#MAGFAB: Zoë Kravitz Covers British VOGUE’s July Issue
A new heist film, a certain fiancée, a fearless mood: after a lifetime in the spotlight, Zoë Kravitz’s evolution only gets more intriguing, as fascination with the actor-director once again hits fever pitch, British VOGUE travels to Brooklyn to meet the woman behind the headlines.
Zoë has the perception of being “cool:”
“The word ‘cool’ gets thrown around a lot. It’s something that is written about me or it’s what people, when they get to know me, tell me that they thought I was going to be like. People might tell me, ‘Oh, wow, I was intimidated when I first met you’ and ‘I thought you were going to be like this.’ And to me, it’s really surprising because it feels far away from who I am.”
Zoë comments on the derogatory discourse surrounding “nepo babies” and how jarring it can be:
“I mean, as a kid, you don’t really understand that. My dad would come and go, and I really valued my time with him. And so, I think for me, it was more about really wanting time and then all these people would come and try to take him away.”
As a mixed-race Jewish child, Zoë didn’t look like any of the blonde cheerleaders at school. She also had to deal with the entire school swarming the parking lot to catch a glimpse of her father, which exacerbated things:
“In that environment I did not fit in and felt quite awkward and quiet.”
It was not until she moved to New York that she felt like she found her people, and it was also where she re-engaged with acting:
“It was the one place where I felt really comfortable. I was like, ‘I understand this.’”
Kravitz’s career escalated when she starred as Catwoman opposite Robert Pattinson. After the role, she could have leveraged her superhero status further, but rather than chasing commercial fame, she turned inward, returning to a personal project she had been developing with E T Feigenbaum since 2017. The result was Blink Twice:
“I just started writing this thing, and I couldn’t stop. That is one of my favourite things about art; it’s that when it gets its teeth into you, as an artist, you become obsessed. It was all I could think about. Anyone who was still my friend after I made that film, I really appreciate, because I was gone.”
For Zoë, Blink Twice was pivotal, not just in terms of her career, but also in consolidating her identity as an artist:
“It’s crazy that other people have seen it. It’s like someone opening the door and being inside my brain – it’s very exposing.”
Despite having her private life routinely scrutinised, Zoë feels no pressure to explain herself. Nor does she feel the need to conform to expectations when it comes to balancing her work life with marriage and kids. Instead, she remains pragmatic:
“You just kind of have to be realistic. If I want to do something well, I have to focus on it. Knowing myself, I’m not going to have a kid and direct movies at exactly the same time. You just have to decide where you want your energy to be.”
Lately she’s been preoccupied with the passing of time:
“I think that I’m hyper-aware of the fact that I’m going to die one day. The other day, I was walking past this woman, she was very old and she was walking so slow. The fact that I can just walk up a flight of stairs with no problem is amazing. Someday I might not be able to.”
That said, she feels ambivalent about ageing, because suddenly everything shifts: the roles and spaces that are available to you, the way you are perceived:
“As women, so much of our value is about the way that we look. There’s a version where it feels liberating and a version where you feel invisible. I really want to get to that place where I am happy with who I am without that.”
See the full feature in the July issue of British Vogue, available via digital download and on newsstands from today Tuesday 16 June.
A new heist film, a certain fiancée, a fearless mood: after a lifetime in the spotlight, Zoë Kravitz’s evolution only gets more intriguing, as fascination with the actor-director once again hits fever pitch, British VOGUE travels to Brooklyn to meet the woman behind the headlines.
“The word ‘cool’ gets thrown around a lot. It’s something that is written about me or it’s what people, when they get to know me, tell me that they thought I was going to be like. People might tell me, ‘Oh, wow, I was intimidated when I first met you’ and ‘I thought you were going to be like this.’ And to me, it’s really surprising because it feels far away from who I am.”
Zoë comments on the derogatory discourse surrounding “nepo babies” and how jarring it can be:
“I mean, as a kid, you don’t really understand that. My dad would come and go, and I really valued my time with him. And so, I think for me, it was more about really wanting time and then all these people would come and try to take him away.”
As a mixed-race Jewish child, Zoë didn’t look like any of the blonde cheerleaders at school. She also had to deal with the entire school swarming the parking lot to catch a glimpse of her father, which exacerbated things:
It was not until she moved to New York that she felt like she found her people, and it was also where she re-engaged with acting:
“It was the one place where I felt really comfortable. I was like, ‘I understand this.’”
Kravitz’s career escalated when she starred as Catwoman opposite Robert Pattinson. After the role, she could have leveraged her superhero status further, but rather than chasing commercial fame, she turned inward, returning to a personal project she had been developing with E T Feigenbaum since 2017. The result was Blink Twice:
“I just started writing this thing, and I couldn’t stop. That is one of my favourite things about art; it’s that when it gets its teeth into you, as an artist, you become obsessed. It was all I could think about. Anyone who was still my friend after I made that film, I really appreciate, because I was gone.”
For Zoë, Blink Twice was pivotal, not just in terms of her career, but also in consolidating her identity as an artist:
“It’s crazy that other people have seen it. It’s like someone opening the door and being inside my brain – it’s very exposing.”
Despite having her private life routinely scrutinised, Zoë feels no pressure to explain herself. Nor does she feel the need to conform to expectations when it comes to balancing her work life with marriage and kids. Instead, she remains pragmatic:
“You just kind of have to be realistic. If I want to do something well, I have to focus on it. Knowing myself, I’m not going to have a kid and direct movies at exactly the same time. You just have to decide where you want your energy to be.”
Lately she’s been preoccupied with the passing of time:
“I think that I’m hyper-aware of the fact that I’m going to die one day. The other day, I was walking past this woman, she was very old and she was walking so slow. The fact that I can just walk up a flight of stairs with no problem is amazing. Someday I might not be able to.”
That said, she feels ambivalent about ageing, because suddenly everything shifts: the roles and spaces that are available to you, the way you are perceived:
“As women, so much of our value is about the way that we look. There’s a version where it feels liberating and a version where you feel invisible. I really want to get to that place where I am happy with who I am without that.”
See the full feature in the July issue of British Vogue, available via digital download and on newsstands from today Tuesday 16 June.
#RHOA: Kandi Burruss Reveals the Hardest Part of Her Divorce from Todd: "Who Knew..."
Kandi appeared on Andy Cohen's SiriusXM radio show, Andy Cohen Live, recently, where she admitted that the prenuptial agreement that they signed ahead of their April 2014 wedding pretty much took care of everything. "Against what everybody believed, at the end of the day, it was based off of everything that we agreed to in the prenup. There was only one thing that we had to go back and forth about that wasn't already agreed to in the prenup," she explained during the episode. And that was "Hawks tickets."
But they came up with a solution for this. "So ultimately it just ended up that he can buy half of my tickets each year until he can get his own contract for floor seats," she continued. "But apparently, it was a big deal because there are no floor seats left to get contracts for. So who knew that it would be this crazy back and forth?"
The "Don't Think I'm Not" singer had previously appeared on Watch What Happens Live with Andy Cohen on Feb. 22, where she revealed that Todd was not contesting their prenup. "He actually isn't contesting it," she explained, before saying that their lawyers were handling it.
"They threatened to contest it," she noted. "So it said that if we do not come to terms, they feel that they have a way to contest it. So I think that is the misunderstanding of the internet. We've never had conversations about it being anything other than, well — you know what I'm saying?"
