#FASHIONFILES: Thom Browne Spring 2026 Marches To Its Own Rulebook!
For spring 2026, Thom Browne tightened the leash. The pleated skirts are back. So are the tennis sweaters, piped blazers, and those doggedly perfect brogues. But this season, Hector, the now-iconic dachshund bag, marks his tenth birthday with a notable return.
Introduced in 2016 as a tribute to Browne’s own pup, Hector has since become mascot, logo, and visual philosophy. He appears in cream, black, and grey, clutched proudly and never incidentally. Hector is a dog bag with the significance of a family crest.
Browne’s men marches in formation: schoolboy tartans, varsity insignias, blazers worn with rulebook precision. And while the silhouettes repeat with near-hypnotic regularity, the variations are where the mischief lies. A lacquered trench. A sequined blazer that displays “BROWNE. 65” across the back. A whole pack of sketch-drawn animals printed like a subversive toile.
What emerges is more sartorial institution than fashion collection. These are clothes for induction. Once inside, you follow Browne’s rules: the tie is perfectly knotted, socks sit at regulation height, and the skirt holds its pleats.
Spring 2026 builds on Thom Browne’s world through refinement. The codes hold firm, the silhouette remains exact, and whimsy follows its own internal logic. Even Hector, ten years on, reflects a vision that continues to evolve within its own carefully drawn lines.
For spring 2026, Thom Browne tightened the leash. The pleated skirts are back. So are the tennis sweaters, piped blazers, and those doggedly perfect brogues. But this season, Hector, the now-iconic dachshund bag, marks his tenth birthday with a notable return.
Introduced in 2016 as a tribute to Browne’s own pup, Hector has since become mascot, logo, and visual philosophy. He appears in cream, black, and grey, clutched proudly and never incidentally. Hector is a dog bag with the significance of a family crest.
Browne’s men marches in formation: schoolboy tartans, varsity insignias, blazers worn with rulebook precision. And while the silhouettes repeat with near-hypnotic regularity, the variations are where the mischief lies. A lacquered trench. A sequined blazer that displays “BROWNE. 65” across the back. A whole pack of sketch-drawn animals printed like a subversive toile.
Spring 2026 builds on Thom Browne’s world through refinement. The codes hold firm, the silhouette remains exact, and whimsy follows its own internal logic. Even Hector, ten years on, reflects a vision that continues to evolve within its own carefully drawn lines.
#RHOA: Phaedra Parks On Her ‘RHOA’ Return: ‘I Wasn’t Nervous About Anything’
The Real Housewives of Atlanta‘s Phaedra Parks never beats the “keep a check” allegations, and her latest drop with one of her favorite snack brands is proof of that.
Staying true to herself and her love for fashion, Parks co-designed a cheeky new snack-inspired statement clutch in a new collaboration with Cheez-It Snap’d. She described the new Snap’d Back Bag as a product that reflects her, thanks to its multiple uses.
“I wanted the bag to be reminiscent of the actual bag, but I put some of my iconic, you know, moments on reality TV, Housewives in particular. ‘Now check that,’ we all know that read, and people have always loved it, so I put that on there. But I wanted it to be useful and have multiple uses, like myself — many jobs for the bag,” Parks told Blavity’s Shadow and Act. “So, it can not only carry your snacks but also your work products, some of your little gym things. It’s not going to have just one purpose. It’s gonna be cheeky, but it’s gonna have a space for everyone to enjoy it.”
She added, “I like to be cute, but at the same time, I want to have fun with my fashions. And with this bag, not only is it adorable, it’s also affordable. It’s $16, commemorating Season 16 for the Real Housewives of Atlanta. Everyone can have this. Even the terrorists can’t stop this bag, honey.”
With fans buzzing about her return to the Bravo series after her exit in 2017, Parks said at the time that she looks at the show in a whole new light, despite some of its elements that are nostalgic for her.
“Well, Porsha obviously asked me to come back. I love Porsha. We’ve had a great relationship for years,” she said. “And you know, it’s revamped. I mean, I have definitely called it the Titanic in the past, but, you know, we’re yachting. We’ve got new ladies, and they’re fun, and it’s very nostalgic, because there’s Porsha, myself, Shamea and Cynthia, but there’s also a new core group of ladies who bring in a new core group of, hopefully, new viewers.”
Parks added that there weren’t any nerves about returning to the show after being gone for quite a bit, but rather excitement about what may become of it.
“I wasn’t nervous about anything, but I’m excited about the possibilities that I can bring to the show,” she said. “Hopefully, we return to our flagship position where we used to be when I first got on the show. And I’m just hoping for success, I’m hoping for fun, I’m hoping we’ll have drama. But at the end of the day, people will see the sisterhood. I just want people to enjoy watching and have us be the talk of the watercooler and discussions, like we used to be.”
At this point in her career, having appeared on several reality television shows, including Married to Medicine, The Traitors and The Real Housewives: Ultimate Girls Trip, the mother of two could teach a crash course or two on the art of time management.
“There’s truly a real balance,” Parks said. “I just try to prioritize. The biggest and most important job is being a mom, so I have to do that every day, and everything else comes second. I’m a single parent, so that’s not always the easiest thing to do, but it can be done. I’ve got a village around me. I’ve got great staff, great parents, great brothers, and they make it look easy, but sometimes it can be quite difficult. And, hopefully, when people see me, they see what can be done. Because being a single parent, being a woman, being in the profession that I have chosen, from the mortician business to being a lawyer, they’re definitely male-dominated businesses that don’t make it all that easy for women.”
At this time, Parks is currently helping her younger son, Dylan, affectionately known as Mr. President, launch his pants line after he developed a love for sewing a few years ago. In her true nature, she’s always got her eye on the prize and what’s to come in the future, and she noted that she’d love to fulfill a dream of hosting Saturday Night Live.
“I am the biggest fan of Saturday Night Live. I would love to, and they generally don’t — outside of Kim Kardashian, I’ve never seen them lean into the reality docuseries space. But if I had that opportunity, I would just be amazed,” Parks said. “I would just go crazy.”
The new, limited-edition Snap’d Back Bag, co-designed by Phaedra Parks and inspired by her iconic snapbacks, debuted in May on CheezIt.com.
Staying true to herself and her love for fashion, Parks co-designed a cheeky new snack-inspired statement clutch in a new collaboration with Cheez-It Snap’d. She described the new Snap’d Back Bag as a product that reflects her, thanks to its multiple uses.
“I wanted the bag to be reminiscent of the actual bag, but I put some of my iconic, you know, moments on reality TV, Housewives in particular. ‘Now check that,’ we all know that read, and people have always loved it, so I put that on there. But I wanted it to be useful and have multiple uses, like myself — many jobs for the bag,” Parks told Blavity’s Shadow and Act. “So, it can not only carry your snacks but also your work products, some of your little gym things. It’s not going to have just one purpose. It’s gonna be cheeky, but it’s gonna have a space for everyone to enjoy it.”
She added, “I like to be cute, but at the same time, I want to have fun with my fashions. And with this bag, not only is it adorable, it’s also affordable. It’s $16, commemorating Season 16 for the Real Housewives of Atlanta. Everyone can have this. Even the terrorists can’t stop this bag, honey.”
With fans buzzing about her return to the Bravo series after her exit in 2017, Parks said at the time that she looks at the show in a whole new light, despite some of its elements that are nostalgic for her.
“Well, Porsha obviously asked me to come back. I love Porsha. We’ve had a great relationship for years,” she said. “And you know, it’s revamped. I mean, I have definitely called it the Titanic in the past, but, you know, we’re yachting. We’ve got new ladies, and they’re fun, and it’s very nostalgic, because there’s Porsha, myself, Shamea and Cynthia, but there’s also a new core group of ladies who bring in a new core group of, hopefully, new viewers.”
Parks added that there weren’t any nerves about returning to the show after being gone for quite a bit, but rather excitement about what may become of it.
“I wasn’t nervous about anything, but I’m excited about the possibilities that I can bring to the show,” she said. “Hopefully, we return to our flagship position where we used to be when I first got on the show. And I’m just hoping for success, I’m hoping for fun, I’m hoping we’ll have drama. But at the end of the day, people will see the sisterhood. I just want people to enjoy watching and have us be the talk of the watercooler and discussions, like we used to be.”
At this point in her career, having appeared on several reality television shows, including Married to Medicine, The Traitors and The Real Housewives: Ultimate Girls Trip, the mother of two could teach a crash course or two on the art of time management.
“There’s truly a real balance,” Parks said. “I just try to prioritize. The biggest and most important job is being a mom, so I have to do that every day, and everything else comes second. I’m a single parent, so that’s not always the easiest thing to do, but it can be done. I’ve got a village around me. I’ve got great staff, great parents, great brothers, and they make it look easy, but sometimes it can be quite difficult. And, hopefully, when people see me, they see what can be done. Because being a single parent, being a woman, being in the profession that I have chosen, from the mortician business to being a lawyer, they’re definitely male-dominated businesses that don’t make it all that easy for women.”
At this time, Parks is currently helping her younger son, Dylan, affectionately known as Mr. President, launch his pants line after he developed a love for sewing a few years ago. In her true nature, she’s always got her eye on the prize and what’s to come in the future, and she noted that she’d love to fulfill a dream of hosting Saturday Night Live.
“I am the biggest fan of Saturday Night Live. I would love to, and they generally don’t — outside of Kim Kardashian, I’ve never seen them lean into the reality docuseries space. But if I had that opportunity, I would just be amazed,” Parks said. “I would just go crazy.”
The new, limited-edition Snap’d Back Bag, co-designed by Phaedra Parks and inspired by her iconic snapbacks, debuted in May on CheezIt.com.
#MusicNews: Raheem DeVaughn Releases 'The Love Experience (20th Anniversary Mixtape)'
Grammy-nominated R&B singer Raheem DeVaughn celebrates the 20th anniversary of his debut album, The Love Experience, with a commemorative mixtape.
The special set, hosted by DJ Lil Mac, incorporates remixes and exclusive commentary that brings back that classic mixtape feel.
Speaking on The Love Experience (20th Anniversary Mixtape), DeVaughn shares, “This mixtape is a love letter to my day-one fans and a reintroduction to a project that changed my life. Working with DJ Lil Mic again brought everything full circle.”
The Love Experience was released June 28, 2005, via Zomba Recording. It debuted at No. 9 on Billboard’s Top R&B/Hip-Hop Albums chart.
