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The Indiana native was found deceased in his hometown of New Albany, Indiana, on Saturday night. Police say the cause of death may be a suspected self-inflicted gunshot wound.
Minnesota Vikings wide receiver Rondale Moore has died at age 25. Authorities confirmed he was found deceased in his hometown of New Albany, Indiana, on Saturday night (Feb. 21).
The Floyd County Coroner said Moore’s death is not a threat to the public and an autopsy would be conducted on Sunday, per NFL News. TMZ Sports is reporting that the cause of death may have been a self-inflicted gunshot wound, citing the police chief of the New Albany, Indiana, Police Department. The investigation is ongoing.
In its statement, the NFL said the organization is “deeply saddened by the tragic passing of Rondale Moore. Our thoughts are with Rondale’s family, friends and teammates during this difficult time.”
Moore’s team, the Vikings, as well as head coach Kevin O’Connell, have also released statements. The Vikings said they have spoken with Moore’s family and are “in communication with our players, coaches, and staff, and will make counseling and emotional support resources available to anyone in need.”
O’Connell wrote he is “devastated by the news of Rondale’s death.”
“While Rondale had been a member of the Vikings for a short time, he was someone we came to know well and care about deeply. He was a humble, soft-spoken, and respectful young man who was proud of his Indiana roots. As a player, he was disciplined, dedicated and resilient despite facing adversity multiple times as injuries sidelined him throughout his career. We are all heartbroken by the fact he won’t continue to live out his NFL dream and we won’t all have a chance to watch him flourish.”
The NFL Players Association, which is the union for the players in the league, has written that Moore’s death is an “immense loss is felt deeply across our union, and we value his service as a player rep.”
Moore was born and raised in New Albany, Indiana, and was a standout athlete at New Albany High School, according to WLKY News, and was the recipient of the Gatorade Player of the Year in 2017. He was an All-American at Purdue University and began his professional career with the Arizona Cardinals as a second-round pick in the 2021 NFL draft. He has joined the Vikings in 2025 and was recently recovering from a knee injury.
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The R&B producer, known for Blackstreet, Guy, and his work crafting New Jack Swing, and for Michael Jackson’s ‘Dangerous’ album, previously shared a video praising Kelly as the ‘King of R&B’ after hearing a cover of Chris Brown’s “It Depends.”
Teddy Riley is doing promotional rounds for his new memoir, “Remember The Times,” but recent comments the R&B superproducer made about R. Kelly have him backtracking.
In an interview with the Los Angeles Times, Riley suggested that Kelly, who is currently in federal prison for sex crimes, had repented and deserved a second chance, even mentioning that he wanted to work with him.
“He’s asking for forgiveness. He has repented. What does that mean to everybody?” Riley said in the interview. He also stated he would be “bringing in investors” to help release some of the music the singer claimed he had recorded while incarcerated, and that he would consider working with him.
Following swift backlash to his comments, Riley is changing his tune. In a lengthy Instagram post, the man behind Blackstreet, Guy and one of the architects behind Michael Jackson’s “Dangerous” album, apologized for his remarks.
“As a producer, I’ve always been excited about the possibilities of music and creative collaboration,” he began. “That excitement has defined my career. But I also understand that words carry weight, and I never want my passion for music to overshadow the very real pain that many people have experienced.”

He continued: “If my comments caused hurt, I sincerely apologize. That was never my intention. I take seriously the impact that abuse and misconduct have had on survivors and their families. Their experiences matter, and they deserve to be acknowledged with care and respect. The idea mentioned in the interview in correlation with a previous post I made was simply that, a creative idea discussed in passing. It is not something that will move forward. Loving music and recognizing its cultural impact does not mean condoning harmful behavior, and I want to be clear about that.”
A post shared by Teddy Riley (@teddyriley1)
Earlier this year, Riley shared audio of Kelly recording a cover of Chris Brown’s “It Depends,” while still hailing him as the “King of R&B.” The post has since been deleted. His memoir, “Remember The Times,” is available now.

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“Hold up @TyraBanks let’s keep it cute,” she began in a since-deleted post. “You are one lying a— b—. You know how you treated me the whole time off and on camera, YOU WAS A BULLY!!!”
Netflix’s latest docuseries, Reality Check: Inside America’s Next Top Model, is sparking new conversations and backlash about the popular reality series. Tiffany Richardson, a former contestant, is also chiming in, calling the series’s creator, executive producer, and host, Tyra Banks, “a bully.”
For avid watchers of ANTM, they of course remember Richardson from both cycle 3 and cycle 4 of the reality competition, who is best known for the infamous moment where Banks yelled at her, “I was rooting for you,” which became an iconic meme.
Richardson revisits the moment to share personal commentary, and she also touched on it on social media Feb. 17. She had plenty of time for Banks.
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“Hold up @TyraBanks let’s keep it cute,” she began in a since-deleted post. “You are one lying a— b—. You know how you treated me the whole time off and on camera, YOU WAS A BULLY!!!”
 “You treated me like sh— and said the nastiest things about me and my son,” she continued.
Richardson also accused the show of editing the scene to make Banks look in a more positive light, protraying as her as being supportive.
“That is not how the argument went but YALL EDITED TO MAKE IT LOOK LIKE YOU CARED,” Richardson claimed.
She also addressed Banks personally, telling her, “I BET YOU WONT SIT DOWN WITH ME FACE TO FACE AND TALK ABOUT IT!!!”
Banks addressed the moment in the series, acknowledging that she had gone too far.
“I went too far. You know, I lost it,” Banks says in the documentary. “It was probably bigger than her. It was family, friends, society, Black girls, all the challenges that we have. So many people saying that we’re not good enough. I think all that was in that moment.”
Well, social media doesn’t agree and is joining Richardson in slamming Tyra Banks.
You can see those reactions below.
Tyra Banks Slammed By ‘ANTM’ Alum Tiffany Richardson Following Netflix’s ‘Reality Check’ Doc was originally published on hiphopwired.com

