. Published on Fridays, stories range from newsy items about this most intriguing artist, to scholarly pieces based on meticulous investigations and discoveries. 
Explore all of Martin’s adventures with Van Gogh here.
© Martin Bailey
In June 1926, London’s Tate Gallery inaugurated its first rooms devoted to what it then called “modern foreign” pictures. King George V and Queen Mary presided over the opening, giving royal approval to the decision to broaden what had been a collection of solely British art.
It was a grand occasion, with the gentlemen wearing morning suits and clutching top hats, in a scene that was captured in an atmospheric painting by John Lavery. The ceremony was held in the Tate’s most impressive room, then housing work by J.M.W. Turner.
To celebrate the opening of Tate’s modern foreign wing, a massive loan exhibition was held, with over 250 works. The gallery’s own collection of international art was so modest that it did not have enough paintings to fill its walls. Although then called the National Gallery, Millbank, it was already informally known as the Tate, following British philanthropist Henry Tate’s 1897 donation for the building construction.
Catalogue listing of the Van Gogh loans to the Tate Gallery’s “modern foreign” exhibition
List of Loans at the Opening Exhibition of the Modern Foreign Gallery, 1926
The Van Gogh loans, all from British collectors, comprised four paintings and one drawing. These were hung in the northwest corner room, in an extension funded by Joseph Duveen and built on the former site of the Millbank prison. With advances in scholarship during the past hundred years, the Van Goghs lent in 1926 have been redated and retitled.
The five loans
Van Gogh’s Les Lauriers rose, now known as Oleanders (August 1888)
Metropolitan Museum of Art, New York (gift of Mr. and Mrs. John L. Loeb, 1962)
Among the most important early collectors of Van Gogh’s work was Elizabeth Workman, a woman who until recently has received little attention. Tate’s records show that she originally intended to lend Van Gogh’s Au bord de la Rhône, now known as The Trinquetaille Bridge, (June 1888), but at a late stage this was replaced by Les Lauriers rose, now known as Oleanders (August 1888). When her husband, a wealthy shipbroker, faced financial problems in 1928, she sold the floral still life. The painting was then offered to the Tate, which declined to purchase it. It then went to New York collector Anna Clark, and was later acquired by the Metropolitan Museum of Art in 1962 as a gift from John Loeb and his wife.
Van Gogh’s Café at Arles, now known as Interior of a Restaurant (1887 or 1888)
Private collection, courtesy of Simon C. Dickinson Ltd, London
Café at Arles was lent by another female collector, Esther Sutro. Along with her husband Alfred, they were among the earliest UK-based collectors to buy Van Gogh’s work. Café at Arles was acquired as early as 1896. Esther kept the painting until her death in 1933, and it has since passed through several private collections. At the time of the opening, the picture was thought to have been painted in Arles in 1888, although it is now dated to the previous year, when Van Gogh was living in Paris. The picture has therefore been retitled Interior of a Restaurant.
Van Gogh’s Village at Arles, now known as Stairway at Auvers (June 1890)
Saint Louis Art Museum
Herbert Coleman, a Manchester shipping magnate, lent Village at Arles to the Tate exhibition. He kept it until it was bought by the Saint Louis Art Museum in 1934. Although in 1926 the painting was dated from Van Gogh’s period in Arles (1888-89), it was later realised that it depicts the steps very close to the inn where the artist was staying in Auvers-sur-Oise in 1890. The painting was then retitled Stairway at Auvers (June 1890).
Van Gogh’s lost Landscape near The Hague, now known as The Hut (early 1881)
Private collection
Only one Van Gogh drawing was shown at the Tate in 1926: Landscape near The Hague, lent by a man called Frank Wilson, of whom nothing is known. A poor photograph of the work was published in 1928 and the drawing then disappeared. It may well have been done when Van Gogh was living in Brussels and it is now simply titled The Hut (early 1881).
The fake: Still life with Daisies and Poppies
Picton Castle Trust, Pembrokeshire
Still life with Daisies and Poppies was one of the earliest Van Gogh fakes to be inadvertently bought by a British collector. It was lent to the 1926 Tate exhibition by James Murray, an Aberdeen-based businessman. A year later he sold it at Christie’s, making it the first “Van Gogh” to be auctioned in the UK. The buyer was Laurence Philipps, the owner of Picton Castle in Pembrokeshire, Wales. The floral still life was exposed as a recent fake in the late 1920s, having come from the notorious Wacker Gallery in Berlin, the source of dozens of forgeries. The painting is still owned by the descendants of Philipps and kept as a curiosity. It has only been exhibited once, as a fake, in an exhibition curated by the author in 2006 at Compton Verney, Warwickshire and Edinburgh’s National Galleries of Scotland.
Van Gogh’s Landscape: Arles, now known as Peach Trees in Blossom (April 1889)
Courtauld Gallery, London (Samuel Courtauld Trust)
In addition to the five outside loans, the Tate also displayed another Van Gogh, Landscape: Arles, which had been bought earlier that year by philanthropist Samuel Courtauld, who had set up a fund to buy modern French art for the National Gallery. Now at the Courtauld Gallery, the landscape has been retitled Peach Trees in Blossom (April 1889).
The gallery that once housed the Van Gogh loans and other “modern foreign” art is currently known as room 4 and presents a dense display of British paintings from 1760 to 1815. The Millbank building is now Tate Britain, with international paintings from around 1900 having been hived off to Tate Modern at Bankside in 2000.
Tate Britain’s room 4 today, where the Van Goghs hung in 1926
The Art Newspaper
Tate has only acquired Van Gogh works on one occasion, thanks to a bequest. In 1933, the Dutch stockbroker and collector Frank Stoop gave three works on paper, which are normally in store for conservation reasons, and one painting, Farms near Auvers (July 1890), which is on long-term loan to the National Gallery.
Although Tate’s Van Gogh holdings remain small, it has nevertheless successfully acquired several thousand international works during the past hundred years, and now has absolutely no problems in filling its walls.
Martin Bailey is a leading Van Gogh specialist and special correspondent for The Art Newspaper. He has curated exhibitions at the Barbican Art Gallery, Compton Verney/National Gallery of Scotland and Tate Britain.
Martin Bailey’s recent Van Gogh books
Martin has written a number of bestselling books on Van Gogh’s years in France: The Sunflowers Are Mine: The Story of Van Gogh’s Masterpiece (Frances Lincoln 2013, UK and US), Studio of the South: Van Gogh in Provence (Frances Lincoln 2016, UK and US), Starry Night: Van Gogh at the Asylum (White Lion Publishing 2018, UK and US) and Van Gogh’s Finale: Auvers and the Artist’s Rise to Fame (Frances Lincoln 2021, UK and US). The Sunflowers are Mine (2024, UK and US) and Van Gogh’s Finale (2024, UK and US) are also now available in a more compact paperback format.
His other recent books include Living with Vincent van Gogh: The Homes & Landscapes that shaped the Artist (White Lion Publishing 2019, UK and US), which provides an overview of the artist’s life. The Illustrated Provence Letters of Van Gogh has been reissued (Batsford 2021, UK and US). My Friend Van Gogh/Emile Bernard provides the first English translation of Bernard’s writings on Van Gogh (David Zwirner Books 2023, UKand US).
To contact Martin Bailey, please email vangogh@theartnewspaper.com
Please note that he does not undertake authentications.
Explore all of Martin’s adventures with Van Gogh here