The album was preceded by the lead single, “Guess Who Loves You More,” produced by Kenny Dope. The cult classic album also included fan-favorite jams like “You,” “Believe,” “Ask Yourself” and “Is It Possible,” among others.
The latter song was originally written for Dwele‘s 2005 album, Subject.
DeVaughn told Hugo Lunny in a 2005 interview, “I actually wrote that record for Dwele to perform and there’s actually a recorded version of the song where he recorded it. It’s floating around. I think he’s real dope, he’s a friend of mine and we’ll probably do some stuff down the pipeline in the future.”
Since The Love Experience, DeVaughn dropped released Love Behind the Melody (2008), which included his Grammy-nominated singles “Woman” and “Customer,” and The Love & War MasterPeace (2010), also nominated for a Grammy, A Place Called Love Land (2013), Love Sex Passion (2015), Decade Of A Love King (2018), The Love Reunion (2019), What A Time To Be In Love (2020), plus a host of mixtapes and other collaborative projects.
DeVaughn, who also hosts WHUR’s Quiet Storm, is showing no signs of slowing down, with new music reportedly coming soon.
The Love King is currently on his Quiet Storm Lover Tour with upcoming stops in Baltimore, Washington, D.C., Cincinnati, Detroit and more. (A list of tour dates is available below.)
Stream Raheem DeVaughn’s The Love Experience (20th Anniversary Mixtape) HERE:
The special set, hosted by DJ Lil Mac, incorporates remixes and exclusive commentary that brings back that classic mixtape feel.
Speaking on The Love Experience (20th Anniversary Mixtape), DeVaughn shares, “This mixtape is a love letter to my day-one fans and a reintroduction to a project that changed my life. Working with DJ Lil Mic again brought everything full circle.”
The Love Experience was released June 28, 2005, via Zomba Recording. It debuted at No. 9 on Billboard’s Top R&B/Hip-Hop Albums chart.
The album was preceded by the lead single, “Guess Who Loves You More,” produced by Kenny Dope. The cult classic album also included fan-favorite jams like “You,” “Believe,” “Ask Yourself” and “Is It Possible,” among others.
The latter song was originally written for Dwele‘s 2005 album, Subject.
DeVaughn told Hugo Lunny in a 2005 interview, “I actually wrote that record for Dwele to perform and there’s actually a recorded version of the song where he recorded it. It’s floating around. I think he’s real dope, he’s a friend of mine and we’ll probably do some stuff down the pipeline in the future.”
Since The Love Experience, DeVaughn dropped released Love Behind the Melody (2008), which included his Grammy-nominated singles “Woman” and “Customer,” and The Love & War MasterPeace (2010), also nominated for a Grammy, A Place Called Love Land (2013), Love Sex Passion (2015), Decade Of A Love King (2018), The Love Reunion (2019), What A Time To Be In Love (2020), plus a host of mixtapes and other collaborative projects.
DeVaughn, who also hosts WHUR’s Quiet Storm, is showing no signs of slowing down, with new music reportedly coming soon.
The Love King is currently on his Quiet Storm Lover Tour with upcoming stops in Baltimore, Washington, D.C., Cincinnati, Detroit and more. (A list of tour dates is available below.)
Stream Raheem DeVaughn’s The Love Experience (20th Anniversary Mixtape) HERE:
#HipHopNews: Tory Lanez's Dad, Sonstar Peterson, believes the rapper will be released from prison sooner rather than later.
Tory Lanez is almost three years into a 10-year sentence after being found guilty in December of 2022 of shooting Megan Thee Stallion. On July 2, the rapper's father sat down for an interview with DJ Carisma on Power 106 Los Angeles, where he provided an update on Tory. According to Sonstar, some things are changing that will allow Tory to be released much earlier than expected.
"I wouldn't go on record giving a date right now," Sonstar says around the 29:15 timestamp of the interview below. "What I will say is that there are movements happening in the background. The powers that be can clearly see that this was a hatchet job. They can see, based on the evidence, or should I say lack of, everybody can see that. There are things happening right now. Like I said, I think it is much sooner than a lot of people would think. Much sooner than later. He's coming home."
After Tory Lanez was stabbed in prison back in May, his legal team put on a full-court press for his freedom, claiming during a press conference a few days later that they had new evidence to support his innocence. According to Tory's lawyers, Kelsey Harris' bodyguard, Bradley James, who worked for her during the Tory Lanez trial, now admits hearing Kelsey reveal during a phone call that she pulled the trigger and shot Megan on July 12, 2020. Bradley James has yet to come forward and make these claims himself.
On May 14, Tory's legal team started a petition to have Tory freed that was signed by Drake, Ye and others. They also created an entire website that purports to show evidence that proves Tory didn't shoot Megan.
Megan Thee Stallion has responded to Tory's latest claims of innocence and reaffirmed that she was shot by him. During an interview with XXL in May, Megan's attorney, Mari Henderson, denied Tory's team had any new evidence in the case.
"There is no new evidence that proves his innocence," Henderson said. "And in fact, they're taking evidence that had already been introduced at trial by the prosecution and trying to spin it and claim that this somehow exonerates him."
"This is someone who's faced with the harsh reality that he was sentenced for his crime to 10 years and has to face his punishment and is trying to drum up media attention and conspiracy theorists and mouthpieces to continue to harass and terrorize and re-victimize Meg, who just wants to put a close to this painful chapter on her life now going five years later," she continued.
"I wouldn't go on record giving a date right now," Sonstar says around the 29:15 timestamp of the interview below. "What I will say is that there are movements happening in the background. The powers that be can clearly see that this was a hatchet job. They can see, based on the evidence, or should I say lack of, everybody can see that. There are things happening right now. Like I said, I think it is much sooner than a lot of people would think. Much sooner than later. He's coming home."
After Tory Lanez was stabbed in prison back in May, his legal team put on a full-court press for his freedom, claiming during a press conference a few days later that they had new evidence to support his innocence. According to Tory's lawyers, Kelsey Harris' bodyguard, Bradley James, who worked for her during the Tory Lanez trial, now admits hearing Kelsey reveal during a phone call that she pulled the trigger and shot Megan on July 12, 2020. Bradley James has yet to come forward and make these claims himself.
On May 14, Tory's legal team started a petition to have Tory freed that was signed by Drake, Ye and others. They also created an entire website that purports to show evidence that proves Tory didn't shoot Megan.
Megan Thee Stallion has responded to Tory's latest claims of innocence and reaffirmed that she was shot by him. During an interview with XXL in May, Megan's attorney, Mari Henderson, denied Tory's team had any new evidence in the case.
"There is no new evidence that proves his innocence," Henderson said. "And in fact, they're taking evidence that had already been introduced at trial by the prosecution and trying to spin it and claim that this somehow exonerates him."
"This is someone who's faced with the harsh reality that he was sentenced for his crime to 10 years and has to face his punishment and is trying to drum up media attention and conspiracy theorists and mouthpieces to continue to harass and terrorize and re-victimize Meg, who just wants to put a close to this painful chapter on her life now going five years later," she continued.
#RIPJewelThaisWilliams, founder of beloved Black LGBTQ Nightclub Jewel’s Catch One, dies at 86
Jewel Thais-Williams, the founder of the pioneering Black lesbian and queer nightclub Jewel’s Catch One in Los Angeles, has died. She was 86.
Thais-Williams’ death on June 7 was confirmed by her sister, Carol Williams. No cause of death was immediately available.
For decades, the Mid-City nightclub — known to regulars as The Catch — was L.A.’s hallowed sanctuary for Black queer women, and a welcoming dance floor for trans, gay and musically adventurous revelers. Artists like Ella Fitzgerald, Madonna and Whitney Houston sashayed down Catch One’s winding halls, while the indomitable Thais-Williams fended off police harassment and led care programs during the height of the AIDS crisis.
The Catch was singularly important to the development of Black and queer nightlife in L.A., and belongs beside New York’s Paradise Garage and Chicago’s Warehouse in any account of the most important nightclubs in America.
“It was a community, it was family,” Thais-Williams told The Times in a 2018 interview. “To be honest myself, I was pretty much a loner too. I always had the fears of coming out, or my family finding out. I found myself there.”
Thais-Williams, born in Indiana in 1939, moved to San Diego with her family as a child. Her sister, Carol Williams, said “she was one of the most brilliant individuals I’ve ever met,” a gifted athlete and a history buff who graduated from UCLA. “She always had a sincere interest in what had happened, and how to contribute to making the world a better place.”
While her religious father did not accept her sexuality, even into adulthood, her mother and siblings were more supportive.
“She gave a sense of pride to everyone who was different from the norm. They felt good because she felt good in her own skin,” Carol Williams said.
Thais-Williams didn’t have ambitions to open a generationally important nightclub, just a more resilient business than her previous dress shop. However, her experience of being shunned as a Black woman by other local gay clubs bolstered her resolve to make the Catch, which opened in 1973, more welcoming for those left out of the scene in L.A.
“I didn’t come into this business with the idea of it becoming a community center,” she said in 1992. “It started before AIDS and the riots and all that. I got the first sense of the business being more than just a bar and having an obligation to the community years ago when Black gays were carded — requiring several pieces of ID — to get into white clubs. I went to bat for them, though I would love to have them come to my place every night.
“The idea is to have the freedom to go where you want to without being harassed. The predominantly male, white gay community has its set of prejudices. It’s better now, but it still exists.”
Jewel’s Catch One became a kind of West Coast Studio 54, with disco-era visionaries like Donna Summer, Chaka Khan, Sylvester, Rick James and Evelyn “Champagne” King performing to packed rooms. Celebrities like Sharon Stone and Whoopi Goldberg attended the parties, glad for wild nights out away from the paparazzi in Hollywood.
“People came from all over the world to party there. Europe, South America — they’d come straight from LAX and leave their bags at coat check,” Carol Williams said. “The club was universally known for its acceptance.”
Thais-Williams “opened the door for so many people,” said Nigl “14k,” the Catch’s manager, doorperson and limo driver for 27 years up until its sale in 2015. “A lot of people that felt not wanted in West Hollywood had nowhere to go. But people found out who she was and put word out. She was a great friend and a shrewd businessperson who allowed people to just be themselves.”