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The President called Susan Rice, who has served under the Clinton, Obama, and Biden administrations, a “political hack” on Truth Social.
President Donald Trump is targeting Susan Rice’s position on the board of Netflix, calling the former diplomat a “racist” and a “political hack” after she spoke out against his corporate allies this week.
Rice was on former U.S. Attorney Preet Bharara’s podcast when she criticized corporations that acquiesced to the Trump administration. She warned that when Democrats were back in power, these businesses “are going to be held accountable.”
“It is not going to end well for them. For those that decided that they would act in their perceived, very narrow self interest, which I would underscore as very short-term self-interest, and take a knee to Trump, I think they are now starting to realize, ‘Wait a minute, this is not popular. Trump is not popular.’”
Far-right political activist and self-described “loyalty enforcer” of President Trump, Laura Loomer, called Netflix “Anti-American” for Rice’s comments on her X account. She also condemned a potential Netflix-Warner Bros merger, which Trump has recently said he should not be involved in. Netflix is currently battling Paramount Skydance in an acquisition war for Warner Bros and has an agreement to buy the multimedia corporation for $83 billion. But last week, Warner Bros opened up negotiations with Paramount in hopes of a better deal.
On Saturday (Feb. 21), Trump reacted to Loomer’s post about Rice’s comments on his Truth Social account, demanding Netflix fire her from the board, “or pay the consequences.” Rice served on the company’s board from 2018 to 2021, then rejoined in 2023 after working under the Biden administration.
“Netflix should fire racist, Trump Deranged Susan Rice, IMMEDIATELY, or pay the consequences. She’s got no talent or skills – Purely a political hack! HER POWER IS GONE, AND WILL NEVER BE BACK. How much is she being paid, and for what??? Thank you for your attention to this matter.”
Netflix has not issued a response to the President’s post.
Rice is a former diplomat who has served under the Clinton, Obama, and Biden administrations. Her recent post in the White House was as Joe Biden’s domestic policy advisor, which she stepped down from in May 2023.

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adidas is World Cup ready with new Bob Marley-themed kits for the Jamaica Football Federation and a collab inspired by the reggae legend.
The 2026 World Cup is still a few seasons away, but that doesn’t mean you can’t start stocking up on apparel to rock when it comes time to rep your team.
Arriving with perfect timing as per usual, adidas got the jumpstart over in Jamaica with some eye-grabbing gear in the form of official home and away kits for the Jamaica Football Federation, in addition to an eight-piece capsule collection that’s jamming with irie vibes.
The best part? It’s all inspired by the impactful legacy of late reggae legend, Bob Marley.

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The entire campaign, which stretches from the kits to the collab, is directly rooted in Marley’s love for the sport and his style while playing it during his off-time from making timeless hits. Actually, adidas even reimagined the lilac firebird track pants he regularly wore during his notable tour through Europe. The “Football is Freedom” tagline that appears throughout in the graphics is a mantra derived directly from The Bob Marley Foundation.
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Speaking on the nature of the collab, BMF CEO Cedella Marley — daughter of Bob and Rita; mother to Skip — addressed the importance of it happening now by stating in the press release, “This is more than just a partnership to us, it’s a landmark moment which signifies unity, inspiration and the spirit of Bob Marley on the global stage. His unwavering belief in the power of our people lives on and through this collection, the fans can carry the pride of Jamaica.”
Fittingly enough, Skip Marley helped his mom bring it all home by modeling some of the pieces himself.