Vincent’s audacious still-life was the first painting bought by a British collector, only three years after his death
Now owned by New York’s MoMA, the painting of Joseph Roulin is the star loan for a major exhibition opening in Boston
Painters from Brangwyn to Nash paid homage to the masterpiece, all illustrated on the Art UK site
Owned by the cosmetics king Leonard Lauder, the work could become the most expensive Van Gogh drawing ever sold

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‘Bigger than football’: NFL star Abdul Carter explains why he called out teammate over appearance at Trump rally

The second-year player sent shockwaves through the NFL when he tweeted his reaction to QB Jaxson Dart and Donald Trump together, prompting public backlash from conservative media members.
New York Giants star Abdul Carter was unintentionally met with widespread backlash from conservatives and others after he publicly called out his teammate Jaxson Dart for introducing Donald Trump during the President’s rally in New York earlier this month.
Speaking to the media on Friday, Carter stood by his comments about Dart’s appearance and said he was not seeking an apology from Dart, who reportedly addressed his teammates in the days following the viral moment.
“I don’t want him to say he’s sorry,” Carter said. “Stand on what you believe in, but it can’t be a problem when I stand on what I believe in. That’s all that matters to me. Long as we have that understanding? We’re good.”
Abdul Carter when asked if Jaxson Dart apologized, via @SNYGiants:

“Nah, I don’t want him to say he’s sorry. Stand on what you believe in, but it can’t be a problem when I stand on what I believe in.pic.twitter.com/nNjBF83E9G
Carter, who is entering his second year with the Giants, affirmed that he was not a fan of Trump and that him calling out Dart publicly was something he needed to do in order to make it clear where he stood.
“Some things are bigger than football, and this is one of those things,” Carter said. “Jaxson is one of our leaders. He’s the face of our franchise. He not only represents himself and what he does, but he represents all of us and that goes for anybody who wears a Giants uniform. But if he chooses to align himself with a man like President Trump, it’s my responsibility based on what I believe and what I stand on to not only show my teammates that I’m against that — but to show the world.”
He added, “That doesn’t mean that we have to spread hate. It doesn’t mean that me and Jaxson hate each other or we have beef. I sit next to Jaxson every day, every team meeting. We’re close. We talk. As long as we make sure we’ve got the same goal as a team and our goals align, which they do, then I feel like that’s all that matters.”
Trump told Fox News in an upcoming interview that he isn’t concerned about the backlash Dart may face for supporting him at the rally, because he has more supporters than enemies. The pair had never met until the rally, and during it, Trump made jokes about how good-looking the 23-year-old Giants QB was.
“So, when Jaxson gets harassed a little bit, he’s also loved more,” he said. “Because we have more people than they do.”
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Rediscovered Leonora Carrington painting to go on show for the first time at London’s Freud Museum