The club’s many rooms allowed for a range of nightlife — strip shows, card games and jazz piano sets alongside DJ and live band performances [along with Alcoholics Anonymous meetings]. The boisterous, accepting atmosphere for Black queer partiers contrasted with the constant surveillance, regulation and harassment outside of it.
“There was a restriction on same sex dancing, women couldn’t tend bar unless they owned it,” Thais-Williams said in 2018. “The police were arresting people for anything remotely homosexual. We had them coming in with guns pretending to be looking for someone in a white T-shirt just so they could walk around.”
“When she opened the club, African Americans couldn’t go past Wilshire Boulevard without being stopped and harassed,” Carol Williams said. “She wanted a club for gay individuals to feel safe and loved and adored just as they are. They didn’t have to do anything, just be themselves.”
A fire in 1985 claimed much of the venue’s top floor, closing it for two years. Thais-Williams suspected that gentrifiers had their eye on her building.
“It’s very important not to give up our institutions — places of business that have been around for years,” she said. “Having a business that people can see can offer them some incentive to do it for themselves. I’m determined to win, and if I do fail or move on, I want my business to go to Black people who have the same interest that I have to maintain an economic presence in this community.”
Thais-Williams’ AIDS activism was crucial during the bleakest eras of the disease, which ravaged queer communities of color. She co-founded the Minority AIDS Project and served on the board of the AIDS Project Los Angeles, which provided HIV/AIDS care, prevention programs and public policy initiatives.
“She was a surrogate mother for anybody with HIV who had been ostracized from their families,” Carol Williams said. “They knew that with her, they were taken care of.”
With her partner, Rue, Thais-Williams co-founded Rue’s House, one of the first dedicated housing facilities in the U.S. for women living with HIV. The facility later became a sober-living home. In 2001, Thais-Williams founded the Village Health Foundation, a healthcare and education organization focused on chronic diseases that affected the Black community.
“Jewel is a true symbol of leadership within our community,” said Marquita Thomas, a Christopher Street West board member who selected Thais-Williams to lead the city’s Pride parade in 2018. “Her tireless efforts have positively affected the lives of countless LGBTQ minorities, [and her] dedication to bettering our community is truly inspiring.”
After decades in nightlife, facing dwindling crowds and high overhead for a huge venue, in 2015 Thais-Williams sold the venue to nightlife entrepreneur Mitch Edelson, who continues to host rock and dance nights in the club, now known as Catch One. (Edelson said the club is planning a memorial for Thais-Williams.)
“People in general don’t have appreciation anymore for their own institutions,” Thais-Williams told The Times in 2015. “All we want is something that’s shiny because our attention span is only going to last for one season and then you want to go somewhere else. The younger kids went to school and associated with both the straight people and non-Blacks, so they feel free to go to those spots. The whole gay scene as it relates to nightclubs has changed — a lot.”
After the sale, the importance of the club came into sharper focus. A 2018 Netflix documentary, “Jewel’s Catch One,” produced by Ava DuVernay’s company Array, highlighted The Catch’s impact on Los Angeles nightlife, and the broader music scene of the era. When Thais-Williams sold it, the Catch was the last Black-owned queer nightclub in the city.
“With Jewel’s Catch One, she built a home for young, black queer people who were often isolated and shut out at their own homes, and in doing so, changed the lives of so many” said then-City Council President Herb Wesson at the ceremony. “Jewel is more than deserving to be the first Black lesbian woman with a dedicated square in the city of Los Angeles for this and so many other reasons.”
L.A.’s queer nightlife scene is still reeling from the impact of the pandemic, broader economic forces and changing tastes among young queer audiences. Still, Thais-Williams’ vision and perseverance to create and sustain a home for her community will resonate for generations to come.
“Multiple generations of Black queer joy, safety, and community exist today because of Jewel Thais-Williams,” said Jasmyne Cannick, organizer of South L.A. Pride. “She didn’t just open doors — she held them open long enough for all of us to walk through, including this Gen-X Black lesbian. There’s a whole generation of younger Black queer folks out here in L.A. living their best life, not even realizing they’re walking through doors Jewel built from the ground up.”
“Long before Pride had corporate sponsors and hashtags, Jewel was out here creating space for us to gather, dance, organize, heal, and simply exist,” Cannick continued. “We owe her more than we could ever repay.”
Thais-Williams is survived by her wife and partner for 40 years, Rue, and siblings Carol Williams, Lula Washington and Kenneth Williams.
“She was an ear for those who needed to speak,” Carol Williams said. “And a voice for those who needed to be heard.”
Jewel Thais-Williams, the founder of the pioneering Black lesbian and queer nightclub Jewel’s Catch One in Los Angeles, has died. She was 86.
Thais-Williams’ death on June 7 was confirmed by her sister, Carol Williams. No cause of death was immediately available.
For decades, the Mid-City nightclub — known to regulars as The Catch — was L.A.’s hallowed sanctuary for Black queer women, and a welcoming dance floor for trans, gay and musically adventurous revelers. Artists like Ella Fitzgerald, Madonna and Whitney Houston sashayed down Catch One’s winding halls, while the indomitable Thais-Williams fended off police harassment and led care programs during the height of the AIDS crisis.
The Catch was singularly important to the development of Black and queer nightlife in L.A., and belongs beside New York’s Paradise Garage and Chicago’s Warehouse in any account of the most important nightclubs in America.
“It was a community, it was family,” Thais-Williams told The Times in a 2018 interview. “To be honest myself, I was pretty much a loner too. I always had the fears of coming out, or my family finding out. I found myself there.”
Thais-Williams, born in Indiana in 1939, moved to San Diego with her family as a child. Her sister, Carol Williams, said “she was one of the most brilliant individuals I’ve ever met,” a gifted athlete and a history buff who graduated from UCLA. “She always had a sincere interest in what had happened, and how to contribute to making the world a better place.”
While her religious father did not accept her sexuality, even into adulthood, her mother and siblings were more supportive.
“She gave a sense of pride to everyone who was different from the norm. They felt good because she felt good in her own skin,” Carol Williams said.
Thais-Williams didn’t have ambitions to open a generationally important nightclub, just a more resilient business than her previous dress shop. However, her experience of being shunned as a Black woman by other local gay clubs bolstered her resolve to make the Catch, which opened in 1973, more welcoming for those left out of the scene in L.A.
“I didn’t come into this business with the idea of it becoming a community center,” she said in 1992. “It started before AIDS and the riots and all that. I got the first sense of the business being more than just a bar and having an obligation to the community years ago when Black gays were carded — requiring several pieces of ID — to get into white clubs. I went to bat for them, though I would love to have them come to my place every night.
“The idea is to have the freedom to go where you want to without being harassed. The predominantly male, white gay community has its set of prejudices. It’s better now, but it still exists.”
Jewel’s Catch One became a kind of West Coast Studio 54, with disco-era visionaries like Donna Summer, Chaka Khan, Sylvester, Rick James and Evelyn “Champagne” King performing to packed rooms. Celebrities like Sharon Stone and Whoopi Goldberg attended the parties, glad for wild nights out away from the paparazzi in Hollywood.
“People came from all over the world to party there. Europe, South America — they’d come straight from LAX and leave their bags at coat check,” Carol Williams said. “The club was universally known for its acceptance.”
Thais-Williams “opened the door for so many people,” said Nigl “14k,” the Catch’s manager, doorperson and limo driver for 27 years up until its sale in 2015. “A lot of people that felt not wanted in West Hollywood had nowhere to go. But people found out who she was and put word out. She was a great friend and a shrewd businessperson who allowed people to just be themselves.”
The club’s many rooms allowed for a range of nightlife — strip shows, card games and jazz piano sets alongside DJ and live band performances [along with Alcoholics Anonymous meetings]. The boisterous, accepting atmosphere for Black queer partiers contrasted with the constant surveillance, regulation and harassment outside of it.
“There was a restriction on same sex dancing, women couldn’t tend bar unless they owned it,” Thais-Williams said in 2018. “The police were arresting people for anything remotely homosexual. We had them coming in with guns pretending to be looking for someone in a white T-shirt just so they could walk around.”
“When she opened the club, African Americans couldn’t go past Wilshire Boulevard without being stopped and harassed,” Carol Williams said. “She wanted a club for gay individuals to feel safe and loved and adored just as they are. They didn’t have to do anything, just be themselves.”
A fire in 1985 claimed much of the venue’s top floor, closing it for two years. Thais-Williams suspected that gentrifiers had their eye on her building.
“It’s very important not to give up our institutions — places of business that have been around for years,” she said. “Having a business that people can see can offer them some incentive to do it for themselves. I’m determined to win, and if I do fail or move on, I want my business to go to Black people who have the same interest that I have to maintain an economic presence in this community.”
Thais-Williams’ AIDS activism was crucial during the bleakest eras of the disease, which ravaged queer communities of color. She co-founded the Minority AIDS Project and served on the board of the AIDS Project Los Angeles, which provided HIV/AIDS care, prevention programs and public policy initiatives.
“She was a surrogate mother for anybody with HIV who had been ostracized from their families,” Carol Williams said. “They knew that with her, they were taken care of.”
With her partner, Rue, Thais-Williams co-founded Rue’s House, one of the first dedicated housing facilities in the U.S. for women living with HIV. The facility later became a sober-living home. In 2001, Thais-Williams founded the Village Health Foundation, a healthcare and education organization focused on chronic diseases that affected the Black community.
“Jewel is a true symbol of leadership within our community,” said Marquita Thomas, a Christopher Street West board member who selected Thais-Williams to lead the city’s Pride parade in 2018. “Her tireless efforts have positively affected the lives of countless LGBTQ minorities, [and her] dedication to bettering our community is truly inspiring.”
After decades in nightlife, facing dwindling crowds and high overhead for a huge venue, in 2015 Thais-Williams sold the venue to nightlife entrepreneur Mitch Edelson, who continues to host rock and dance nights in the club, now known as Catch One. (Edelson said the club is planning a memorial for Thais-Williams.)
“People in general don’t have appreciation anymore for their own institutions,” Thais-Williams told The Times in 2015. “All we want is something that’s shiny because our attention span is only going to last for one season and then you want to go somewhere else. The younger kids went to school and associated with both the straight people and non-Blacks, so they feel free to go to those spots. The whole gay scene as it relates to nightclubs has changed — a lot.”