For the JFF kits, you really get a perfect blend of night and day from home to away. Starting at home, adidas tailored a “bold gold” beauty using its new CLIMACOOL+ technology in the form of transfer knit jacquard. The fabric is engineered for breathability and incorporates heat-applied labels and even a hidden UV print for true authenticity. Away comes with its fair share of specs as well, also utilizing the CLIMACOOL+ technology on a classic black base in transfer knit jacquard construction. However, for lack of overall color it makes up swimmingly in the form of vivid designs and abstract prints etched into the design story that make it hard to look away — we see what they did there!
Other standout features include the direct nod to Marley’s signature color aesthetic, which itself ties back to reggae culture, and a special shoutout to the JFF’s “Reggae Boyz” and “Reggae Girlz” with insignia redesigned to resemble the revered Tuff Gong record label founded by the late Legend hitmaker.
The collaboration also serves as a tribute to Allan Aloysius “Skill” Cole, who sadly passed away back in September 2025 at the age of 74. In addition to being a soccer icon in his own right, Skill also served as tour manager for Bob Marley and The Wailers during their peak in the 1970s.
Bringing it all to the now, JFF current star players Dexter Lembikisa, Kaheim Dixon, Mason Holgate, Jon Russell and Kasey Palmer each contributed their modeling skills to the lookbook.

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February 22, 2026
Authorities recovered shoes, sports cards, and other goods as retail theft cases from the East Baton Rouge Parish case.
The East Baton Rouge Parish Sheriff’s Office (EBRSO) in Baton Rouge, Louisiana have arrested a suspect after recovering a range of stolen retail items, including nicotine products, graded sports cards, candy, and Nike shoes from missing FedEx shipments. According to EBRSO, investigators completed a search and inventory of the recovered merchandise before identifying and locating the suspect, identified as 27-year-old Tyran Jackson.
Jackson worked as a FedEx driver. He was taken into custody and booked into the East Baton Rouge Parish Prison. Officials said the investigation remains ongoing as detectives work to determine whether additional charges or arrests may follow.
Photos released by the sheriff’s office onto Facebook show the seized goods laid out as evidence, underscoring the variety of items, allegedly taken, totaling to around $62,000 in items. Authorities have not released further details about how the merchandise was obtained.
FedEx driver arrested after $62,000 in stolen packages found in storage unit https://t.co/spWkRppzUz pic.twitter.com/aREydtGHIH
Baton Rouge police wrote in the post, “Through investigative efforts, detectives identified the suspect as Tyran Jackson 10/18/1998, a FedEx delivery driver. Upon execution of the search warrant, detectives located and recovered approximately $62,000 worth of stolen FedEx merchandise inside the storage unit. After completing the search and inventory process, detectives located Jackson and took him into custody.”
The arrest follows a similar case earlier this month involving the alleged theft of high-value shipments intended for a Baton Rouge retailer. In that incident, a FedEx driver was accused of stealing approximately $32,000 worth of merchandise that was scheduled for delivery to a local Walmart store.
Law enforcement officials said technology played a critical role in tracking the stolen goods. “The packages were equipped with tracking devices, which allowed investigators to track the merchandise to the 6000 block of Jones Creek Road,” the Sheriff’s Office said in a news release to The Advocate.
Authorities arrested Draterrius McCollough, 31, in connection with that case. He was booked into East Baton Rouge Parish Prison on a felony theft charge, according to officials.
Officials have not released additional details about potential court appearances or bond information for Jackson. EBRSO stated that updates will be provided as the investigation progresses.
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After Netflix’s ‘Reality Check: Inside America’s Next Top Model’ debuted, fans questioned if there was tension between Tyra Banks and Cycle 3 winner Eva Marcille, who wasn’t interviewed. Now, Marcille is speaking out.
After Netflix dropped its explosive docuseries Reality Check: Inside America’s Next Top Model on Feb. 16, viewers immediately began speculating about whether there was lingering tension between Tyra Banks and Cycle 3 winner Eva Marcille, as she wasn’t interviewed for the series.
Now, Marcille is sharing her side of the story.
Appearing on CBS Mornings on Thursday, Feb. 19, the former winner of America’s Next Top Model addressed the three-part documentary for the first time. She admitted she was blindsided by many of the controversies highlighted in the series.
Eva Marcille said her initial reaction was curiosity; she was “amazed” and even contacted former creative director Jay Manuel for insight. But that feeling didn’t last for long.
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“I watched it and after I watched it, I was gobsmacked,” she told CBS hosts Gayle King, Nate Burleson and Vladimir Duthiers. “I was in awe. I told Jay, my mouth was wide open. To be a part of a club, and not know what’s going on in the club is crazy.”
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Now 41, Marcille — who competed under her maiden name, Eva Pigford — said she was never invited to participate in the project.
“They didn’t ask me,” she said. “It was very surprising.”
Although she appears briefly in Reality Check: Inside America’s Next Top Model, including a mention from Banks highlighting her post-show success, the series largely shifts its focus away from winners. Instead, it revisits the long-running franchise’s most controversial moments and examines the emotional toll production allegedly took on contestants and staff.
Former participants claimed they were body-shamed, racially profiled and bullied by judges. The documentary revisits infamous challenges, including one involving blackface and another in which a contestant was asked to reenact the trauma of her mother being shot. Some viewers said watching the show contributed to eating disorders, while two former stars described painful dental procedures with lasting consequences.
Marcille said she had no idea such experiences were unfolding and described herself as “amazingly horrified” by the allegations.
Among the most disturbing accounts came from Cycle 2 runner-up Shandi Sullivan, who revisited the widely publicized episode in which she appeared to cheat on her boyfriend with an Italian model during a drunken night on camera. In the documentary, she alleges she was actually sexually assaulted.
“Horrible. Horrible,” Marcille said of the revelation.
While she maintained she was unaware of what was happening behind the scenes at the time, Marcille acknowledged that producers and judges “absolutely” helped cultivate that environment.
“That environment could not exist without producers aiding and abetting what was going on,” she said, pointing to her own reality TV experience on The Real Housewives of Atlanta and Real Housewives: Ultimate Girls Trip. “I don’t know what is going on in someone’s life unless the producers tell me. It’s a part of how this thing works.”
Reflecting on her time on Top Model, Marcille noted how young she and her fellow contestants were. Despite earning the nickname “Eva the Diva” after clashing with other competitors, she said her focus was singular and that she was determined to win. She also pointed out that she made history as “ the shortest girl” of Cycle 3.
“The idea of a Black girl and this short in the modeling business, it’s unheard of. It will never happen,” she explained. “We were kids trying to find our dreams realized and actualized by a woman who believed could do it for us,” she said of Banks later. “And if she could see it in us, then the world could see it in us because the world sees it in her. So it was just a TV show to win a competition.”
More than two decades later, Marcille said her Top Model victory–-and the controversy that some of the show stirred—continues to follow her, even as she’s built an extensive acting résumé with projects including All the Queen’s Men and the upcoming film Pushed Off a Plane and Survived.
“I had no idea. I have been asked about Tyra for 21 years,” she said. “No matter what project I’m doing, what I’m involved in, somehow Top Model finds its way in my interview. I’ve done 154 projects since Top Model. It’s been 21 years.”
Still, she stressed her gratitude for the show that launched her career.
“Thanks to Top Model, though,” she said. “What I will say is I will never fail to thank Tyra. What Tyra set out to do in this business, I will always say — and especially for Top Model, initially — she set out to change the world; to change what the modeling industry looked like, sounded like, felt like and expected. And she did that for me.”
When asked if Tyra should continue to apologize and take accountability for some of the harm caused on the show, Marcille said firmly:
“An apology to the person that you’ve wronged is only as good as they could appreciate it. And so for the young girls that were sexually assaulted, for the young girls that now have eating disorders or look at themselves and never feel beautiful…there is no sorry I think that’s big enough to truly fill and heal that kind of hurt.”
Have you seen Reality Check: Inside America’s Next Top Model yet? Thoughts?
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‘Horrified’ — Eva Marcille Breaks Silence On Shocking ‘ANTM’ Doc: ‘My Mouth Was Wide Open’ was originally published on madamenoire.com