Kandi Burruss opens up about life after her divorce from Todd Tucker
Kandi spoke with The Atlanta Journal-Constitution in May, where she admitted that she is re-learning how to do life after their divorce. "Todd and I did everything together," she explained. "We did businesses together. We traveled everywhere together."
"I don't have any regrets," she noted. "I don't have no regrets about my marriage. I feel like we had a good marriage. It was great while it was great. I don't have any negative thing to say about my marriage or Todd, really. I just feel like it didn't work."
But they came up with a solution for this. "So ultimately it just ended up that he can buy half of my tickets each year until he can get his own contract for floor seats," she continued. "But apparently, it was a big deal because there are no floor seats left to get contracts for. So who knew that it would be this crazy back and forth?"
The "Don't Think I'm Not" singer had previously appeared on Watch What Happens Live with Andy Cohen on Feb. 22, where she revealed that Todd was not contesting their prenup. "He actually isn't contesting it," she explained, before saying that their lawyers were handling it.
"They threatened to contest it," she noted. "So it said that if we do not come to terms, they feel that they have a way to contest it. So I think that is the misunderstanding of the internet. We've never had conversations about it being anything other than, well — you know what I'm saying?"
Kandi Burruss opens up about life after her divorce from Todd Tucker
Kandi spoke with The Atlanta Journal-Constitution in May, where she admitted that she is re-learning how to do life after their divorce. "Todd and I did everything together," she explained. "We did businesses together. We traveled everywhere together."
"I don't have any regrets," she noted. "I don't have no regrets about my marriage. I feel like we had a good marriage. It was great while it was great. I don't have any negative thing to say about my marriage or Todd, really. I just feel like it didn't work."
#NewMusic from Eric Benét Releases Powerful New Single “Who’s Gonna Save Us”
Four-time GRAMMY® Award-nominated R&B artist Eric Benét has officially released his latest single, “Who’s Gonna Save Us?” The emotionally resonant track is available now across all major digital streaming platforms via JBR Creative Group, accompanied by an official lyric video.
Known for his signature soulful delivery, Benét uses his newest release to offer a meditation on uncertainty, healing, and the necessity of shared human experience. The song arrives as a direct response to the current global climate, aiming to provide listeners with a sense of hope and solidarity.
“This song came from reflecting on the world around us and the questions so many people are quietly carrying,” Benét stated. “Sometimes we’re all searching for answers, for hope, for healing and for something that reminds us we’re not alone. I wanted this song to feel honest and human.”
For over three decades, Benét has maintained a reputation as one of R&B’s most consistent and respected vocalists. His catalog remains a staple of adult contemporary and urban radio.
Four-time GRAMMY® Award-nominated R&B artist Eric Benét has officially released his latest single, “Who’s Gonna Save Us?” The emotionally resonant track is available now across all major digital streaming platforms via JBR Creative Group, accompanied by an official lyric video.
Known for his signature soulful delivery, Benét uses his newest release to offer a meditation on uncertainty, healing, and the necessity of shared human experience. The song arrives as a direct response to the current global climate, aiming to provide listeners with a sense of hope and solidarity.
“This song came from reflecting on the world around us and the questions so many people are quietly carrying,” Benét stated. “Sometimes we’re all searching for answers, for hope, for healing and for something that reminds us we’re not alone. I wanted this song to feel honest and human.”
For over three decades, Benét has maintained a reputation as one of R&B’s most consistent and respected vocalists. His catalog remains a staple of adult contemporary and urban radio.
LISTEN HERE:
Despite his long-standing tenure in the industry, the singer is currently experiencing a significant resurgence in digital engagement. In recent months, he has generated over 59 million social media views and more than 7 million fan interactions, signaling his ability to bridge generational gaps and reach new audiences.
Benét continues to maintain an active performance schedule throughout 2026. He is slated to headline shows in Newark, Toledo, Columbia, Mableton, Las Vegas, and Seattle, with additional dates to be announced in the coming weeks.
As he prepares to release further new music later this year, Benét remains committed to the touring circuit. For the most up-to-date schedule and ticket information, fans are encouraged to visit EricBenet.net.
Despite his long-standing tenure in the industry, the singer is currently experiencing a significant resurgence in digital engagement. In recent months, he has generated over 59 million social media views and more than 7 million fan interactions, signaling his ability to bridge generational gaps and reach new audiences.
Benét continues to maintain an active performance schedule throughout 2026. He is slated to headline shows in Newark, Toledo, Columbia, Mableton, Las Vegas, and Seattle, with additional dates to be announced in the coming weeks.
As he prepares to release further new music later this year, Benét remains committed to the touring circuit. For the most up-to-date schedule and ticket information, fans are encouraged to visit EricBenet.net.
#HipHopNews: Master P And Birdman Unite For Major Southern Hip-Hop Tour In 2026
Master P and Birdman are set to join forces, transforming a long history of rivalry into one of the biggest tour events of the year. This collaboration marks a significant shift as the two Southern Hip-Hop moguls prioritize business over conflict.
After years of competition between No Limit and Cash Money—two of hip-hop’s most influential brands—the upcoming tour signals a new era of partnership. Both understand the power of nostalgia and are poised to capitalize on it effectively.
The tour will feature Master P and Birdman as headliners, with special guest Lil Boosie adding to the Southern rap powerhouse lineup. This alliance brings together some of the most iconic names in the genre's history, blending their fanbases and legacies into one major event.
The collaboration follows the famously tense Verzuz battle between No Limit and Cash Money. Although entertaining, that battle highlighted lingering tensions, including the notable absence of Lil Wayne and moments of discord between Birdman and Master P. However, Master P’s charismatic presence and crowd-winning performance ultimately stole the show. Now, instead of facing off, these industry leaders are standing united.
The tour is scheduled to commence in Houston on September 11 and will conclude on November 15 in Cleveland. It will heavily feature Southern cities, including a key stop in Atlanta, which is a central hub for this style of music. Although East Coast fans might feel overlooked, the focus remains on the region that helped build these artists’ empires.
This partnership suggests that former rivalries can evolve into lucrative opportunities, serving as a reminder that collaboration often trumps conflict in entertainment.
Are you planning to attend this landmark tour where No Limit and Cash Money come together on stage? The Southern Hip-Hop scene will be watching closely as this powerful alliance unfolds.
After years of competition between No Limit and Cash Money—two of hip-hop’s most influential brands—the upcoming tour signals a new era of partnership. Both understand the power of nostalgia and are poised to capitalize on it effectively.
The tour will feature Master P and Birdman as headliners, with special guest Lil Boosie adding to the Southern rap powerhouse lineup. This alliance brings together some of the most iconic names in the genre's history, blending their fanbases and legacies into one major event.
The collaboration follows the famously tense Verzuz battle between No Limit and Cash Money. Although entertaining, that battle highlighted lingering tensions, including the notable absence of Lil Wayne and moments of discord between Birdman and Master P. However, Master P’s charismatic presence and crowd-winning performance ultimately stole the show. Now, instead of facing off, these industry leaders are standing united.
The tour is scheduled to commence in Houston on September 11 and will conclude on November 15 in Cleveland. It will heavily feature Southern cities, including a key stop in Atlanta, which is a central hub for this style of music. Although East Coast fans might feel overlooked, the focus remains on the region that helped build these artists’ empires.
This partnership suggests that former rivalries can evolve into lucrative opportunities, serving as a reminder that collaboration often trumps conflict in entertainment.