After the sale, the importance of the club came into sharper focus. A 2018 Netflix documentary, “Jewel’s Catch One,” produced by Ava DuVernay’s company Array, highlighted The Catch’s impact on Los Angeles nightlife, and the broader music scene of the era. When Thais-Williams sold it, the Catch was the last Black-owned queer nightclub in the city.
“With Jewel’s Catch One, she built a home for young, black queer people who were often isolated and shut out at their own homes, and in doing so, changed the lives of so many” said then-City Council President Herb Wesson at the ceremony. “Jewel is more than deserving to be the first Black lesbian woman with a dedicated square in the city of Los Angeles for this and so many other reasons.”
L.A.’s queer nightlife scene is still reeling from the impact of the pandemic, broader economic forces and changing tastes among young queer audiences. Still, Thais-Williams’ vision and perseverance to create and sustain a home for her community will resonate for generations to come.
“Multiple generations of Black queer joy, safety, and community exist today because of Jewel Thais-Williams,” said Jasmyne Cannick, organizer of South L.A. Pride. “She didn’t just open doors — she held them open long enough for all of us to walk through, including this Gen-X Black lesbian. There’s a whole generation of younger Black queer folks out here in L.A. living their best life, not even realizing they’re walking through doors Jewel built from the ground up.”
“Long before Pride had corporate sponsors and hashtags, Jewel was out here creating space for us to gather, dance, organize, heal, and simply exist,” Cannick continued. “We owe her more than we could ever repay.”
Thais-Williams is survived by her wife and partner for 40 years, Rue, and siblings Carol Williams, Lula Washington and Kenneth Williams.
“She was an ear for those who needed to speak,” Carol Williams said. “And a voice for those who needed to be heard.”
Nicki Minaj Calls Out Roc Nation Over Allegations Including JAY-Z Paternity Rumors, Megan Thee Stallion Lawsuit
Nicki Minaj has channeled her brethren in music, 50 Cent, savagely calling out Roc Nation for allegations against some of the management company’s associates.
Starting off with Roc Nation CEO Desiree Perez, Minaj posted a screenshot of a video “calling out” Perez for allegedly “abusing” her daughter Demoree. According to the video, Perez allegedly held her daughter against her will and physically assaulted her.
“Oh no what’s going on The Shade Room?!?!!!! Help!!!!!,” Minaj captioned the post.
According to NBC6 South Florida, the lawsuit came about last month, revealing serious allegations against Perez, including using her influence and wealth to have her daughter, Hadley, wrongfully institutionalized in a mental health facility for two weeks.
According to the suit, Hadley claims she was detained without clear cause, supported by medical records and bodycam footage showing officials directing her into a vehicle. A doctor’s evaluation reportedly cited family claims — including from Perez and an aunt — that Hadley had attempted an overdose, which she denied.
The lawsuit also accuses Perez of interfering in Hadley’s marriage to Javon Hadley by fabricating domestic violence claims. Perez previously sued Javon for alleged abuse of her daughter, which both he and Hadley deny. Hadley was released in April after Perez dropped the case.
Minaj then followed up with another post taking jabs at both JAY-Z and Megan Thee Stallion. Reigniting conversation surrounding Hov’s alleged son — whom has been seeking a paternity test from the Hip-Hop icon – Minaj called out the ongoing legal matter.
“Oh is this why he was trending the other day? Idk. I hope all is well. To God be the glory,” she captioned a photo of Jay placed beside Raymir Satterthwaite. The headline of the screenshot also claimed that a judge has requested to move forward with Raymir’s request for a paternity test proving whether or not Jay is his biological father, thought this has not been substantiated.
The 31-year-old has continuously pleaded with the mogul and businessman to take the test so that he can get answers about his identity. “If he is not [my father], why can’t he prove me wrong?” Raymir told Daily Mail in an interview. “Go to the courtroom and do what everyone else has to do. I can take a no. I can take being embarrassed. I just can’t take him not saying anything. It is not fair.”
Lastly, the Pink Friday rapper called out Megan Thee Stallion’s impending lawsuit just as a federal judge ruled that a sexual harassment and retaliation lawsuit against the Texas rapper can move forward.
In a cryptic post, Minaj wrote, “What was the name of that law again??????? Karma’s Law? Touch not my anointed law? Vengeance is the Lord’s law?… the blogs posting lies, thank you. More money for me. We’re working. Trust.”
Minaj referenced a prior jab Meg took at her husband Kenneth Petty in her song “Hiss,” where she rapped, “These ho*s don’t be mad at Megan, these ho*s mad at Megan’s Law/ I don’t really know what the problem is, but I guarantee y’all don’t want me to start.” The line was aimed at Petty, who is a court ordered registered sex offender due to an incident that took place when he was 15.
The timing of Minaj’s post comes on the heels of U.S. District Judge Gregory H. Woods allowing Emelio Garcia’s lawsuit against Megan — born Megan Pete — to proceed.
Garcia, Megan’s former cameraman, alleges he was harassed and retaliated against due to his sexual orientation. He claims that in 2022, while in Ibiza, Megan engaged in a sexual act with another woman in his presence, made degrading remarks about his appearance, and later cut his hours and pay before firing him when he spoke up.
The judge found Garcia’s claims plausible, noting that the behavior he described could support a hostile work environment based on his sexuality. Megan and her team have strongly denied the allegations, calling Garcia a “con artist” and his lawsuit “baseless.” Unless a settlement is reached, the case is expected to go to trial.
Minaj’s vengeance against the powerhouse label partially stems from Young Money CEO and iconic rapper Lil Wayne being snubbed of Super Bowl performance slot in his hometown, New Orleans. Instead, Kendrick Lamar was tapped to headline the biggest night in football.
In response to the decision, Minaj went on a scathing rant against JAY-Z on X, as he currently holds the title of “live music entertainment strategist” for the Super Bowl Half Time show. She also sent shots to the Blueprint phenom in her verse on Weezy’s “Banned From N.O.” calling out the Super Bowl snub again and Jay’s position. She rapped, “NFL, fire some ni**as and then call us!”
Megan Thee Stallion, JAY-Z nor Desiree Perez has responded to Nicki Minaj as of publication. VIBE has reached out to Roc Nation for comment and has not yet received a response.
Starting off with Roc Nation CEO Desiree Perez, Minaj posted a screenshot of a video “calling out” Perez for allegedly “abusing” her daughter Demoree. According to the video, Perez allegedly held her daughter against her will and physically assaulted her.
“Oh no what’s going on The Shade Room?!?!!!! Help!!!!!,” Minaj captioned the post.
According to NBC6 South Florida, the lawsuit came about last month, revealing serious allegations against Perez, including using her influence and wealth to have her daughter, Hadley, wrongfully institutionalized in a mental health facility for two weeks.
According to the suit, Hadley claims she was detained without clear cause, supported by medical records and bodycam footage showing officials directing her into a vehicle. A doctor’s evaluation reportedly cited family claims — including from Perez and an aunt — that Hadley had attempted an overdose, which she denied.
The lawsuit also accuses Perez of interfering in Hadley’s marriage to Javon Hadley by fabricating domestic violence claims. Perez previously sued Javon for alleged abuse of her daughter, which both he and Hadley deny. Hadley was released in April after Perez dropped the case.
Minaj then followed up with another post taking jabs at both JAY-Z and Megan Thee Stallion. Reigniting conversation surrounding Hov’s alleged son — whom has been seeking a paternity test from the Hip-Hop icon – Minaj called out the ongoing legal matter.
“Oh is this why he was trending the other day? Idk. I hope all is well. To God be the glory,” she captioned a photo of Jay placed beside Raymir Satterthwaite. The headline of the screenshot also claimed that a judge has requested to move forward with Raymir’s request for a paternity test proving whether or not Jay is his biological father, thought this has not been substantiated.
The 31-year-old has continuously pleaded with the mogul and businessman to take the test so that he can get answers about his identity. “If he is not [my father], why can’t he prove me wrong?” Raymir told Daily Mail in an interview. “Go to the courtroom and do what everyone else has to do. I can take a no. I can take being embarrassed. I just can’t take him not saying anything. It is not fair.”
Lastly, the Pink Friday rapper called out Megan Thee Stallion’s impending lawsuit just as a federal judge ruled that a sexual harassment and retaliation lawsuit against the Texas rapper can move forward.
In a cryptic post, Minaj wrote, “What was the name of that law again??????? Karma’s Law? Touch not my anointed law? Vengeance is the Lord’s law?… the blogs posting lies, thank you. More money for me. We’re working. Trust.”
Minaj referenced a prior jab Meg took at her husband Kenneth Petty in her song “Hiss,” where she rapped, “These ho*s don’t be mad at Megan, these ho*s mad at Megan’s Law/ I don’t really know what the problem is, but I guarantee y’all don’t want me to start.” The line was aimed at Petty, who is a court ordered registered sex offender due to an incident that took place when he was 15.
The timing of Minaj’s post comes on the heels of U.S. District Judge Gregory H. Woods allowing Emelio Garcia’s lawsuit against Megan — born Megan Pete — to proceed.
Garcia, Megan’s former cameraman, alleges he was harassed and retaliated against due to his sexual orientation. He claims that in 2022, while in Ibiza, Megan engaged in a sexual act with another woman in his presence, made degrading remarks about his appearance, and later cut his hours and pay before firing him when he spoke up.
The judge found Garcia’s claims plausible, noting that the behavior he described could support a hostile work environment based on his sexuality. Megan and her team have strongly denied the allegations, calling Garcia a “con artist” and his lawsuit “baseless.” Unless a settlement is reached, the case is expected to go to trial.
Minaj’s vengeance against the powerhouse label partially stems from Young Money CEO and iconic rapper Lil Wayne being snubbed of Super Bowl performance slot in his hometown, New Orleans. Instead, Kendrick Lamar was tapped to headline the biggest night in football.
In response to the decision, Minaj went on a scathing rant against JAY-Z on X, as he currently holds the title of “live music entertainment strategist” for the Super Bowl Half Time show. She also sent shots to the Blueprint phenom in her verse on Weezy’s “Banned From N.O.” calling out the Super Bowl snub again and Jay’s position. She rapped, “NFL, fire some ni**as and then call us!”
Megan Thee Stallion, JAY-Z nor Desiree Perez has responded to Nicki Minaj as of publication. VIBE has reached out to Roc Nation for comment and has not yet received a response.