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February 22, 2026
Nike Imoru alleges improper hair styling during ‘The Odyssey’ production led to permanent hair loss and emotional trauma.
An actress has filed a racial discrimination lawsuit against Harvard University’s American Repertory Theater (A.R.T.), alleging that hairstyling practices during a stage production caused severe and lasting hair loss. Nike Imoru, who appeared in a February 2025 adaptation of “The Odyssey,” claims a hairstyle used to help her transition between multiple characters resulted in significant damage to her natural hair.
According to the complaint, the styling left her with nonscarring alopecia and extensive hair loss.
“My hair’s falling out — I don’t know what to do. My hair’s falling out,” Imoru told NBC Boston, describing the moment she realized the extent of the damage.
Imoru performed five roles in the production and said her hair was styled in tight cornrows with added extensions to accommodate quick costume changes. She contends the combination of tension and extension hair created continuous twisting that harmed her scalp.
“Between the tension and the extension hair, it caused a damage so that the corkscrew style extension continued to twist,” she said.
Within days, she noticed alarming changes. She estimates she lost roughly 90% of her hair, with some follicles no longer producing growth. “It hasn’t grown beyond maybe half an inch in a year,” she said.
Beyond the physical impact, Imoru described emotional distress in the months that followed. “Dissociation, trauma, anxiety, fear, dread, a real shredding, I would say, of my mental health over the course of a year,” she said.
As reported by NBC Boston, in her lawsuit, Imoru alleges that A.R.T. failed to properly account for the care required for textured hair and treated her differently from other cast members. The complaint states that despite the theater’s previous public commitments to equity, it caused “grave and lasting harm” through “careless and stereotypical assumptions about her textured hair.”
“Textured hair requires particular types of care,” Imoru said. “I don’t believe that was followed through.” She added that clearer communication and direct consultation could have prevented the outcome.
Five years ago, A.R.T. issued a public apology for past instances of racial discrimination. The theater did not respond to requests for comment regarding the lawsuit.
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The longtime ‘America’s Next Top Model’ judge’s story gained greater interest following revelations made in a recent docuseries about the highs and dark secrets of the show.
Fans of Miss J Alexander saw a different side of the former “America’s Next Top Model” judge in the recent “Reality Check” documentary. After he suffered a stroke in 2022, longtime fans of the show shared their sympathy after learning he was bound to a wheelchair.
“I couldn’t walk, and I couldn’t talk, and I thought to myself, ‘What was I going to do?’ And that I couldn’t walk, and I couldn’t speak. It was emotional. I cried. I’m not ashamed to say that I cried,” he shared in the three-part docuseries.
Now, his close friend and talent manager, Steven Grossman, is asking for the public’s help to cover the unfortunate rising cost of his recovery.
A GoFundMe was launched on Friday (Feb. 20) in Miss J’s honor to help cover the costs of ongoing treatments, specialized care, rehab services, and daily living support. Although Miss J let fans in on some of the details regarding his stroke in the docuseries, the GoFundMe reveals a far more heartbreaking story.
“After spending five weeks in a coma, Miss J. was left unable to walk or speak,” a description from the GoFundMe reads. “He spent almost a year and a half in a rehabilitation center without much use of his body or his voice. This time span included additional mini-strokes, seizures, and four additional hospitalizations.”
It continued: “For the past three years, Miss J. has been bravely fighting his way back and struggling to live independently. We are hoping to secure full-time, round-the-clock care and help with the on-going regular physical, speech, and occupational therapies. He is currently confined to a wheelchair stemming from what we hope is only temporary paralysis and his right arm remains immobile.”
The goal is to raise $100K to cover costs and while the GoFundMe is currently in its infancy, several fans have already raised more than $1,000 for the fashionista.
“If Miss J.’s kindness, humor, and iconic presence have ever made you smile or laugh, please consider giving back during this difficult time. And if you’re unable to donate, sharing this page with your community is another powerful way to help. Let’s all come together for someone who has inspired confidence, individuality, and joy in so many of us,” the GoFundMe page states.
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From navigating fame to staying true to himself, Domani provides a rare glimpse into the multifaceted experiences shaping his evolving sound.
Domani recently sat down with Incognito on Posted On The Corner, offering a deep and personal look into his latest work, creative mindset, and life journey. The conversation revealed an artist dedicated to his craft and focused on authentic growth.
At the heart of the discussion was Domani’s new project, “Forever Lasting.” He explained that the project is a direct extension of the vibe from his popular song of the same name. Responding to fans who wanted more of that specific sound, he built an entire project around it. His artistic vision extends to his visuals, where he prefers capturing real-life moments over staged scenes. By filming everyday situations, he aims to show the different ways and places his music can be enjoyed, creating a natural and relatable experience for his listeners.