Are you planning to attend this landmark tour where No Limit and Cash Money come together on stage? The Southern Hip-Hop scene will be watching closely as this powerful alliance unfolds.
Janet Jackson Pays Tribute to Late Brothers During Concert
Janet Jackson delivered an emotional tribute to her late brothers during a recent concert appearance, pausing the celebration of her decades-long career to honor family members whose influence helped shape one of music’s most enduring legacies.
The singer addressed the crowd during her performance as images of her brothers appeared on screens behind her. The tribute focused on Michael Jackson and Tito Jackson, both of whom left an indelible mark on popular music. Tito, a founding member of The Jackson 5 and later The Jacksons, died in September 2024 at age 70. Michael Jackson died in 2009 at age 50.
Jackson’s remarks drew a sustained ovation from fans, many of whom stood throughout the segment. The moment underscored the deep family ties that have remained central to her career, even as she forged a path as one of the most successful solo artists in music history.
The tribute came as the Jackson family continues to honor Tito Jackson’s legacy. In the months following his death, family members and fans have celebrated his contributions as a guitarist, songwriter and performer. Tito remained active in music until shortly before his passing and was widely respected for helping establish the sound that launched the Jackson family into international fame.
Janet Jackson has spoken publicly about her grief in recent years. Following Tito’s death, she shared a heartfelt message remembering her brother and expressing how much she missed him.
During the concert, the singer blended personal reflection with music, creating one of the evening’s most memorable moments. Fans responded by waving illuminated phones and singing along as the tribute unfolded.
The Jackson family’s impact on popular culture spans more than five decades. From The Jackson 5’s breakthrough success in the late 1960s to Michael Jackson’s global superstardom and Janet Jackson’s own chart-topping career, the family has remained a defining force in entertainment.
The tribute also highlighted the importance of family in Janet Jackson’s life. In recent years, she has made several public appearances with siblings Jackie and Marlon Jackson, reinforcing the close bond that remains among surviving members of the famous family.
While the concert featured many of Jackson’s biggest hits, the tribute provided a quieter and more reflective moment. Audience members later shared videos and reactions online, describing the segment as one of the night’s emotional highlights.
For many fans, the tribute served as a reminder that behind the accolades, awards and record sales is a family story marked by extraordinary success and profound loss.
As the crowd applauded, Jackson appeared visibly moved. She then returned to the performance, carrying forward a legacy built not only on music, but also on the memories of the brothers who helped inspire generations of artists around the world.
Janet Jackson delivered an emotional tribute to her late brothers during a recent concert appearance, pausing the celebration of her decades-long career to honor family members whose influence helped shape one of music’s most enduring legacies.
The singer addressed the crowd during her performance as images of her brothers appeared on screens behind her. The tribute focused on Michael Jackson and Tito Jackson, both of whom left an indelible mark on popular music. Tito, a founding member of The Jackson 5 and later The Jacksons, died in September 2024 at age 70. Michael Jackson died in 2009 at age 50.
Jackson’s remarks drew a sustained ovation from fans, many of whom stood throughout the segment. The moment underscored the deep family ties that have remained central to her career, even as she forged a path as one of the most successful solo artists in music history.
The tribute came as the Jackson family continues to honor Tito Jackson’s legacy. In the months following his death, family members and fans have celebrated his contributions as a guitarist, songwriter and performer. Tito remained active in music until shortly before his passing and was widely respected for helping establish the sound that launched the Jackson family into international fame.
Janet Jackson has spoken publicly about her grief in recent years. Following Tito’s death, she shared a heartfelt message remembering her brother and expressing how much she missed him.
During the concert, the singer blended personal reflection with music, creating one of the evening’s most memorable moments. Fans responded by waving illuminated phones and singing along as the tribute unfolded.
The Jackson family’s impact on popular culture spans more than five decades. From The Jackson 5’s breakthrough success in the late 1960s to Michael Jackson’s global superstardom and Janet Jackson’s own chart-topping career, the family has remained a defining force in entertainment.
The tribute also highlighted the importance of family in Janet Jackson’s life. In recent years, she has made several public appearances with siblings Jackie and Marlon Jackson, reinforcing the close bond that remains among surviving members of the famous family.
While the concert featured many of Jackson’s biggest hits, the tribute provided a quieter and more reflective moment. Audience members later shared videos and reactions online, describing the segment as one of the night’s emotional highlights.
For many fans, the tribute served as a reminder that behind the accolades, awards and record sales is a family story marked by extraordinary success and profound loss.
As the crowd applauded, Jackson appeared visibly moved. She then returned to the performance, carrying forward a legacy built not only on music, but also on the memories of the brothers who helped inspire generations of artists around the world.
Taraji P. Henson Shuts Down Surgery Rumors: ‘Y’all Kill Me with This S***’
*A teed-off Taraji P. Henson has a message for social media critics convinced she’s had work done on her face: they’re wrong.
The Oscar-nominated actress pushed back against plastic surgery speculation after sharing photos from Game 4 of the NBA Finals, where she attended the matchup between the New York Knicks and the San Antonio Spurs.
Henson posted a series of courtside photos on Instagram showing off a denim-on-denim outfit paired with diamonds as she enjoyed the game alongside friends, including Wu-Tang Clan co-founder RZA.
“BIG @nyknicks ENERGY 💙🧡💙🧡,” she wrote in the caption. “Stepped out last night in all denim and diamonds. It was a moment. What a game!!! 💋💋💋”
The “Empire” star also noted that she handled her own glam for the outing.
While many followers praised the look, others focused on her appearance, with one commenter writing, “Something looks different.”
Another suggested that her photos may have been edited.
Rather than ignore the speculation, Henson jumped into the comments section herself.
“Y’all kill me with this s—,” she wrote. “I HAVE DONE NOTHING TO MY DAMN FACE. I AM ON BROADWAY!!! LIVE THEATER WHEN THE HELL WOULD I HAVE TIME FOR A SURGERY. JUST STOP THE MADNESS. LIKE FR.”
The response quickly drew attention online as fans applauded the actress for directly addressing the rumors.
At 55, Henson remains one of Hollywood’s most recognizable stars, but her comments also highlighted the constant scrutiny celebrities face whenever their appearance changes, whether due to makeup, lighting, styling, weight fluctuations or simply aging.
For Henson, the explanation was much simpler: she’s working.
The actress is currently starring in August Wilson’s “Joe Turner’s Come and Gone” on Broadway, a demanding production schedule that requires performers to appear live in front of audiences multiple times each week.
Earlier this year, Henson discussed her preparation process and revealed that she doesn’t rely on a large glam squad before taking the stage.
“I don’t have a hair and makeup team,” she previously told PEOPLE.
Instead, she spends her pre-show routine transforming herself into Bertha Holly, the warm but strong-willed matriarch she portrays in the acclaimed production.
The role marks another milestone in Henson’s growing relationship with Broadway. She previously served as a producer on the Tony Award-nominated production “Jaja’s African Hair Braiding” before returning to the stage as a performer.
Henson’s response also reflects a larger conversation about celebrity culture and the pressure women in entertainment often face regarding their appearance.
In an era where every photo is scrutinized and every perceived change can spark speculation, stars frequently find themselves responding to assumptions about cosmetic procedures.
Rather than staying silent, Henson chose to set the record straight herself.
Her message was direct and unmistakable: no surgery, no secret procedures, no dramatic transformation.
Just a busy actress balancing Broadway performances, NBA Finals appearances and life in the public eye.