Churches Can Now Endorse Political Candidates Without Losing Tax-Exempt Status, IRS Says In Major Policy Shift
In a landmark shift, the IRS has announced that churches may now endorse political candidates without risking their tax-exempt status, so long as the endorsements occur “in good faith” and within the scope of religious services.\
The update came via a court filing Monday, where the agency clarified its interpretation of the Johnson Amendment, a 1954 law that prohibited tax-exempt entities from participating in political campaigns.
The IRS now says that when a house of worship speaks to its congregation “through its customary channels of communication… concerning electoral politics viewed through the lens of religious faith,” it does not constitute campaign intervention. The agency likened such endorsements to a “family discussion,” emphasizing they are protected under the First Amendment.
This shift follows years of pressure from religious organizations and echoes promises made by President Trump to “totally destroy the Johnson Amendment.” While not fully repealed, the IRS’s new stance marks a dramatic reinterpretation.
In a landmark shift, the IRS has announced that churches may now endorse political candidates without risking their tax-exempt status, so long as the endorsements occur “in good faith” and within the scope of religious services.\
The update came via a court filing Monday, where the agency clarified its interpretation of the Johnson Amendment, a 1954 law that prohibited tax-exempt entities from participating in political campaigns.
The IRS now says that when a house of worship speaks to its congregation “through its customary channels of communication… concerning electoral politics viewed through the lens of religious faith,” it does not constitute campaign intervention. The agency likened such endorsements to a “family discussion,” emphasizing they are protected under the First Amendment.
This shift follows years of pressure from religious organizations and echoes promises made by President Trump to “totally destroy the Johnson Amendment.” While not fully repealed, the IRS’s new stance marks a dramatic reinterpretation.
Sean 'Diddy' Combs to be sentenced October 3 after federal prostitution conviction
Music tycoon Sean "Diddy" Combs will be sentenced on October 3, a federal judge ruled on Tuesday, following discussions among the defense, prosecution, and the US Probation Office.
The decision was made during a brief virtual hearing in which Combs, appearing via video from prison, spoke briefly to his attorney, Marc Agnifilo.
As reported by the Associated Press, the 55-year-old was found guilty last week on two federal charges of transporting people for prostitution, following an eight-week trial. He was acquitted of more serious charges, including racketeering conspiracy and sex trafficking, which could have carried a life sentence. Each of the two convictions carries a maximum of 10 years in prison.
Defence attorneys had lobbied for expedited sentencing on September 22. Although both sides initially supported the date, the US Probation Office reaffirmed its preference for the original October 3 schedule approved by Judge Arun Subramanian.
According to AP, Combs is still being held in a federal centre in Brooklyn, where he has been since his September arrest. His bail request was recently denied by Judge Subramanian, citing video footage and photographs indicating a pattern of abuse of past partners. The judge said that Combs' extensive history of violence would be highly considered during sentencing.
Combs' lawyers are advocating for a lighter sentence of 21 to 27 months under federal guidelines. Prosecutors, however, argue that his criminal record and violent behaviour justify a four-to five-year term.
As part of standard procedure, Combs must undergo a pre-sentencing interview with probation officers. Their report will guide Judge Subramanian in determining the final sentence. Federal sentencing guidelines are advisory, not mandatory.
The decision was made during a brief virtual hearing in which Combs, appearing via video from prison, spoke briefly to his attorney, Marc Agnifilo.
As reported by the Associated Press, the 55-year-old was found guilty last week on two federal charges of transporting people for prostitution, following an eight-week trial. He was acquitted of more serious charges, including racketeering conspiracy and sex trafficking, which could have carried a life sentence. Each of the two convictions carries a maximum of 10 years in prison.
Defence attorneys had lobbied for expedited sentencing on September 22. Although both sides initially supported the date, the US Probation Office reaffirmed its preference for the original October 3 schedule approved by Judge Arun Subramanian.
According to AP, Combs is still being held in a federal centre in Brooklyn, where he has been since his September arrest. His bail request was recently denied by Judge Subramanian, citing video footage and photographs indicating a pattern of abuse of past partners. The judge said that Combs' extensive history of violence would be highly considered during sentencing.
Combs' lawyers are advocating for a lighter sentence of 21 to 27 months under federal guidelines. Prosecutors, however, argue that his criminal record and violent behaviour justify a four-to five-year term.
As part of standard procedure, Combs must undergo a pre-sentencing interview with probation officers. Their report will guide Judge Subramanian in determining the final sentence. Federal sentencing guidelines are advisory, not mandatory.
Cardi B Tells Gossips to ‘Get Off the Internet’ Amid Stefon Diggs Breakup Rumors: ‘Ignore the Bored’
Cardi B has had enough of the rumors flooding social media regarding her relationship with Stefon Diggs, and she seemingly addressed fans with an explosive string of posts Tuesday (July 8) on X.
“Shut the f— up,” she bluntly wrote. Cardi implored those gossiping about her business to “go to dinner, go shopping, go to the park …Get off the internet…ENOUGH!!”
The 32-year-old had a final message for gossips while having a few minutes to breathe in between attending shows at Paris Couture Week. “Enjoy these looks and day …..and ignore the bored ….Love yall,” she concluded.
Rumors swirled that there was trouble in paradise between Cardi and her NFL star boo after she appeared to wipe her social media clean of any sign of Diggs. TMZ reported that the couple has not broken up despite the social media wipe.
Cardi B also reposted a clip working out in the gym with the superstar wide receiver on Tuesday to dead the break-up rumors.
Cardi began dating Diggs earlier this year after filing for divorce from Offset and they went public with their relationship in May while attending a New York Knicks playoff game together.
Everything seemed to be going great between the mushy couple as they vacationed in France in June, which saw Diggs rent a Victorian castle for Cardi to live out her royal queen dreams.
Some fans attempted to stir the pot while connecting Cardi’s tweets to Nicki Minaj’s rant attacking Megan Thee Stallion, Jay-Z and Roc Nation. “Algorithm win this 1,” one person wrote while stacking Nicki and Cardi’s tweets next to one another.
On the music front, Cardi is working toward the release of her anticipated Am I the Drama? sophomore album, which is slated to arrive on Sept. 19.
Cardi B has had enough of the rumors flooding social media regarding her relationship with Stefon Diggs, and she seemingly addressed fans with an explosive string of posts Tuesday (July 8) on X.
“Shut the f— up,” she bluntly wrote. Cardi implored those gossiping about her business to “go to dinner, go shopping, go to the park …Get off the internet…ENOUGH!!”
The 32-year-old had a final message for gossips while having a few minutes to breathe in between attending shows at Paris Couture Week. “Enjoy these looks and day …..and ignore the bored ….Love yall,” she concluded.
Rumors swirled that there was trouble in paradise between Cardi and her NFL star boo after she appeared to wipe her social media clean of any sign of Diggs. TMZ reported that the couple has not broken up despite the social media wipe.
Cardi B also reposted a clip working out in the gym with the superstar wide receiver on Tuesday to dead the break-up rumors.
Cardi began dating Diggs earlier this year after filing for divorce from Offset and they went public with their relationship in May while attending a New York Knicks playoff game together.
Everything seemed to be going great between the mushy couple as they vacationed in France in June, which saw Diggs rent a Victorian castle for Cardi to live out her royal queen dreams.
Some fans attempted to stir the pot while connecting Cardi’s tweets to Nicki Minaj’s rant attacking Megan Thee Stallion, Jay-Z and Roc Nation. “Algorithm win this 1,” one person wrote while stacking Nicki and Cardi’s tweets next to one another.
On the music front, Cardi is working toward the release of her anticipated Am I the Drama? sophomore album, which is slated to arrive on Sept. 19.
Barbie’s first diabetes doll sparks joy with insulin pump
The iconic Barbie doll has taken another significant step toward inclusivity with the launch of its first doll representing someone living with type 1 diabetes. This groundbreaking addition to Mattel’s Fashionistas collection features authentic medical accessories that mirror the daily reality for millions of children and adults managing this autoimmune condition.
The new doll arrives equipped with a continuous glucose monitor (CGM) attached to her arm, secured with distinctive Barbie pink heart-shaped medical tape. She carries a smartphone displaying a CGM app for blood sugar tracking and wears an insulin pump that delivers automated insulin dosing. A specially designed bag accompanies the doll, sized perfectly for essential items like emergency snacks that people with diabetes often need to carry.
Mattel collaborated extensively with Breakthrough T1D, a leading global nonprofit organization dedicated to type 1 diabetes research and advocacy, to ensure the doll’s medical accessories accurately reflect real-world diabetes management tools. This partnership helped create a toy that serves both as entertainment and education, showing children that medical devices can be part of normal, active lifestyles.
Type 1 diabetes affects approximately 1.25 million Americans, with about 200,000 being children and adolescents. The condition occurs when the body’s immune system mistakenly attacks and destroys insulin-producing beta cells in the pancreas. Unlike type 2 diabetes, which often develops later in life and can sometimes be managed through lifestyle changes, type 1 diabetes requires lifelong insulin therapy and careful blood sugar monitoring.
The timing of this release coincides with growing awareness about the importance of representation in children’s toys. Research consistently shows that children benefit from seeing themselves reflected in their playthings, as it helps build self-esteem and normalizes differences that might otherwise feel isolating.
This diabetes-focused Barbie represents the latest milestone in Mattel’s expanded commitment to inclusivity that began gaining momentum in 2019. The company has systematically introduced dolls representing various disabilities and medical conditions, creating a more comprehensive reflection of the diverse world children inhabit.
The Fashionistas line now includes more than 175 different Barbie variations, featuring diverse skin tones, eye colors, hair textures, body types, and abilities. Recent additions have included a blind Barbie complete with sunglasses and a guide dog, a doll with Down syndrome, figures with hearing aids, prosthetic limbs, wheelchairs, and a Barbie with vitiligo.
Each of these dolls undergoes extensive research and development phases, often involving partnerships with relevant advocacy organizations and medical professionals to ensure authenticity and sensitivity in their design and marketing.
The journey toward inclusive Barbie dolls has been decades in the making. While the first Black Barbie dolls appeared in the 1960s and Hispanic dolls in the 1980s, physical disabilities remained largely absent from the lineup until recently. The 1990s and 2000s saw an expansion of career-focused dolls representing professions where women were historically underrepresented, but medical conditions and disabilities took much longer to gain recognition.
This gradual evolution reflects broader societal changes in how disability and chronic conditions are understood and discussed. The disability rights movement has emphasized the importance of representation and normalization, concepts that have slowly permeated various industries, including toy manufacturing.