When it comes to his creative process, Domani keeps his circle tight. He primarily records with his longtime engineer, Psych, a collaborator he has worked with for about a decade. This partnership has been crucial to developing his sound. Domani shared that the final track recorded for the new project was “Good Girl.” He emphasized that his ultimate goal is to sharpen his “pen and sword,” ensuring he has the skills to maintain a long and impactful career in music.

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Beyond the music, Domani shared his perspective on personal growth and fatherhood. He described himself as a “perspective guy,” emphasizing his belief in the process and his commitment to not skipping steps or taking shortcuts. For him, the journey is more valuable than the destination itself. He also touched on fatherhood, describing the experience as nothing short of amazing. This grounded approach to life and career highlights a maturity that resonates throughout his work.
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Domani’s cultural influences also play a significant role in his artistry. He recounted attending an Outkast concert where he wasn’t familiar with their music. However, their performance inspired him to research their catalog, leading to a deep appreciation for their artistry. This experience shows his respect for the legends who paved the way. He also mentioned that his favorite verses on his new project are from “Forever Lasting Part 2” and the second verse of “Waiting So Long.”
Looking ahead, the music continues to run in the family. Domani proudly announced that his brother, Buddy Red, is set to perform at the upcoming Jazz Fest. With “Forever Lasting” making waves and his family also stepping into the spotlight, Domani’s journey is one to watch closely.
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February 21, 2026
In a 6–3 decision, the Supreme Court ruled that Trump exceeded his powers.
By Robert Hill  
President Donald Trump introduced the new 10% global import tariff after the Supreme Court struck down his previous trade plans, ruling that he had overstepped his authority. 
In a 6–3 decision, the Supreme Court ruled that Trump exceeded his powers under the 1977 International Emergency Economic Powers Act (IEEPA). The administration had used the act to justify tariffs on goods from almost every country. The court’s decision created a legal setback for the White House and opened the possibility for billions of dollars in refunds to businesses and U.S. states that challenged the policy. 
Trump responded to the ruling by calling it “terrible” and accusing the justices who voted against the policy of being “fools.” Despite the decision, Trump indicated that he would turn to alternative legal authorities to continue pursuing his tariff agenda. 
Shortly after the ruling, Trump signed a proclamation imposing a 10% global tariff under Section 122. As reported by the BBC, “Which gives the power to put in place tariffs up to 15% for 150 days, at which point Congress must step in.” 
Several U.S. states have responded by requesting refunds following the Supreme Court’s decision. 
Illinois Governor JB Pritzker wrote a letter to the Trump administration demanding more than $8 billion in refunds for the state. In the letter, he outlined the exact amount he believes should be repaid. 
As reported by CBS News, Pritzker wrote: “On behalf of the people of Illinois, I demand a refund of $1,700 for every family in Illinois. There are 5,105,448 households in my state, bringing the total damages you owe to $8,679,261,600.” 
California Governor Gavin Newsom has also called for a tariff refund. During Trump’s second term, California has been one of the administration’s most vocal critics and has filed lawsuits challenging federal policies and tariffs. 
Since the ruling, businesses and states may pursue refunds for previously collected tariffs from the Trump administration, however the process could take a while. The Supreme Court stated that Congress had not granted the president open-ended authority to impose tariffs and emphasized that, when Congress delegates tariff powers, it does so under explicit terms and strict limits. 
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From Jill Scott’s new soulful return to the Super Bowl stage, the Grammy-winning director explains why storytelling is the heartbeat of his arrangements.
Adam Blackstone‘s name consistently serves as the connective tissue between the legends and the leaders of the new school.
A read through his credits often reads like a “who’s who” of Black excellence and musical kinship.
Whether he’s behind the keys for Justin Timberlake, producing tracks for Jill Scott’s latest release, or arranging the national anthems that stop the world in its tracks, Blackstone has moved beyond the role of a traditional music director. In an exclusive conversation with theGrio’s Bobby Pen while leaving rehearsals during NBA All-Star Weekend, the Philly-bred maestro revealed that he views his work through a lens more familiar to a newsroom than a recording studio.
“I’m an expert, I’m an editor,” Blackstone says. “I use the music to provide… the script tells the story, no matter how great the music and the string line is. It’s really about the lyric and the script that allows people to interject their own experiences.”
Blackstone’s career is a masterclass in the “Philly Way”—a philosophy of communal success he learned coming up in the early 2000s neo-soul scene alongside Questlove and DJ Jazzy Jeff. It’s a spirit of “lifting as you climb” that he carried into this month’s Super Bowl performances with Coco Jones and Charlie Puth.