For now, Henson appears focused on her work rather than internet commentary.
And if her Instagram response is any indication, she’s more interested in delivering performances than explaining her face.
“Joe Turner’s Come and Gone” is scheduled to run on Broadway through July 26.
The Oscar-nominated actress pushed back against plastic surgery speculation after sharing photos from Game 4 of the NBA Finals, where she attended the matchup between the New York Knicks and the San Antonio Spurs.
Henson posted a series of courtside photos on Instagram showing off a denim-on-denim outfit paired with diamonds as she enjoyed the game alongside friends, including Wu-Tang Clan co-founder RZA.
“BIG @nyknicks ENERGY 💙🧡💙🧡,” she wrote in the caption. “Stepped out last night in all denim and diamonds. It was a moment. What a game!!! 💋💋💋”
The “Empire” star also noted that she handled her own glam for the outing.
While many followers praised the look, others focused on her appearance, with one commenter writing, “Something looks different.”
Another suggested that her photos may have been edited.
Rather than ignore the speculation, Henson jumped into the comments section herself.
“Y’all kill me with this s—,” she wrote. “I HAVE DONE NOTHING TO MY DAMN FACE. I AM ON BROADWAY!!! LIVE THEATER WHEN THE HELL WOULD I HAVE TIME FOR A SURGERY. JUST STOP THE MADNESS. LIKE FR.”
The response quickly drew attention online as fans applauded the actress for directly addressing the rumors.
At 55, Henson remains one of Hollywood’s most recognizable stars, but her comments also highlighted the constant scrutiny celebrities face whenever their appearance changes, whether due to makeup, lighting, styling, weight fluctuations or simply aging.
For Henson, the explanation was much simpler: she’s working.
The actress is currently starring in August Wilson’s “Joe Turner’s Come and Gone” on Broadway, a demanding production schedule that requires performers to appear live in front of audiences multiple times each week.
Earlier this year, Henson discussed her preparation process and revealed that she doesn’t rely on a large glam squad before taking the stage.
“I don’t have a hair and makeup team,” she previously told PEOPLE.
Instead, she spends her pre-show routine transforming herself into Bertha Holly, the warm but strong-willed matriarch she portrays in the acclaimed production.
The role marks another milestone in Henson’s growing relationship with Broadway. She previously served as a producer on the Tony Award-nominated production “Jaja’s African Hair Braiding” before returning to the stage as a performer.
Henson’s response also reflects a larger conversation about celebrity culture and the pressure women in entertainment often face regarding their appearance.
In an era where every photo is scrutinized and every perceived change can spark speculation, stars frequently find themselves responding to assumptions about cosmetic procedures.
Rather than staying silent, Henson chose to set the record straight herself.
Her message was direct and unmistakable: no surgery, no secret procedures, no dramatic transformation.
Just a busy actress balancing Broadway performances, NBA Finals appearances and life in the public eye.
For now, Henson appears focused on her work rather than internet commentary.
And if her Instagram response is any indication, she’s more interested in delivering performances than explaining her face.
“Joe Turner’s Come and Gone” is scheduled to run on Broadway through July 26.
Caroline Wanga Sues ESSENCE Over 2025 Festival Controversy
*A defamation lawsuit filed by Caroline Wanga accuses ESSENCE Ventures and its parent company, Sundial Media & Technology Group, of allowing festival-related criticism to damage her reputation, business, and personal life, WWLTV reports.
The former ESSENCE Ventures CEO alleges that people blamed her for problems tied to the festival even though she had no role in planning or operating the event. She says the backlash harmed her consulting business and escalated to threats directed at her and her family members.
According to the lawsuit, criticism extended beyond the festival itself. Wanga alleges some people targeted her because she is Kenyan. The complaint states that critics accused her of “erasing Black American heritage” at the festival and told her to “go back to Africa.” She further alleges, “Essence Ventures was silent amidst the ongoing backlash against Ms. Wanga.”
At the center of the dispute is Wanga’s claim that she had no involvement in the 2025 ESSENCE Festival. Wanga says she had been on leave since September 2024 and reached an agreement to leave the company on March 31, 2025. By the time the festival took place in July, she was no longer with ESSENCE, although the company had not yet publicly announced her departure. The complaint states she was “not involved with the Festival in any capacity.”
The festival later drew criticism over production issues, its relationship with Target, and expanded Pan-African programming. Lauryn Hill’s appearance became a focal point of those complaints. The lawsuit attributes her delayed performance to “poor planning and time management.”
Wanga alleges she sought a public clarification from the company on multiple occasions. She says her team prepared a joint statement that would have explicitly stated she played no role in organizing or managing the festival. Instead, the lawsuit claims, ESSENCE released a departure announcement that omitted those details.
ESSENCE disputes the allegations. The company said it intends to “defend itself against these baseless claims.”
In a statement, ESSENCE said, “The core allegation in the complaint is that ESSENCE failed to correct that Ms. Wanga was not directly involved in ESSENCE Festival of Culture 2025®. However, notwithstanding any obligation to make such a statement, ESSENCE immediately made clear that she was not involved.”
*A defamation lawsuit filed by Caroline Wanga accuses ESSENCE Ventures and its parent company, Sundial Media & Technology Group, of allowing festival-related criticism to damage her reputation, business, and personal life, WWLTV reports.
The former ESSENCE Ventures CEO alleges that people blamed her for problems tied to the festival even though she had no role in planning or operating the event. She says the backlash harmed her consulting business and escalated to threats directed at her and her family members.
According to the lawsuit, criticism extended beyond the festival itself. Wanga alleges some people targeted her because she is Kenyan. The complaint states that critics accused her of “erasing Black American heritage” at the festival and told her to “go back to Africa.” She further alleges, “Essence Ventures was silent amidst the ongoing backlash against Ms. Wanga.”
At the center of the dispute is Wanga’s claim that she had no involvement in the 2025 ESSENCE Festival. Wanga says she had been on leave since September 2024 and reached an agreement to leave the company on March 31, 2025. By the time the festival took place in July, she was no longer with ESSENCE, although the company had not yet publicly announced her departure. The complaint states she was “not involved with the Festival in any capacity.”
The festival later drew criticism over production issues, its relationship with Target, and expanded Pan-African programming. Lauryn Hill’s appearance became a focal point of those complaints. The lawsuit attributes her delayed performance to “poor planning and time management.”
Wanga alleges she sought a public clarification from the company on multiple occasions. She says her team prepared a joint statement that would have explicitly stated she played no role in organizing or managing the festival. Instead, the lawsuit claims, ESSENCE released a departure announcement that omitted those details.
ESSENCE disputes the allegations. The company said it intends to “defend itself against these baseless claims.”
In a statement, ESSENCE said, “The core allegation in the complaint is that ESSENCE failed to correct that Ms. Wanga was not directly involved in ESSENCE Festival of Culture 2025®. However, notwithstanding any obligation to make such a statement, ESSENCE immediately made clear that she was not involved.”
Jay-Z’s Target Deal Reignites Debate Over Black Consumer Spending
*Jay-Z is celebrating the 30th anniversary of “Reasonable Doubt,” but the rollout of the landmark album’s commemorative edition is sparking a conversation that extends far beyond hip-hop.
The Roc Nation founder has partnered with Target for an exclusive version of the classic album, a move that has reignited debate over the retailer’s relationship with Black consumers and whether ongoing boycott efforts still matter.