For families managing type 1 diabetes, this new Barbie offers more than just a toy. It provides a conversation starter, a way to explain medical devices to friends and siblings, and a form of validation for children who may feel different because of their condition.
The psychological benefits of representation in toys extend beyond the children who share the doll’s characteristics. When all children play with diverse dolls, it helps build empathy, understanding, and acceptance of differences from an early age.
Mattel’s initiative reflects a broader trend across the toy industry toward greater diversity and inclusion. Other manufacturers have similarly expanded their offerings to include dolls and figures representing various disabilities and medical conditions.
Lottie dolls, for example, offers figures with Down syndrome and autism, while Lego has introduced minifigures with physical and non-visible disabilities. These efforts collectively work to create a more inclusive play environment where all children can find themselves represented.
Child development experts emphasize that inclusive toys serve multiple important functions. They help children with disabilities or medical conditions feel seen and valued, while simultaneously educating other children about differences they might encounter in their communities.
Play therapy research suggests that children often work through complex emotions and situations through doll play. Having access to dolls that represent various life experiences, including medical conditions, can help children process their own situations or develop empathy for others.
The introduction of the type 1 diabetes Barbie signals Mattel’s continued commitment to expanding representation within their product lines. As awareness grows about various conditions and disabilities, the company appears positioned to continue developing dolls that reflect an increasingly diverse understanding of human experience.
The success of these inclusive initiatives often depends on authentic partnerships with advocacy organizations, medical professionals, and the communities being represented. This collaborative approach helps ensure that representation efforts are meaningful rather than tokenistic.
This latest addition to the Barbie lineup represents more than just another product launch. It demonstrates how major toy manufacturers can use their platforms to promote acceptance, understanding, and inclusion while still creating engaging, fun products that children want to play with.
The diabetes Barbie joins a growing collection of dolls that collectively tell a more complete story about the diversity of human experience. These toys help normalize differences, reduce stigma, and create opportunities for important conversations between children and their caregivers about health, disability, and acceptance.
As the toy industry continues evolving, this type 1 diabetes Barbie stands as an example of how thoughtful, research-based product development can create positive social impact while meeting commercial objectives. The doll’s authentic medical accessories and careful attention to detail demonstrate that inclusive representation can be both meaningful and commercially viable.
The launch of this special Barbie reinforces the idea that all children deserve to see themselves reflected in their toys, whether they’re managing a chronic condition, living with a disability, or simply looking for dolls that represent the full spectrum of human diversity. In a world where representation truly matters, this diabetes-focused Barbie takes an important step toward ensuring that playtime can be inclusive, educational, and empowering for children of all abilities and health conditions.
The new doll arrives equipped with a continuous glucose monitor (CGM) attached to her arm, secured with distinctive Barbie pink heart-shaped medical tape. She carries a smartphone displaying a CGM app for blood sugar tracking and wears an insulin pump that delivers automated insulin dosing. A specially designed bag accompanies the doll, sized perfectly for essential items like emergency snacks that people with diabetes often need to carry.
Mattel collaborated extensively with Breakthrough T1D, a leading global nonprofit organization dedicated to type 1 diabetes research and advocacy, to ensure the doll’s medical accessories accurately reflect real-world diabetes management tools. This partnership helped create a toy that serves both as entertainment and education, showing children that medical devices can be part of normal, active lifestyles.
Type 1 diabetes affects approximately 1.25 million Americans, with about 200,000 being children and adolescents. The condition occurs when the body’s immune system mistakenly attacks and destroys insulin-producing beta cells in the pancreas. Unlike type 2 diabetes, which often develops later in life and can sometimes be managed through lifestyle changes, type 1 diabetes requires lifelong insulin therapy and careful blood sugar monitoring.
The timing of this release coincides with growing awareness about the importance of representation in children’s toys. Research consistently shows that children benefit from seeing themselves reflected in their playthings, as it helps build self-esteem and normalizes differences that might otherwise feel isolating.
This diabetes-focused Barbie represents the latest milestone in Mattel’s expanded commitment to inclusivity that began gaining momentum in 2019. The company has systematically introduced dolls representing various disabilities and medical conditions, creating a more comprehensive reflection of the diverse world children inhabit.
The Fashionistas line now includes more than 175 different Barbie variations, featuring diverse skin tones, eye colors, hair textures, body types, and abilities. Recent additions have included a blind Barbie complete with sunglasses and a guide dog, a doll with Down syndrome, figures with hearing aids, prosthetic limbs, wheelchairs, and a Barbie with vitiligo.
Each of these dolls undergoes extensive research and development phases, often involving partnerships with relevant advocacy organizations and medical professionals to ensure authenticity and sensitivity in their design and marketing.
The journey toward inclusive Barbie dolls has been decades in the making. While the first Black Barbie dolls appeared in the 1960s and Hispanic dolls in the 1980s, physical disabilities remained largely absent from the lineup until recently. The 1990s and 2000s saw an expansion of career-focused dolls representing professions where women were historically underrepresented, but medical conditions and disabilities took much longer to gain recognition.
This gradual evolution reflects broader societal changes in how disability and chronic conditions are understood and discussed. The disability rights movement has emphasized the importance of representation and normalization, concepts that have slowly permeated various industries, including toy manufacturing.
For families managing type 1 diabetes, this new Barbie offers more than just a toy. It provides a conversation starter, a way to explain medical devices to friends and siblings, and a form of validation for children who may feel different because of their condition.
The psychological benefits of representation in toys extend beyond the children who share the doll’s characteristics. When all children play with diverse dolls, it helps build empathy, understanding, and acceptance of differences from an early age.
Mattel’s initiative reflects a broader trend across the toy industry toward greater diversity and inclusion. Other manufacturers have similarly expanded their offerings to include dolls and figures representing various disabilities and medical conditions.
Lottie dolls, for example, offers figures with Down syndrome and autism, while Lego has introduced minifigures with physical and non-visible disabilities. These efforts collectively work to create a more inclusive play environment where all children can find themselves represented.
Child development experts emphasize that inclusive toys serve multiple important functions. They help children with disabilities or medical conditions feel seen and valued, while simultaneously educating other children about differences they might encounter in their communities.
Play therapy research suggests that children often work through complex emotions and situations through doll play. Having access to dolls that represent various life experiences, including medical conditions, can help children process their own situations or develop empathy for others.
The introduction of the type 1 diabetes Barbie signals Mattel’s continued commitment to expanding representation within their product lines. As awareness grows about various conditions and disabilities, the company appears positioned to continue developing dolls that reflect an increasingly diverse understanding of human experience.
The success of these inclusive initiatives often depends on authentic partnerships with advocacy organizations, medical professionals, and the communities being represented. This collaborative approach helps ensure that representation efforts are meaningful rather than tokenistic.
This latest addition to the Barbie lineup represents more than just another product launch. It demonstrates how major toy manufacturers can use their platforms to promote acceptance, understanding, and inclusion while still creating engaging, fun products that children want to play with.
The diabetes Barbie joins a growing collection of dolls that collectively tell a more complete story about the diversity of human experience. These toys help normalize differences, reduce stigma, and create opportunities for important conversations between children and their caregivers about health, disability, and acceptance.
As the toy industry continues evolving, this type 1 diabetes Barbie stands as an example of how thoughtful, research-based product development can create positive social impact while meeting commercial objectives. The doll’s authentic medical accessories and careful attention to detail demonstrate that inclusive representation can be both meaningful and commercially viable.
The launch of this special Barbie reinforces the idea that all children deserve to see themselves reflected in their toys, whether they’re managing a chronic condition, living with a disability, or simply looking for dolls that represent the full spectrum of human diversity. In a world where representation truly matters, this diabetes-focused Barbie takes an important step toward ensuring that playtime can be inclusive, educational, and empowering for children of all abilities and health conditions.
Gary Coleman’s Ex-Wife Shannon Price Fails Lie Detector Test Question on Late Actor’s Deadly Fall
Gary Coleman’s death has been shrouded in speculation for years — and his ex-wife, Shannon Price, has been at the center of many questions.
The late Diff’rent Strokes actor — who suffered from a rare kidney condition known as focal segmental glomerulosclerosis that stunted his growth — tragically passed away at the age of 42 years old on May 28, 2010, two days after he fell down the stairs at his Utah home. He was still living with Price at the time, despite divorcing in 2008. While rumors arose about her potential involvement, the incident was officially ruled an accident.
In the upcoming premiere for A&E’s new series Lie Detector: Truth or Deception, Price, 39, chose to face some of the most difficult questions surrounding her ex-husband’s death.
“I literally, my whole life, have had the odds working against me. And so I’m hoping, I’m really hoping, for a good outcome,” she explained in the episode, according to People. “Not everyone is perfect at taking a polygraph test, but I have a glimmer of hope that this will work out in my favor, and people will be like, okay, you know what? She’s just a normal girl that had an unfortunate situation happen.”
Despite her hopes, it’s been revealed that Price shockingly did not pass the portion of the test when she was asked directly if she physically caused her ex-husband’s fall. Although she said she did not, she received the result “deception indicated.”
Ex FBI agent George Olivo, who administered the test, informed her that she had “failed” that part of the exam.
“There’s two things I know for sure, Shannon. One, you were not completely honest with me yesterday during this polygraph section. And two, the other thing I know that’s 100 percent certain, is that there is more to this story that hasn’t been told,” he said. “The body never lies. The body always tells the truth. And your body on that lie detector test spoke loud and clear, there’s something that caused you to fail this test.”
“You say you have nothing to hide. I say you know exactly why you failed this test,” he said as they continued to discuss the results. “Sadly, my professional opinion is the truth is not on your side today.”
Price shot back, “And I figured it wouldn’t be.”
Olivo responded, “Because you already knew you were gonna fail, and you know why you did.”
The first episode of Lie Detector: Truth or Deception is set to air on Thursday, July 10, on A&E.
Gary Coleman’s death has been shrouded in speculation for years — and his ex-wife, Shannon Price, has been at the center of many questions.
The late Diff’rent Strokes actor — who suffered from a rare kidney condition known as focal segmental glomerulosclerosis that stunted his growth — tragically passed away at the age of 42 years old on May 28, 2010, two days after he fell down the stairs at his Utah home. He was still living with Price at the time, despite divorcing in 2008. While rumors arose about her potential involvement, the incident was officially ruled an accident.