“For me, it’s always a blessing to represent culture and music on such a grand stage,” Blackstone said. “You’re trying to find that fine line between something familiar to the ear but also making it cool.”
For Blackstone, producing Coco Jones’ rendition of “Lift Every Voice and Sing” wasn’t just about a broadcast; it was about protecting a legacy.
“I went through a couple of different variations to make it classical enough, to make it ‘hood’ enough with the 808s, to make it R&B enough where it represents who she is,” he explains. By blending the Sainted Trap Choir with orchestral arrangements, Blackstone ensured the “Black National Anthem” resonated as a “Black girl joy moment” for a global audience.

“These are national moments,” he said. “You want unity. You pray that what you created brought people together.”
Though widely known as a music director, Blackstone views his role differently.
He calls himself an editor.
Working closely with artists, he begins not with instrumentation but with narrative, asking performers what story they want audiences to feel. The approach, he says, was sharpened during his work on Alicia Keys’ Broadway production “Hell’s Kitchen.”
“The script tells the story,” Blackstone said. “No matter how great the chords are, it’s the lyric and emotion that allow people to insert their own experiences.”
That philosophy guides how he approaches timeless songs whose lyrics never change but whose emotional meaning constantly evolves.
“You could be talking to your grandmother, your church, or a football team,” he said. “The emotion behind the lyric changes every time.”
Despite his mastery of modern technology, Blackstone’s foundation is rooted in the pews of his youth. “Church and God is in everything that I do,” he says. He credits the improvisational “shout” of the Sunday morning service with giving him the instincts to command a stadium of 60,000 people.
“Church allowed me to get the improvisational skills and to listen to what people react to. If the pastor’s preaching and you hit a certain chord or the spirit is high, now I take that same thing as if I’m at Levi’s Stadium,” he said.
While he acknowledges the technological shifts in R&B, Blackstone believes the “grit” of live musicianship—the feeling of a bass line or the crack of a snare—is what allows people to truly “soak it in.” In a world of phones and social media clips, his arrangements are designed to keep the listener in the moment.
“What church gave us was being present,” he said. “Now we experience concerts through our phones. But that human instinct to feel something from music will never leave.”
As conversations continue about whether modern R&B has drifted away from its church-rooted origins, Blackstone takes a more measured view. While the industry shifts toward AI and laptop production—something his 10-year-old son is already exploring—Blackstone insists the human element of the church experience is irreplaceable.
Blackstone isn’t resting on his recent Emmy and Grammy wins. He is currently celebrating his contributions to Jill Scott’s new album, “To Whom It May Concern,” including the standout tracks “Pressha” and the anthemic album opener “Be Great.”
“She was one of the first people to really give me the opportunity to shine,” Blackstone recalls of Scott. “She trusted me with her baby, her music. I’m so forever grateful for Jill.”
Long before Super Bowls and Grammys, Blackstone was a young musician absorbing the creative energy of early-2000s Philadelphia during the height of the neo-soul movement.