Beginning June 26, Target will serve as the exclusive retail home for the special collector’s edition of Jay-Z’s groundbreaking 1996 debut album. The release includes a white-vinyl edition, commemorative packaging, collectible inserts and alternate presentation elements designed for longtime fans and vinyl collectors.
While the release itself is being celebrated by many music fans, the partnership has become controversial because it comes more than a year after Target faced widespread criticism for scaling back several Diversity, Equity and Inclusion initiatives.
Few albums carry the cultural weight of “Reasonable Doubt.”
Released on June 25, 1996, the project introduced the world to a young Brooklyn rapper whose sharp storytelling and entrepreneurial mindset would eventually transform him into one of the most successful figures in music history.
Songs such as “Dead Presidents II,” “Can’t Knock the Hustle” and “Brooklyn’s Finest” helped establish Jay-Z as a major voice in hip-hop, while the album itself became a cornerstone of East Coast rap.
Thirty years later, the anniversary edition is being marketed as a collector’s item worthy of the album’s legacy.
For music fans, the exclusive vinyl is another opportunity to own a piece of hip-hop history.
For others, however, the retailer attached to the release has become the bigger story.
Target faced criticism in 2025 after scaling back several Diversity, Equity and Inclusion initiatives, a move that many activists and consumers viewed as a retreat from commitments the retailer had previously promoted regarding diversity and representation.
The backlash fueled calls for consumers to reduce or eliminate spending at the retail giant.
While the boycott was never organized by a single national group, it gained visibility across social media platforms, where many Black consumers argued that companies should be held accountable when they scale back commitments to racial equity.
Over time, the boycott’s visibility declined, but frustration among some consumers never fully disappeared.
That lingering resentment helps explain why Jay-Z’s partnership with Target has generated such strong reactions online.
Social media reactions have been sharply divided.
Some fans view the partnership as nothing more than a standard business arrangement involving one of the most celebrated albums in hip-hop history.
Others argue that the deal sends the wrong message at a time when some Black consumers continue to avoid shopping at Target.
Critics have accused Jay-Z of undermining boycott efforts and helping direct Black consumer dollars back toward a company many believe abandoned its previous commitments to diversity initiatives.
Supporters counter that Jay-Z is not responsible for enforcing consumer boycotts and that exclusive retail partnerships have long been part of the music business.
The disagreement highlights a broader tension between business decisions and community expectations.
As one of the wealthiest and most influential figures in Black culture, Jay-Z often finds himself held to a different standard than other artists. Supporters frequently point to his advocacy for Black entrepreneurship and economic empowerment, while critics argue that those principles should extend to corporate partnerships.
Whether the controversy ultimately affects sales remains to be seen.
What is clear is that a celebration of one of hip-hop’s most revered albums has evolved into a larger discussion about corporate accountability, consumer activism and the influence of Black spending power.
For some fans, the 30th anniversary edition represents a chance to own a beautifully packaged version of a classic album.
For others, it represents a test of whether economic boycotts still carry weight when major cultural figures decide to do business with companies that remain controversial within parts of the Black community.
Either way, Jay-Z’s “Reasonable Doubt” anniversary release is generating far more conversation than a typical vinyl reissue — and much of that conversation has little to do with the music itself.
The Roc Nation founder has partnered with Target for an exclusive version of the classic album, a move that has reignited debate over the retailer’s relationship with Black consumers and whether ongoing boycott efforts still matter.
Beginning June 26, Target will serve as the exclusive retail home for the special collector’s edition of Jay-Z’s groundbreaking 1996 debut album. The release includes a white-vinyl edition, commemorative packaging, collectible inserts and alternate presentation elements designed for longtime fans and vinyl collectors.
While the release itself is being celebrated by many music fans, the partnership has become controversial because it comes more than a year after Target faced widespread criticism for scaling back several Diversity, Equity and Inclusion initiatives.
Few albums carry the cultural weight of “Reasonable Doubt.”
Released on June 25, 1996, the project introduced the world to a young Brooklyn rapper whose sharp storytelling and entrepreneurial mindset would eventually transform him into one of the most successful figures in music history.
Songs such as “Dead Presidents II,” “Can’t Knock the Hustle” and “Brooklyn’s Finest” helped establish Jay-Z as a major voice in hip-hop, while the album itself became a cornerstone of East Coast rap.
Thirty years later, the anniversary edition is being marketed as a collector’s item worthy of the album’s legacy.
For music fans, the exclusive vinyl is another opportunity to own a piece of hip-hop history.
For others, however, the retailer attached to the release has become the bigger story.
Target faced criticism in 2025 after scaling back several Diversity, Equity and Inclusion initiatives, a move that many activists and consumers viewed as a retreat from commitments the retailer had previously promoted regarding diversity and representation.
The backlash fueled calls for consumers to reduce or eliminate spending at the retail giant.
While the boycott was never organized by a single national group, it gained visibility across social media platforms, where many Black consumers argued that companies should be held accountable when they scale back commitments to racial equity.
Over time, the boycott’s visibility declined, but frustration among some consumers never fully disappeared.
That lingering resentment helps explain why Jay-Z’s partnership with Target has generated such strong reactions online.
Social media reactions have been sharply divided.
Some fans view the partnership as nothing more than a standard business arrangement involving one of the most celebrated albums in hip-hop history.
Others argue that the deal sends the wrong message at a time when some Black consumers continue to avoid shopping at Target.
Critics have accused Jay-Z of undermining boycott efforts and helping direct Black consumer dollars back toward a company many believe abandoned its previous commitments to diversity initiatives.
Supporters counter that Jay-Z is not responsible for enforcing consumer boycotts and that exclusive retail partnerships have long been part of the music business.
The disagreement highlights a broader tension between business decisions and community expectations.
As one of the wealthiest and most influential figures in Black culture, Jay-Z often finds himself held to a different standard than other artists. Supporters frequently point to his advocacy for Black entrepreneurship and economic empowerment, while critics argue that those principles should extend to corporate partnerships.
Whether the controversy ultimately affects sales remains to be seen.
What is clear is that a celebration of one of hip-hop’s most revered albums has evolved into a larger discussion about corporate accountability, consumer activism and the influence of Black spending power.
For some fans, the 30th anniversary edition represents a chance to own a beautifully packaged version of a classic album.
For others, it represents a test of whether economic boycotts still carry weight when major cultural figures decide to do business with companies that remain controversial within parts of the Black community.
Either way, Jay-Z’s “Reasonable Doubt” anniversary release is generating far more conversation than a typical vinyl reissue — and much of that conversation has little to do with the music itself.
Faith Evans Just Got A Street Named In Her Honor
Newark, New Jersey has officially made Faith Evans’ legacy part of the city’s map. The Newark Municipal Council adopted Resolution 26-0436 on April 15, 2026, authorizing the honorary and ceremonial naming of the intersection of Grumman Avenue and Elizabeth Avenue as “Faith Evans Way,” with the ceremony taking place on June 13. The resolution also makes clear that the official street names remain Grumman Avenue and Elizabeth Avenue, meaning “Faith Evans Way” stands as a ceremonial tribute rather than a legal street-name replacement.
That detail matters because this is not just a celebrity photo-op. Newark’s own resolution lays out why Evans received the honor: she was born in Florida but raised in Newark, graduated from Newark’s University High School in 1991, built a multi-decade career as a Grammy-winning recording artist, songwriter, arranger, record producer, author, and television executive producer, and became the first female artist signed to Bad Boy Records.