In the upcoming premiere for A&E’s new series Lie Detector: Truth or Deception, Price, 39, chose to face some of the most difficult questions surrounding her ex-husband’s death.
“I literally, my whole life, have had the odds working against me. And so I’m hoping, I’m really hoping, for a good outcome,” she explained in the episode, according to People. “Not everyone is perfect at taking a polygraph test, but I have a glimmer of hope that this will work out in my favor, and people will be like, okay, you know what? She’s just a normal girl that had an unfortunate situation happen.”
Despite her hopes, it’s been revealed that Price shockingly did not pass the portion of the test when she was asked directly if she physically caused her ex-husband’s fall. Although she said she did not, she received the result “deception indicated.”
Ex FBI agent George Olivo, who administered the test, informed her that she had “failed” that part of the exam.
“There’s two things I know for sure, Shannon. One, you were not completely honest with me yesterday during this polygraph section. And two, the other thing I know that’s 100 percent certain, is that there is more to this story that hasn’t been told,” he said. “The body never lies. The body always tells the truth. And your body on that lie detector test spoke loud and clear, there’s something that caused you to fail this test.”
“You say you have nothing to hide. I say you know exactly why you failed this test,” he said as they continued to discuss the results. “Sadly, my professional opinion is the truth is not on your side today.”
Price shot back, “And I figured it wouldn’t be.”
Olivo responded, “Because you already knew you were gonna fail, and you know why you did.”
The first episode of Lie Detector: Truth or Deception is set to air on Thursday, July 10, on A&E.
Stephanie Mills Calls Out Essence Festival ‘Operational Deficiencies’ That ‘Marred’ Her Performance
In an open letter, Stephanie Mills called on Essence Festival to correct the organization’s slew of “operational deficiencies” that she says ultimately negatively impacted her music performance this past weekend.
“I am writing to share my feedback following my performance at this year’s Essence Festival,” Mills said in her statement, which she pinned to her Instagram account on Tuesday. “While I remain grateful for the opportunity to have participated, my overall experience was unfortunately marred by significant production issues that negatively impacted both my performance and the artist experience as a whole.”
In a statement to us, Essence Festival shared that it appreciates “all of the feedback.”
“Essence Festival of Culture is rooted in love and the celebration of Black women,” the event’s statement read. “Ms. Stephanie Mills brought her timeless voice and powerful presence to our Super Lounge stage this year, reminding us all why she remains an icon. We truly appreciate all of the feedback we’ve received and are honored that she chose the Essence Festival of Culture to kick off her summer tour.”
In her message, which was issued by her company Mills Entertainment Group, the singer and actress said she believes the issues she experienced are the result of “broader organizational shortcomings” at the festival.
“The scheduling and time management were severely lacking, creating a chaotic and stressful environment backstage,” Mills said. “This disorganization cascaded onto the stage, impacting the flow of the event and ultimately diminishing the quality of the performances.”
She added that between “logistical issues,” sound system technical difficulties were “deeply problematic.” She said that she was not the only performer who dealt with the supposed shortfalls.
“These issues were not isolated incidents, but rather persistent problems that severely hampered my ability to deliver my performance to the best of my ability, and I understand I wasn’t alone in experiencing these problems,” Mills said. “This lack of technical preparedness is unacceptable for an event of Essence Festival’s caliber and prestige.”
She continued: “These operational deficiencies ultimately detracted not only from the artists’ performances, but more importantly, from the audience experience. The energy and excitement were repeatedly disrupted, creating a less-than-ideal atmosphere for attendees.”
As she closed out her statement, Mills said the Essence Festival’s production execution fell beneath her expectations, given the event’s rich and praised history. She added that the organization should review this year’s event in an effort to curve similar errors in the future.
“The overall level of professionalism I witnessed fell far short of the standards I’d expect from such a highly regarded festival,” Mills wrote. “I believe a comprehensive review of organizational structure and operational management is necessary to ensure that future Essence Festivals run smoothly and meet the high standards associated with the brand.”
She concluded: “I sincerely hope that my feedback will be taken seriously and utilized to address these significant concerns, ensuring a vastly improved experience for both the artists and attendees in the years to come.”
Mills performed at the Essence Festival this past Sunday at the Superlounge as part of the festival’s third day of events at the Caesars Superdome in New Orleans.
Her message came after Lauryn Hill made headlines for performing in a nearly empty arena at 2:30 a.m. While the singer has previously garnered a reputation for running late for her showtimes, Essence clarified the situation in a statement on Monday.
“She arrived on schedule, stepped on that stage, and delivered the kind of performance only a legend can,” a spokesperson said. “The delay? Not hers. We will take that. The moment? One for the books. The legacy? Still unmatched. Put some respect on her name. Keep the takes, but keep her out of them. All love and deep profound admiration for Ms. Lauryn Hill.”
“I am writing to share my feedback following my performance at this year’s Essence Festival,” Mills said in her statement, which she pinned to her Instagram account on Tuesday. “While I remain grateful for the opportunity to have participated, my overall experience was unfortunately marred by significant production issues that negatively impacted both my performance and the artist experience as a whole.”
In a statement to us, Essence Festival shared that it appreciates “all of the feedback.”
“Essence Festival of Culture is rooted in love and the celebration of Black women,” the event’s statement read. “Ms. Stephanie Mills brought her timeless voice and powerful presence to our Super Lounge stage this year, reminding us all why she remains an icon. We truly appreciate all of the feedback we’ve received and are honored that she chose the Essence Festival of Culture to kick off her summer tour.”
In her message, which was issued by her company Mills Entertainment Group, the singer and actress said she believes the issues she experienced are the result of “broader organizational shortcomings” at the festival.
“The scheduling and time management were severely lacking, creating a chaotic and stressful environment backstage,” Mills said. “This disorganization cascaded onto the stage, impacting the flow of the event and ultimately diminishing the quality of the performances.”
She added that between “logistical issues,” sound system technical difficulties were “deeply problematic.” She said that she was not the only performer who dealt with the supposed shortfalls.
“These issues were not isolated incidents, but rather persistent problems that severely hampered my ability to deliver my performance to the best of my ability, and I understand I wasn’t alone in experiencing these problems,” Mills said. “This lack of technical preparedness is unacceptable for an event of Essence Festival’s caliber and prestige.”
She continued: “These operational deficiencies ultimately detracted not only from the artists’ performances, but more importantly, from the audience experience. The energy and excitement were repeatedly disrupted, creating a less-than-ideal atmosphere for attendees.”
As she closed out her statement, Mills said the Essence Festival’s production execution fell beneath her expectations, given the event’s rich and praised history. She added that the organization should review this year’s event in an effort to curve similar errors in the future.
“The overall level of professionalism I witnessed fell far short of the standards I’d expect from such a highly regarded festival,” Mills wrote. “I believe a comprehensive review of organizational structure and operational management is necessary to ensure that future Essence Festivals run smoothly and meet the high standards associated with the brand.”
She concluded: “I sincerely hope that my feedback will be taken seriously and utilized to address these significant concerns, ensuring a vastly improved experience for both the artists and attendees in the years to come.”
Mills performed at the Essence Festival this past Sunday at the Superlounge as part of the festival’s third day of events at the Caesars Superdome in New Orleans.
Her message came after Lauryn Hill made headlines for performing in a nearly empty arena at 2:30 a.m. While the singer has previously garnered a reputation for running late for her showtimes, Essence clarified the situation in a statement on Monday.
“She arrived on schedule, stepped on that stage, and delivered the kind of performance only a legend can,” a spokesperson said. “The delay? Not hers. We will take that. The moment? One for the books. The legacy? Still unmatched. Put some respect on her name. Keep the takes, but keep her out of them. All love and deep profound admiration for Ms. Lauryn Hill.”
Janet Jackson and Maxwell Spark Romance Rumors While Holding Hands in London
Janet Jackson may have a new man in her life. On Monday, July 7, Jackson, 59, was spotted holding hands with R&B singer Maxwell while attending the 1500th performance of Cabaret At The Kit Kat Club in London.
For the special occasion, Jackson wore a co-ord white pantsuit with her hair in a bun, while Maxwell, 52, wore a black striped suit and a pair of gold sunglasses.
Jackson previously married Wissam Al Mana in 2012. The twosome called it quits in April 2017, three months after they welcomed son Eissa.
“[She] felt hidden from family and friends,” a source told Us Weekly in September 2017 of Jackson’s previous relationship. “Janet felt like a prisoner.”
Prior to her marriage with Al Mana, 50, Jackson was married to James DeBarge from 1984 to 1985, followed by René Elizondo Jr. from 1991 to 2003.
Since her split from Al Mana, Jackson has been focused on being a mother to Eissa and couldn’t help but gush about the “beautiful impact” he has had on her life.
“The most important thing I’ve done, the biggest thing I’ve done, is become a mother, and it’s had a beautiful impact on my life,” she said in an interview with The Guardian in September 2024. “I wanted to have three children, but thought, ‘I should stop there, that’s probably all I can handle.’”
Jackson noted she couldn’t have more than three children because “you have to give all of yourself” to your kids.
“Obviously, you have to work, but you don’t come first anymore,” she explained. “Your life completely changes. And I wouldn’t trade it for anything.”
The “Someone to Call My Lover” singer also shared that she wants her son to have a normal childhood outside of the spotlight.
“I want him to experience being a child because you don’t get to do this over,” she shared with The Guardian. “You’re an adult for the rest of your life, so I want him to enjoy each and every minute of being a child.”
Aside from being a mother, Jackson has also been excelling in career, even receiving the ICON Award at the 2025 American Music Awards in May.
“I am so so honored. I am so grateful,” she shared in her acceptance speech. “I mean, no disrespect in any way, but I don’t consider myself an icon. My family, myself, our dream wasn’t ever to be famous. We weren't raised like that.”
Janet, the sister of Michael Jackson, said that she and her nine other siblings always had a “special love for music, dancing [and] singing” and that their “fame came with the result of hard work and dedication.”
“My story, my family’s story, is truly an American story. This would have only happened in America,” she explained, noting that she hoped that she’s “been an inspiration” to other artists to “follow their dreams and succeed.”
For the special occasion, Jackson wore a co-ord white pantsuit with her hair in a bun, while Maxwell, 52, wore a black striped suit and a pair of gold sunglasses.