Artists like Jill Scott, Musiq Soulchild, and The Roots helped define an era that continues to influence contemporary R&B. Blackstone credits that environment with shaping both his sound and his career philosophy.

“It was brotherly love and sisterly affection,” he said. “Everybody wanted each other to win.”
Opportunities often came through community rather than competition. Musicians invited younger artists into studios, passed along gigs, and created space for emerging talent.
“That’s how I got my break,” Blackstone said. “When my number was called, I was ready.”
That spirit still guides his work today, particularly as he collaborates with both established legends and rising artists. Among the artists he hopes to work with next are Usher protégé Jaydon, Philadelphia lyricist Tierra Whack and respected R&B mainstays like Eric Roberson and AverySunshine.
As he looks toward the future, one he hopes includes a Tony and an Oscar to complete his EGOT, Blackstone is focusing his energy on social impact. Next month, he joins the HBCU AwareFest in Atlanta to help raise awareness for student debt, proving that his arrangements aren’t just about making hits, but about making a difference.
As he told theGrio, his message to his younger self and the next generation is simple: “Keep dreaming big. This is not the beginning. God has so much more in store.”
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Fetty Wap’s career takes a new direction as the rapper trends on social media
If you missed today’s “Trending on the Timeline” with DJ Misses on Posted On The Corner, you missed a whole lot of tea being spilled. This time, the tea is all about the world of reality television. If you thought the on-screen drama was intense, just wait until you hear about the behind-the-scenes battles over money and respect. DJ Misses got into the recent revelations from Love and Hip Hop Atlanta alumni, and it’s a conversation our community needs to have.
DJ Misses broke it all down, and we’re here to give you the recap on who did it, who done it, and who needs to quit it.
In the latest “Trending on the Timeline” segment, DJ Misses dropped some surprising and uplifting news about one of hip-hop’s own. The conversation quickly turned to rapper Fetty Wap, who has been quietly making major moves since returning home. While fans have seen him back in his element in the music studio, it’s his work outside the booth that’s really making headlines and earning respect from the community. Fetty is proving that securing the bag can take many forms, and his latest venture is one nobody saw coming.
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During a recent sit-down with Tamron Hall, the New Jersey native revealed he’s been using his time wisely to build a future beyond the mic. Fetty proudly shared that he earned his GED and took several HVAC courses, preparing himself for a career as a heating, ventilation, and air conditioning technician. When Tamron jokingly asked if his backup plan was to be “Fetty the HVAC guy,” he confirmed with complete seriousness. He explained that he met people with legitimate trades who were making “rapper money,” inspiring him to secure a practical skill set to provide for his family no matter what.

RELATED STORY: Fetty Wap Released After Serving 3 Years in Prison
RELATED STORY: 20 Famous Faces You FORGOT Were in Prison
Fetty’s decision to have a solid backup plan is a powerful example of responsibility. It’s a real-world reminder that success isn’t just about the glitz and glamour; it’s about taking care of your responsibilities and ensuring your family is secure. His commitment to providing for his kids and paying his bills, whether through music or a trade, is a testament to his character.
This move from Fetty Wap is more than just a good story; it’s a lesson in humility and strategic planning. Major props are due to him for investing in himself and showing that there’s no shame in having a Plan B. He’s setting a great example that you can still chase your dreams while grounding yourself in a dependable trade.
Follow your girl on the ‘Gram (@djmisses) and check out Posted On The Corner for more updates.
Stay plugged in, keep the discussion going, and make sure your voice is part of the movement shaping what’s next.
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February 21, 2026
Ramona Rakestra is fighting for the return of her Supplemental Security Income after the government claimed she is not a natural-born citizen.
A Dallas woman, Ramona Rakestraw, is fighting for the return of her Supplemental Security Income (SSI) after the government claimed she is not a natural-born citizen.
Rakestraw, who is battling cancer and kidney disease, says the federal government wrongly stopped her SSI after questioning her U.S. citizenship. Rakestraw is a lifelong Texan who said she relied on SSI payments as her primary source of income while undergoing treatment for kidney disease and cancer.
Rakestraw’s benefits were abruptly halted in October 2025 after the Social Security Administration informed her that her immigration status was under review, she told Fox 4.  However, the Dallas resident says she was born at Parkland Hospital in Dallas and has never lived outside the United States. Furthermore, the 59-year-old asserts she has never even left Dallas County.
“I’m not an immigrant,” she said. “I’ve never even left Dallas County — let alone the country.”
59-year-old Ramona Rakestraw says her SSI was stopped after her immigration status was “under review,” despite reportedly never leaving the U.S. When a Dallas-born resident battling kidney disease and cancer is told she is “not lawfully present,” something is deeply wrong! No one… pic.twitter.com/b54PLfS0NW
In a letter to Rakestraw, the SSI administration wrote, “We cannot pay you benefits because you are not lawfully present in the U.S.” Rakestraw provided her birth certificate and government identification to SSA representatives at a local office as part of her effort to resolve the issue.
In her early 20s, Rakestraw battled kidney disease, which led to her receiving a transplant. She has been dependent on benefits since. Before her citizenship was in question, she received both Social Security and Medicaid Part B benefits. While her Medicare Part B was later restored, the SSI payments remained stopped.
After Rakestraw spoke to Fox 4, the outlet reached out to the SSI administration. Due to privacy concerns, no information was given about her specific grievance, though employees said they would reach out to her regarding the matter. Subsequently, it was reported that Rakestraw’s benefits would resume, though there is no word on why they were denied in the first place. 
RELATED CONTENT: Shaboozy Admits He ‘Should Have Been More Intentional’ Before Saying Immigrants ‘Built This Country’ During Grammy Speech