Before the plaques, Grammys, platinum albums, and national stages, Evans’ voice was being shaped in Newark. BMI’s MusicWorld noted that Evans developed her vocal style in Newark churches and that she later performed background vocals for artists including Mary J. Blige, Pebbles, Tevin Campbell, and Christopher Williams. Her early songwriting experience is notable on records for Hi-Five, Mary J. Blige, Pebbles, Al B. Sure!, Usher, Tony Thompson, and Christopher Williams.
Her recording career is where the case gets even stronger. Evans has one Grammy win and eight Grammy nominations, including her trophy for “I’ll Be Missing You” at the 40th Annual Grammy Awards in the Rap Duo/Group Performance category. She also earned other Grammy nods for “Love Like This,” “Heartbreak Hotel” with Whitney Houston and Kelly Price, “Can’t Believe” with Carl Thomas, “Faithfully,” “Gone Already,” “R&B Divas,” and “He Is.”
Evans’ has racked up eight studio albums, more than 18 million albums sold, more than 30 singles, and appearances on more than 20 soundtracks. “Faith,” “Keep The Faith,” and “Faithfully” are all platinum-certified albums, with “The First Lady” becoming certified gold.
That catalog is exactly why “Faith Evans Way” feels earned. Evans did not just have a moment in R&B. She helped shape a sound, especially during the 1990s and early 2000s, when R&B and hip-hop collaborations were changing the mainstream. Her voice carried records that still live in playlists, radio rotations, family cookouts, karaoke nights, and quiet heartbreak sessions decades later. The numbers support that staying power, but the cultural memory does too.
Still, the honor is bigger than music. Evans also turned her life story into publishing success. Her 2008 book, “Keep the Faith: A Memoir,” written with Aliya King, became a New York Times bestseller and won the 2009 African American Literary Award in the Best Biography/Memoir category.
Her television work is part of the resume too. Evans’ co-created, executive produced, and starred in “R&B Divas,” and the companion album earned her a Grammy nomination for Best R&B Album at the 2014 Grammy Awards. That matters because Evans has not stayed boxed into one lane. She has moved through music, writing, production, television, and business while keeping her identity tied to the voice that first made people stop and listen.
Then there is the recognition beyond the Grammys. BET’s Soul Train Awards honored Evans as the 2018 Lady of Soul honoree.
Newark also had another reason to give Evans her flowers: her community work. In 2025, Evans spoke on “Tamron Hall“ about raising her son Ryder Russaw, who has Autism Spectrum Disorder, and how that journey led her to advocacy.
That piece of her story adds depth to the street naming. Newark’s resolution says Evans’ contributions to the music industry and Newark community are “worthy of recognition,” and the public record backs that up through her career achievements, hometown roots, and community work.
Newark, New Jersey has officially made Faith Evans’ legacy part of the city’s map. The Newark Municipal Council adopted Resolution 26-0436 on April 15, 2026, authorizing the honorary and ceremonial naming of the intersection of Grumman Avenue and Elizabeth Avenue as “Faith Evans Way,” with the ceremony taking place on June 13. The resolution also makes clear that the official street names remain Grumman Avenue and Elizabeth Avenue, meaning “Faith Evans Way” stands as a ceremonial tribute rather than a legal street-name replacement.
That detail matters because this is not just a celebrity photo-op. Newark’s own resolution lays out why Evans received the honor: she was born in Florida but raised in Newark, graduated from Newark’s University High School in 1991, built a multi-decade career as a Grammy-winning recording artist, songwriter, arranger, record producer, author, and television executive producer, and became the first female artist signed to Bad Boy Records.
Before the plaques, Grammys, platinum albums, and national stages, Evans’ voice was being shaped in Newark. BMI’s MusicWorld noted that Evans developed her vocal style in Newark churches and that she later performed background vocals for artists including Mary J. Blige, Pebbles, Tevin Campbell, and Christopher Williams. Her early songwriting experience is notable on records for Hi-Five, Mary J. Blige, Pebbles, Al B. Sure!, Usher, Tony Thompson, and Christopher Williams.
Her recording career is where the case gets even stronger. Evans has one Grammy win and eight Grammy nominations, including her trophy for “I’ll Be Missing You” at the 40th Annual Grammy Awards in the Rap Duo/Group Performance category. She also earned other Grammy nods for “Love Like This,” “Heartbreak Hotel” with Whitney Houston and Kelly Price, “Can’t Believe” with Carl Thomas, “Faithfully,” “Gone Already,” “R&B Divas,” and “He Is.”
Evans’ has racked up eight studio albums, more than 18 million albums sold, more than 30 singles, and appearances on more than 20 soundtracks. “Faith,” “Keep The Faith,” and “Faithfully” are all platinum-certified albums, with “The First Lady” becoming certified gold.
That catalog is exactly why “Faith Evans Way” feels earned. Evans did not just have a moment in R&B. She helped shape a sound, especially during the 1990s and early 2000s, when R&B and hip-hop collaborations were changing the mainstream. Her voice carried records that still live in playlists, radio rotations, family cookouts, karaoke nights, and quiet heartbreak sessions decades later. The numbers support that staying power, but the cultural memory does too.
Still, the honor is bigger than music. Evans also turned her life story into publishing success. Her 2008 book, “Keep the Faith: A Memoir,” written with Aliya King, became a New York Times bestseller and won the 2009 African American Literary Award in the Best Biography/Memoir category.
Her television work is part of the resume too. Evans’ co-created, executive produced, and starred in “R&B Divas,” and the companion album earned her a Grammy nomination for Best R&B Album at the 2014 Grammy Awards. That matters because Evans has not stayed boxed into one lane. She has moved through music, writing, production, television, and business while keeping her identity tied to the voice that first made people stop and listen.
Then there is the recognition beyond the Grammys. BET’s Soul Train Awards honored Evans as the 2018 Lady of Soul honoree.
Newark also had another reason to give Evans her flowers: her community work. In 2025, Evans spoke on “Tamron Hall“ about raising her son Ryder Russaw, who has Autism Spectrum Disorder, and how that journey led her to advocacy.
That piece of her story adds depth to the street naming. Newark’s resolution says Evans’ contributions to the music industry and Newark community are “worthy of recognition,” and the public record backs that up through her career achievements, hometown roots, and community work.
Jelly Roll Officially Files For Divorce From Bunnie XO Following Recent Challenges
Jelly Roll has officially filed for divorce from his wife, Alisa DeFord, known professionally as Bunnie XO, marking the end of their marriage after nearly a decade together. Court records from Tennessee show that the filing took place in May 2026. The decision to separate was reportedly mutual and kept private until recent reports surfaced.
Jelly Roll and Bunnie XO met in 2015 and tied the knot in an impromptu Las Vegas ceremony in August 2016. Their relationship, while longstanding, has faced a number of challenges over the years. Notably, about a week prior to their wedding, Jelly Roll welcomed a son with another woman. Additionally, Bunnie XO made the decision to leave her previous career as a sex worker in 2023, marking a significant personal shift during their marriage.
Alongside the personal developments, Jelly Roll has been navigating difficulties in his professional life. In early June 2026, Post Malone abruptly canceled six tour dates on their joint Big A-- Stadium Tour Part 2, which included stops in cities such as El Paso, Waco, and Tampa. This sudden change followed a public backlash related to controversies involving Jelly Roll, which reportedly affected his touring schedule. Additionally, in April, he withdrew from a scheduled performance in Sioux Falls, where rock band Staind stepped in as his replacement.