Luis Morales, Leonora Carrington’s psychiatrist, holding Villa Pilar (1940), the painting she gave him Courtesy Joanna Moorhead
A painting by the Surrealist Leonora Carrington, created while she was hospitalised in a Spanish sanatorium, will go on show for the first time at the Freud Museum in London in July. The newly discovered work, entitled Villa Pilar, will be displayed in the exhibition Leonora Carrington: The Symptomatic Surreal, at the museum from 1 July; the show, which opened in March, will now run until 10 August.
Villa Pilar was made in 1940 while Carrington was a patient at the Morales sanatorium located outside Santander in northern Spain. The artist was admitted to the hospital following the arrest of her partner, the German artist Max Ernst who was classified as an “enemy alien” by the Nazis and detained in late 1939 at the Camp des Milles in Aix-en-Provence.
Leonora Carrington, Villa Pilar (1940)
Photo: Nathan Keay; Courtesy of Faro Santander © 2026 Estate of Leonora Carrington / ARS, NY and DACS, London
Carrington subsequently suffered a severe psychological breakdown in Madrid, ending up in the Santander hospital. Encouraged by her psychiatrist, Luis Morales, Carrington sketched obsessively, depicting the psychiatric hospital as an underworld dotted with hybrid human-animal beasts.
During her six-month stay, she also made two paintings—Villa Pilar and a companion piece, Down Below, which is also the title of her memoir describing her harrowing time in the hospital (first published in 1944). Carrington gave Villa Pilar to Morales when she left the sanatorium.
Joanna Moorhead, Carrington’s cousin and biographer, mentions the newly discovered painting in her book Surreal Spaces: The Life and Art of Leonora Carrington (Thames and Hudson, 2023), and references an interview she did with a friend of Morales, who talked to the psychiatrist towards the end of his life about his relationship with Carrington. “Morales told her that the two of them had kept in touch, by letter and even by phone, for some time after Leonora’s departure [from Spain],” she writes.
Moorhead says the painting’s title, Villa Pilar, relates to one of the areas of the sanatorium where she was a patient. “Down Below was the name of another area of the sanatorium. Art historians have often assumed it was a figurative construct, and of course the title does reference the terrible time in her life when she was being treated for a mental breakdown, but the name was an area of the hospital, as was Villa Pilar. Another work by Leonora from this time is a map of the entire site; you can see from it how she blended her actual surroundings with the psychological turmoil she was going through, making it a fascinating time in her story and in her output.”
In her book, Moorhead also writes about the fact that, late in his life, Morales came to believe Carrington, who had been in her twenties when he treated her, had not been ill at all: “He said, Leonora was not mad…research done later in his life, during the 1970s and beyond, showed he had made many mistakes with his patients, including Leonora.”
Leonora Carrington painted Down Below (1940) during her six-month stay in a psychiatric hospital in northern Spain Image courtesy of Gallery Wendi Norris, San Francisco; © 2026 Estate of Leonora Carrington / ARS, NY and DACS, London
Villa Pilar is striking in its resemblance to Down Below, and both paintings depict the anguish Carrington was experiencing as an inpatient at the Santander sanatorium. She was confined there after suffering her breakdown in Madrid and was tricked into travelling there, Moorhead says. The bills for the sanatorium were paid for by her family, who knew nothing of the terrible treatment she suffered there, including injections of Cardiazol, a drug that induces seizures, Moorhead adds.
“It’s fascinating to think that Leonora kept in touch with Morales after she left, and it more than hints that there are many things we don’t yet know about this time in her life,” says Moorhead. “This is one of the many periods of Leonora’s life that has been under-researched, and it would be wonderful if the showing of this newly found painting prompts more investigation into what happened to her in the asylum, as she called it.” Carrington died in 2011, aged 94.
Villa Pilar, which is still owned by the Morales family, was unearthed by the curatorial team at Faro Santander, a cultural venue located on Santander’s waterfront, where Leonora Carrington: The Symptomatic Surreal will travel to later this year (8 September-10 January 2027).
Down Below will be on show at the Freud Museum in London until 28 June, with Villa Pilar going on display from early July. Crucially, both works will be shown together in the Spanish leg of the show. Leonora Carrington: The Symptomatic Surreal was discussed on a recent edition of The Art Newspaper podcast The Week in Art.
The artist’s dazzling, Boschian composition “Les Distractions de Dagobert” is expected to fetch as much as $18m at Sotheby’s in New York next month
A UK selling show—curated by Carrington’s cousin—taps into a growing interest in the Mexico-based Surrealist artist
An illustrated biography of the British-born Mexico-based artist is illuminated by the spaces she occupied
Joanna Moorhead, the biographer and relative of the rediscovered Surrealist woman artist, talks about learning to adventure creatively from the confines of home