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February 22, 2026
by Lori Lakin Hutcherson, GBN Founder and Editor-in-Chief
You’ve likely heard of Jack Johnson, the first Black world heavyweight champion boxer and Jesse Owens, the first Black world champion sprinter. But have you ever heard of Marshall “Major” Taylor, the first Black world champion of cycling?
Taylor not only was the first African-American world champion in cycling, he might have been the first internationally known sports celebrity ever.
Born in 1878 in Indianapolis, Taylor was one of eight children and the son of a formerly enslaved Civil War veteran. In his youth, Taylor was given a bicycle by the wealthy family his father Gilbert worked for, and was soon earning money delivering newspapers and riding barefoot for miles a day.
When he wasn’t working his paper route, Taylor mastered several stunts and tricks on his bicycle. To drum up business, Taylor was hired by a local bicycle shop to dress in a military uniform and perform his feats in front of the store – and it worked.
Taylor was nicknamed “Major” and was soon hired to work for the shop full-time. By the 1890s, America was experiencing a bicycle boom, so shop’s owners also entered Taylor into local cycling races, which he easily won.
Though Taylor was prevented from joining any local riding clubs, he kept competing and winning. When there were “whites only” races, friends would smuggle him in and though he couldn’t officially compete, his times could be measured.
At 17, Taylor knocked two-fifths of a second off the world record held by professional racer Ray MacDonald. Taylor’s time could not be submitted for official recognition, but everyone watching the race knew what they had witnessed. Major Taylor earned a second nickname: “The Black Cyclone.”
Taylor soon became a professional racer and won 29 of the 49 races he entered. By 1899, he won the cycling world championship officially, and the victory earned Taylor widespread fame.
Even so, Taylor remained barred from cycling races in the South. Even when he wasn’t, racist spectators would at times throw ice or nails at him, and several white cyclists would jostle him, shove him or box him in.
Taylor started using his competitors’ hatred as fuel — in order to ensure that he wouldn’t be physically accosted or pulled from his bike, he would ride several lengths ahead and stay there.
At the end of a one-mile race in Massachusetts however, cyclist W.E. Becker, upset he finished behind Taylor, pulled Taylor to the ground after the race. “Becker choked him into a state of insensibility,” the New York Times reported, “and the police were obliged to interfere. It was fully fifteen minutes before Taylor recovered consciousness.” Becker was fined $50 for the assault.
After that, Taylor started competing in Europe, where a Black athlete could ride
without fear of racially-motivated violence. Promoters shifted events from Sundays to accommodate Taylor, who refused to race on the Sabbath. In 1902, Taylor dominated the European Tour, winning the majority of races he entered and cementing his reputation as the fastest cyclist in the world.
Reportedly earning $30,000 a year, Taylor raced consistently for the rest of the decade, making him one of the wealthiest athletes of his day, Black or white. But as the automobile emerged as a more exciting mode of movement, mass interest in cycling began to ebb.
In 1910, 32 year-old Taylor retired, living off his sizable earnings. But by 1929, with the Wall Street crash and some other bad investments, Taylor’s fortune was all but wiped out. He self-published his autobiography, The Fastest Bicycle Rider in the World in 1929 and spent the last years of his life in Chicago selling it door-to-door. When Taylor died in 1932 at 53, he was buried in a pauper’s grave at the Mount Glenwood Cemetery in Chicago.
When some former racing stars learned of this, they convinced Frank Schwinn, owner of the Schwinn Bicycle Company, to have Taylor’s remains exhumed and transferred to the cemetery’s Memorial Garden of the Good Shepherd and mark it with a bronze tablet that reads: “Worlds champion bicycle racer who came up the hard way —Without hatred in his heart—An honest, courageous and God-fearing, clean-living gentlemanly athlete. A credit to his race who always gave out his best—Gone but not forgotten.”
To learn more about Taylor, check out the 2012 Smithsonian.com article by Gilbert King, the 2024 PBS documentary Major Taylor: Champion of the Race, 2021’s The World’s Fastest Man: The Extraordinary Life of Cyclist Major Taylor, America’s First Black Sports Hero by Michael Kranish, or Major: A Black Athlete, a White Era, and the Fight to Be the World’s Fastest Human Being (2009) by Todd Balf.
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Published in History, International, Sports and U.S.

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