Further compounding these setbacks, Kid Rock announced a reduction in ticket prices for his upcoming Rock the Country music festival. This move came alongside confirmation that Jelly Roll would no longer headline the Sioux Falls and South Dakota shows previously planned for June 28. These developments have had a visible impact on Jelly Roll’s public engagements and touring momentum.
The divorce filing and recent tour cancellations highlight a period of significant change for both Jelly Roll and Bunnie XO. Despite the challenges, the split has been described as a private family matter, with no further details released regarding the reasons behind their separation. Both parties have kept a low profile amid the news, focusing on their individual paths forward.
As the situation unfolds, fans and industry observers are watching closely to see how Jelly Roll will navigate his career and personal life following these recent developments. For now, the focus remains on processing the end of a decade-long marriage and the adjustments that come with it.
Jelly Roll and Bunnie XO met in 2015 and tied the knot in an impromptu Las Vegas ceremony in August 2016. Their relationship, while longstanding, has faced a number of challenges over the years. Notably, about a week prior to their wedding, Jelly Roll welcomed a son with another woman. Additionally, Bunnie XO made the decision to leave her previous career as a sex worker in 2023, marking a significant personal shift during their marriage.
Alongside the personal developments, Jelly Roll has been navigating difficulties in his professional life. In early June 2026, Post Malone abruptly canceled six tour dates on their joint Big A-- Stadium Tour Part 2, which included stops in cities such as El Paso, Waco, and Tampa. This sudden change followed a public backlash related to controversies involving Jelly Roll, which reportedly affected his touring schedule. Additionally, in April, he withdrew from a scheduled performance in Sioux Falls, where rock band Staind stepped in as his replacement.
Further compounding these setbacks, Kid Rock announced a reduction in ticket prices for his upcoming Rock the Country music festival. This move came alongside confirmation that Jelly Roll would no longer headline the Sioux Falls and South Dakota shows previously planned for June 28. These developments have had a visible impact on Jelly Roll’s public engagements and touring momentum.
The divorce filing and recent tour cancellations highlight a period of significant change for both Jelly Roll and Bunnie XO. Despite the challenges, the split has been described as a private family matter, with no further details released regarding the reasons behind their separation. Both parties have kept a low profile amid the news, focusing on their individual paths forward.
As the situation unfolds, fans and industry observers are watching closely to see how Jelly Roll will navigate his career and personal life following these recent developments. For now, the focus remains on processing the end of a decade-long marriage and the adjustments that come with it.
Kanye West Is Returning Home With 2 September Soldier Field Performances
Ye has announced two Chicago hometown shows slated for September.
On Monday (June 15), Yeezy released a handful of new performance dates on his website, the final of which consists of two back-to-back shows at Chicago's 63,500-capacity stadium, Soldier Field, on Sept. 3 and Sept. 4.
Ye last performed in his city for his Donda listening party in 2021, making for nearly a five-year gap.
In addition to the Chicago shows, a date for San Antonio was also added. In the coming months, Ye will perform in the previously-announced locations of Tampa, Spain, Portugal and Albania as well. The latter will take place on July 11 at Air Albania Stadium, which holds a capacity of 22,500. But for this concert, the venue will reportedly construct a purpose-built temporary stadium that can hold up to 60,000.
The design will feature the massive half-globe, which Ye performed on at his comeback concerts in Los Angeles earlier this spring.
In a statement about the concert, the Prime Minister’s Office in Albania told local news outlet BIRN that the decision to have Ye perform is based on economics.
“In every aspect, it is our obligation to welcome and facilitate the development of such events that bring numerous benefits to tourism and the economy,’ the ministry told BIRN. Adding that the concert “will have an extraordinary impact on the promotion of tourism and the local economy.”
Ticket information for all show dates are available on Ye’s website.
F1 Icon Lewis Hamilton Finally Wins With Ferrari At Spanish Grand Prix
The wait is over for Lewis Hamilton and Ferrari. On Sunday at Circuit de Barcelona-Catalunya, the seven-time world champion delivered the performance Ferrari fans had been hoping for since his arrival, capturing his first victory in red and ending a 686-day drought between Formula 1 wins. The triumph marked Hamilton’s 106th career Grand Prix victory and his first in 31 starts with the legendary Italian team.
Ferrari’s race unfolded with precision from the opening lights. The team rolled the dice on an aggressive strategy, sending Hamilton out on soft tires while several key rivals opted for a more conservative approach. As the race developed, Ferrari’s plan gained momentum, particularly when a Virtual Safety Car period arrived following Fernando Alonso’s retirement.
The timing proved crucial. Hamilton was able to take advantage of the neutralized conditions and make a perfectly timed pit stop that strengthened his position for the run to the finish.
Armed with fresher hard tires during the closing stages, Hamilton controlled the race with authority and steadily increased his advantage. By the checkered flag, he was nearly 20 seconds clear of the competition, a commanding statement victory for both driver and team.
The result also produced a memorable moment for British motorsport. George Russell brought his Mercedes home in second place while Lando Norris secured third for McLaren, creating Formula 1’s first all-British podium finish since 1968.
Hamilton’s breakthrough added another layer of history. He became the first British driver to win a championship Grand Prix for Ferrari since Eddie Irvine’s victory at the 1999 Malaysian Grand Prix.
Behind him, the race carried its share of late drama. Mercedes driver Kimi Antonelli appeared poised for a podium after overtaking teammate Russell, only to suffer a sudden electrical failure on Lap 62. Ferrari’s Charles Leclerc also saw his afternoon end prematurely with a late retirement, leaving Hamilton as the unquestioned star of the day in Barcelona.
Ferrari’s race unfolded with precision from the opening lights. The team rolled the dice on an aggressive strategy, sending Hamilton out on soft tires while several key rivals opted for a more conservative approach. As the race developed, Ferrari’s plan gained momentum, particularly when a Virtual Safety Car period arrived following Fernando Alonso’s retirement.
The timing proved crucial. Hamilton was able to take advantage of the neutralized conditions and make a perfectly timed pit stop that strengthened his position for the run to the finish.
Armed with fresher hard tires during the closing stages, Hamilton controlled the race with authority and steadily increased his advantage. By the checkered flag, he was nearly 20 seconds clear of the competition, a commanding statement victory for both driver and team.
The result also produced a memorable moment for British motorsport. George Russell brought his Mercedes home in second place while Lando Norris secured third for McLaren, creating Formula 1’s first all-British podium finish since 1968.
Hamilton’s breakthrough added another layer of history. He became the first British driver to win a championship Grand Prix for Ferrari since Eddie Irvine’s victory at the 1999 Malaysian Grand Prix.
Behind him, the race carried its share of late drama. Mercedes driver Kimi Antonelli appeared poised for a podium after overtaking teammate Russell, only to suffer a sudden electrical failure on Lap 62. Ferrari’s Charles Leclerc also saw his afternoon end prematurely with a late retirement, leaving Hamilton as the unquestioned star of the day in Barcelona.
Singer Bonnie Tyler, 75, Wakes Up From Coma Amid Serious Illness & Team Issues Statement
Bonnie Tyler has woken up from a coma. The 75-year-old “Total Eclipse of the Heart” singer was placed in a medically induced coma in Faro, Portugal back in May, and just woke up from the coma, according to reports on Monday (June 15).
She remains “seriously ill” and in intensive care according to her team, and “although her condition is improving, the recovery process is slow.”