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Here We Go Again: Trump Refiles $10B Lawsuit Against Wall Street Journal Over Epstein Reporting

Copyright © 2026 Interactive One, LLC. All Rights Reserved.
President Donald Trump has refiled his $10 billion lawsuit against the Wall Street Journal and two WSJ reporters over Epstein reporting.
President Donald Trump has refiled his $10 billion lawsuit against the Wall Street Journal’s publisher, Rupert Murdoch, and two WSJ reporters over an article the outlet published last July, titled: “Jeffrey Epstein’s Friends Sent Him Bawdy Letters for a 50th Birthday Album. One Was From Donald Trump.” The lawsuit was dismissed last month after a judge ruled that Trump had not “plausibly alleged” that the Journal published the article with “actual malice,” but the judge dismissed the lawsuit without prejudice, meaning Trump could refile his claim in the future, which he’s now doing because — oh, I don’t know — the man just has a kink for losing in court in the most publicly embarrassing ways possible.
From CNN:
Tuesday’s defamation lawsuit seeks $10 billion for damages and claims that the story had “glaring failures in journalistic ethics and standards of accurate reporting.”
“President Trump has refiled his powerhouse lawsuit against the Wall Street Journal and all of the other Defendants. The President will continue to hold those who mislead the American People with Fake News and smears accountable for their actions,” a spokesperson for Trump’s legal team told CNN.
The Wall Street Journal story published in July 2025 was about a collection of letters gifted to Epstein for his 50th birthday in 2003. One of the letters, the Wall Street Journal reported, bore Trump’s name and an outline of a naked woman.
Trump has denied writing the letter. In Tuesday’s filing, his legal team said the reporters “falsely pass off as fact that President Trump, in 2003, wrote, drew, and signed this letter” but “failed to show proof.”
A spokesperson for Dow Jones, the Journal’s parent company said in a statement when the first lawsuit was filed, “We have full confidence in the rigor and accuracy of our reporting, and will vigorously defend against any lawsuit.”
First of all, “powerhouse lawsuit”? Why is it that Trump and all of the human stepping stools who carry his water have to try their best to make everything he does sound like something epic, no matter how obvious it is that it’s only doomed to be an epic failure?
Secondly, for someone who has been so desperate to distance himself from all things related to Epstein, he sure does seem to love filing lawsuits over articles people might have eventually forgotten about had he not insisted on jogging our memories. It’s essentially the same mistake that he’s making by repeatedly taking legal action against magazine columnist E. Jean Carroll, who he was found liable for raping.
He also doesn’t seem to understand that persistently pursuing legal action against media outlets won’t convince anyone outside of his MAGA cultists that all the negative press he receives is “fake news,” but it will continue to make him look like the most anti-First Amendment president we have had in modern times.
Last September, Trump filed a $15 billion defamation lawsuit against the New York Times, four of its reporters, and a publishing company, accusing the defendants of attempting to ruin his reputation as a businessman, undermine his 2024 presidential campaign, and “prejudice judges and juries against him in coverage of his campaign,” as NBC News reported. That suit got thrown out after Judge Steven D. Merryday of the U.S. District Court for the Middle District of Florida found that the president’s original 85-page complaint was mostly just “florid and enervating” nonsense, which could also describe everything Trump has ever said in front of a camera or posted on social media, literally ever.
In December, Trump sued the BBC for $10 billion, “alleging that it defamed him by splicing together two different parts of his January 6, 2021, speech,” CNN reported. Imagine accusing a news outlet of being dishonest in reporting the way you presented the thoroughly debunked election propaganda that caused a domestic terrorist attack at the U.S. Capitol. If Trump has nothing else, he has the nerve.
Anyway, we’ll have to wait and see if Trump’s latest refiling will result in yet another L or one of his rare wins in court.
Or maybe he’ll go ahead and drop the suit in exchange for another slush fund for his cronies.
Sad.
SEE ALSO:
Trump Deported Nearly 13,000 Non-Mexican Undocumented Migrants To Mexico, Report Finds
Black Artists Are Pulling Out Of Trump’s Freedom 250 Concert
Here We Go Again: Trump Refiles $10B Lawsuit Against Wall Street Journal Over Epstein Reporting was originally published on newsone.com

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