“Her doctors remain confident that she will make a good recovery but it is going to take time,” they added.
She was previously admitted to a hospital in Faro for emergency intestinal surgery, followed by an induced coma to aid in her recovery after complications due to the surgery.
Bonnie reportedly had “intense abdominal pain shortly after arriving in Portugal, where she has a second home, following inconclusive tests in London.”
Local media in Portugal also claimed that Bonnie went into cardiac arrest after an initial attempt to bring her out of the coma weeks ago, via Page Six.
Bonnie is best known for her songs “Total Eclipse of the Heart,” “Holding Out for a Hero,” and “If You Were a Woman (And I Was a Man).”
See the full update from her team:
Bonnie’s family and team would like to update everyone on how she is progressing with her recovery.
Bonnie is no longer in a coma but remains very unwell and in intensive care in hospital in Portugal. Although her condition is improving it is a slow process. Her doctors remain confident that she will make a good recovery but it is going to take time.
As such we are sorry to tell everyone that we will be cancelling, or postponing until next year where possible, all of our remaining shows this summer. This will affect every current show until the end of August. At present we are still hopeful that our shows in the autumn will go ahead.
We apologise to all of Bonnie’s fans and to our promoter partners for the disappointment that this will cause but trust that you will understand and bear with us in these difficult circumstances. We hope to see you next year instead.
We would like to thank everyone for the huge outpouring of love and support from all over the world that we have received for Bonnie and want to tell you that she is aware of, and very grateful for, your good wishes.
Bonnie’s family continue to ask for privacy and promise that we will issue further updates as soon as there are significant developments to share.
Bonnie Tyler has woken up from a coma. The 75-year-old “Total Eclipse of the Heart” singer was placed in a medically induced coma in Faro, Portugal back in May, and just woke up from the coma, according to reports on Monday (June 15).
She remains “seriously ill” and in intensive care according to her team, and “although her condition is improving, the recovery process is slow.”
“Her doctors remain confident that she will make a good recovery but it is going to take time,” they added.
She was previously admitted to a hospital in Faro for emergency intestinal surgery, followed by an induced coma to aid in her recovery after complications due to the surgery.
Bonnie reportedly had “intense abdominal pain shortly after arriving in Portugal, where she has a second home, following inconclusive tests in London.”
Local media in Portugal also claimed that Bonnie went into cardiac arrest after an initial attempt to bring her out of the coma weeks ago, via Page Six.
Bonnie is best known for her songs “Total Eclipse of the Heart,” “Holding Out for a Hero,” and “If You Were a Woman (And I Was a Man).”
See the full update from her team:
Bonnie’s family and team would like to update everyone on how she is progressing with her recovery.
Bonnie is no longer in a coma but remains very unwell and in intensive care in hospital in Portugal. Although her condition is improving it is a slow process. Her doctors remain confident that she will make a good recovery but it is going to take time.
As such we are sorry to tell everyone that we will be cancelling, or postponing until next year where possible, all of our remaining shows this summer. This will affect every current show until the end of August. At present we are still hopeful that our shows in the autumn will go ahead.
We apologise to all of Bonnie’s fans and to our promoter partners for the disappointment that this will cause but trust that you will understand and bear with us in these difficult circumstances. We hope to see you next year instead.
We would like to thank everyone for the huge outpouring of love and support from all over the world that we have received for Bonnie and want to tell you that she is aware of, and very grateful for, your good wishes.
Bonnie’s family continue to ask for privacy and promise that we will issue further updates as soon as there are significant developments to share.
The Valley’s Jasmine Goode & Melissa Marie Tie the Knot!
Jasmine Goode and Melissa Marie are married! The 38-year-old The Valley star and former The Bachelor contestant tied the knot with her love on Saturday (June 13) at Crossed Keys Estate in New Jersey, Us Weekly confirms.
Watching the couple walk down the aisle included several of their The Valley co-stars, as well as several Bachelor Nation alums.
Among those in attendance from The Valley include nearly the entire season three cast – Kristen Doute and Luke Broderick, Janet and Jason Caperna, Nia Sanchez and Danny Booko, Zack Wickham and Benji Quach, Tom Schwartz and girlfriend Kiana Carroll, Jesse Lalley and Brittany Cartwright, as well as Scheana Shay and Brock Davies, who have previously appeared as guests on the show.
The only ones missing from the event were Michelle Saniei and Jesse‘s girlfriend Lacy Nicole.
From Bachelor Nation, Alexis Waters , Jaimi King, Danielle Lombard, Brittany Paige and Rachel Lindsay stepped out.
“My vision was simple: I wanted the day to feel like us. We wanted something elegant, timeless and filled with love, but most importantly, we wanted our family and friends to feel the joy that Melissa and I share every day,” Jasmine told Us Weekly. “This wasn’t about putting on a show. It was about celebrating our love story and the life we’re building together.”
“I always envisioned a wedding that felt warm, intentional and personal. Every detail was chosen with meaning behind it,” Melissa added. “We wanted our guests to feel like they were stepping into our love story and experiencing the journey that brought us here. Seeing all of our favorite people together in one place was everything I dreamed of.”
Jasmine shared that her favorite part was watching Melissa walk down the aisle.
“There are so many moving parts during a wedding weekend, but that moment was always what mattered most,” she said. “Everything else faded away, and it became about the two of us making a commitment to each other.”
Congratulations to the happy couple on the big day!!
Jasmine Goode and Melissa Marie are married! The 38-year-old The Valley star and former The Bachelor contestant tied the knot with her love on Saturday (June 13) at Crossed Keys Estate in New Jersey, Us Weekly confirms.
Watching the couple walk down the aisle included several of their The Valley co-stars, as well as several Bachelor Nation alums.
Among those in attendance from The Valley include nearly the entire season three cast – Kristen Doute and Luke Broderick, Janet and Jason Caperna, Nia Sanchez and Danny Booko, Zack Wickham and Benji Quach, Tom Schwartz and girlfriend Kiana Carroll, Jesse Lalley and Brittany Cartwright, as well as Scheana Shay and Brock Davies, who have previously appeared as guests on the show.
The only ones missing from the event were Michelle Saniei and Jesse‘s girlfriend Lacy Nicole.
From Bachelor Nation, Alexis Waters , Jaimi King, Danielle Lombard, Brittany Paige and Rachel Lindsay stepped out.
“My vision was simple: I wanted the day to feel like us. We wanted something elegant, timeless and filled with love, but most importantly, we wanted our family and friends to feel the joy that Melissa and I share every day,” Jasmine told Us Weekly. “This wasn’t about putting on a show. It was about celebrating our love story and the life we’re building together.”
“I always envisioned a wedding that felt warm, intentional and personal. Every detail was chosen with meaning behind it,” Melissa added. “We wanted our guests to feel like they were stepping into our love story and experiencing the journey that brought us here. Seeing all of our favorite people together in one place was everything I dreamed of.”
Jasmine shared that her favorite part was watching Melissa walk down the aisle.
“There are so many moving parts during a wedding weekend, but that moment was always what mattered most,” she said. “Everything else faded away, and it became about the two of us making a commitment to each other.”
Congratulations to the happy couple on the big day!!
AND FINALLY FROM “THE CRAZY PEOPLE SHOPPING AT WALMART” FILES
Courtesy of P.O.Wm
Europeans are discovering Walmart
Interesting. Every single home I've been to in America had several fans even if the house had AC.
HAVE A GREAT DAY ALL!!!
EFREM