Jackson previously married Wissam Al Mana in 2012. The twosome called it quits in April 2017, three months after they welcomed son Eissa.
“[She] felt hidden from family and friends,” a source told Us Weekly in September 2017 of Jackson’s previous relationship. “Janet felt like a prisoner.”
Prior to her marriage with Al Mana, 50, Jackson was married to James DeBarge from 1984 to 1985, followed by René Elizondo Jr. from 1991 to 2003.
Since her split from Al Mana, Jackson has been focused on being a mother to Eissa and couldn’t help but gush about the “beautiful impact” he has had on her life.
“The most important thing I’ve done, the biggest thing I’ve done, is become a mother, and it’s had a beautiful impact on my life,” she said in an interview with The Guardian in September 2024. “I wanted to have three children, but thought, ‘I should stop there, that’s probably all I can handle.’”
Jackson noted she couldn’t have more than three children because “you have to give all of yourself” to your kids.
“Obviously, you have to work, but you don’t come first anymore,” she explained. “Your life completely changes. And I wouldn’t trade it for anything.”
The “Someone to Call My Lover” singer also shared that she wants her son to have a normal childhood outside of the spotlight.
“I want him to experience being a child because you don’t get to do this over,” she shared with The Guardian. “You’re an adult for the rest of your life, so I want him to enjoy each and every minute of being a child.”
Aside from being a mother, Jackson has also been excelling in career, even receiving the ICON Award at the 2025 American Music Awards in May.
“I am so so honored. I am so grateful,” she shared in her acceptance speech. “I mean, no disrespect in any way, but I don’t consider myself an icon. My family, myself, our dream wasn’t ever to be famous. We weren't raised like that.”
Janet, the sister of Michael Jackson, said that she and her nine other siblings always had a “special love for music, dancing [and] singing” and that their “fame came with the result of hard work and dedication.”
“My story, my family’s story, is truly an American story. This would have only happened in America,” she explained, noting that she hoped that she’s “been an inspiration” to other artists to “follow their dreams and succeed.”
Dwight Howard's Wife Amy Luciani Files for Divorce After Just 6 Months of Marriage
Former NBA star Dwight Howard and reality TV personality Amy Luciani are heading for divorce after just six months of marriage.
According to court records filed on July 1, Luciani — whose real name is Amber Howard — requested a divorce from Howard, stating that the marriage is "irretrievably broken" and there are "no prospects for reconciliation." The couple got married on January 11, 2025.
Just one day after the filing, a mutual restraining order was issued, adding to the shock surrounding their split, People said.
Luciani, 35, is best known for her role on "Love & Hip Hop: Atlanta."She is asking the court for equal division of their marital assets and is also seeking alimony in the form of periodic payments, lump sums, or a combination of both.
While neither Howard nor Luciani has publicly commented on the filing, Luciani shared an Instagram Story on July 7 that seemed to hint at the situation. The post read, "Remember if God brought you to it, He will bring you through it."
Howard, 39, had gone public with their relationship in December 2024, calling Luciani his "perfect person" on social media just weeks before they married.
The couple kept their romance mostly private, with occasional glimpses shared on Instagram.
She wrote, "I spent the perfect day soaking in the fact that God really loves me," and thanked family, friends, and supporters — but made no reference to her husband.
Luciani has since removed all traces of Howard from her Instagram page.
Howard retired from professional basketball in 2023 after a long career that included time with the Orlando Magic, Los Angeles Lakers, and Houston Rockets, among others.
He later appeared on "Dancing with the Stars" in 2024 and competed on "Special Forces: World's Toughest Test" in 2023.
Amy Luciani, meanwhile, has built her career as a rapper, reality star, and entrepreneur. She also runs a nonprofit and authored a children's book focused on safety awareness.
According to court records filed on July 1, Luciani — whose real name is Amber Howard — requested a divorce from Howard, stating that the marriage is "irretrievably broken" and there are "no prospects for reconciliation." The couple got married on January 11, 2025.
Just one day after the filing, a mutual restraining order was issued, adding to the shock surrounding their split, People said.
Luciani, 35, is best known for her role on "Love & Hip Hop: Atlanta."She is asking the court for equal division of their marital assets and is also seeking alimony in the form of periodic payments, lump sums, or a combination of both.
While neither Howard nor Luciani has publicly commented on the filing, Luciani shared an Instagram Story on July 7 that seemed to hint at the situation. The post read, "Remember if God brought you to it, He will bring you through it."
Howard, 39, had gone public with their relationship in December 2024, calling Luciani his "perfect person" on social media just weeks before they married.
The couple kept their romance mostly private, with occasional glimpses shared on Instagram.
She wrote, "I spent the perfect day soaking in the fact that God really loves me," and thanked family, friends, and supporters — but made no reference to her husband.
Luciani has since removed all traces of Howard from her Instagram page.
Howard retired from professional basketball in 2023 after a long career that included time with the Orlando Magic, Los Angeles Lakers, and Houston Rockets, among others.
He later appeared on "Dancing with the Stars" in 2024 and competed on "Special Forces: World's Toughest Test" in 2023.
Amy Luciani, meanwhile, has built her career as a rapper, reality star, and entrepreneur. She also runs a nonprofit and authored a children's book focused on safety awareness.
'The Devil Wears Prada 2' Full Cast Revealed
The Devil Wears Prada 2 is officially in the works and with filming about to begin, the full cast of the movie has been announced.
Meryl Streep, Anne Hathaway, and Emily Blunt are all reprising their roles in the upcoming sequel alongside several other returning stars.
Nine exciting actors have joined the cast in new roles and we also know that some OGs won’t be back for the sequel.
The sequel will see Miranda (Streep) still the head of Runway, contending with the headwinds of publishing, with the magazine now in a diminished state. Emily‘s character will now be an executive at a luxury brand conglomerate that advertises with Runway. Meryl Streep, Anne Hathaway, Emily Blunt, and Stanley Tucci will reprise their roles, while Simone Ashley, Lucy Liu, Justin Theroux, B.J. Novak, Pauline Chalamet, Kenneth Branagh, Conrad Ricamora, Helen J. Shen, and Caleb Hearon are joining the cast. Some original cast members, like Adrian Grenier (Nate), will not be returning
The film is set to shoot in New York and Italy. The highly anticipated sequel is set to be released on May 1, 2026.
The Devil Wears Prada 2 is officially in the works and with filming about to begin, the full cast of the movie has been announced.
Meryl Streep, Anne Hathaway, and Emily Blunt are all reprising their roles in the upcoming sequel alongside several other returning stars.
Nine exciting actors have joined the cast in new roles and we also know that some OGs won’t be back for the sequel.
The sequel will see Miranda (Streep) still the head of Runway, contending with the headwinds of publishing, with the magazine now in a diminished state. Emily‘s character will now be an executive at a luxury brand conglomerate that advertises with Runway. Meryl Streep, Anne Hathaway, Emily Blunt, and Stanley Tucci will reprise their roles, while Simone Ashley, Lucy Liu, Justin Theroux, B.J. Novak, Pauline Chalamet, Kenneth Branagh, Conrad Ricamora, Helen J. Shen, and Caleb Hearon are joining the cast. Some original cast members, like Adrian Grenier (Nate), will not be returning
The film is set to shoot in New York and Italy. The highly anticipated sequel is set to be released on May 1, 2026.
French Montana and The Princess of Dubai Make Headlines in Paris as Official Couple
Multi-platinum recording artist French Montana and Xtianna, The Princess of Dubai, redefined headlines during Paris Fashion Week (PFW) with their first official appearance as a couple. Their elegant and undeniable debut, strolling arm-in-arm through the world’s fashion capital, gracefully confirmed the swirling speculation about their burgeoning romance.
The highly anticipated sighting unfolded amidst one of the most exclusive and influential global events, with the radiant duo effortlessly capturing the attention of photographers, style influencers, and industry insiders alike. As they graced a series of exclusive shows and private soirées, their combined aura of regal elegance and undeniable star power became the quintessential buzz of the entire week, solidifying their status as a compelling new power couple.
Sources close to the couple have confirmed the official nature of their relationship, marking a significant and captivating union between the realms of music royalty and Middle Eastern nobility. Their Paris appearance was far more than a mere photo opportunity; it was a clear, definitive, and public statement to the world.
French Montana, celebrated for his chart-topping music and extensive philanthropic endeavors across Africa and the Middle East, has consistently embraced a vision of global culture and connection. His steadily growing presence within the region harmonizes seamlessly with Princess Xtianna’s forward-facing commitment to fostering international collaboration and cultural diplomacy.
As the world’s attention now firmly rests on this distinguished high-profile couple, admirers and the media eagerly anticipate what lies ahead, from potential joint ventures that span continents to future appearances that will undoubtedly blend their unique influences in music, fashion, and global affairs, promising to continue making headlines.
Multi-platinum recording artist French Montana and Xtianna, The Princess of Dubai, redefined headlines during Paris Fashion Week (PFW) with their first official appearance as a couple. Their elegant and undeniable debut, strolling arm-in-arm through the world’s fashion capital, gracefully confirmed the swirling speculation about their burgeoning romance.
The highly anticipated sighting unfolded amidst one of the most exclusive and influential global events, with the radiant duo effortlessly capturing the attention of photographers, style influencers, and industry insiders alike. As they graced a series of exclusive shows and private soirées, their combined aura of regal elegance and undeniable star power became the quintessential buzz of the entire week, solidifying their status as a compelling new power couple.
Sources close to the couple have confirmed the official nature of their relationship, marking a significant and captivating union between the realms of music royalty and Middle Eastern nobility. Their Paris appearance was far more than a mere photo opportunity; it was a clear, definitive, and public statement to the world.
French Montana, celebrated for his chart-topping music and extensive philanthropic endeavors across Africa and the Middle East, has consistently embraced a vision of global culture and connection. His steadily growing presence within the region harmonizes seamlessly with Princess Xtianna’s forward-facing commitment to fostering international collaboration and cultural diplomacy.
As the world’s attention now firmly rests on this distinguished high-profile couple, admirers and the media eagerly anticipate what lies ahead, from potential joint ventures that span continents to future appearances that will undoubtedly blend their unique influences in music, fashion, and global affairs, promising to continue making headlines.
Missy Elliott, Anthony Edwards, Jennie and More Front New Adidas Superstar Campaign
The German sports brand is featuring rapper, songwriter and producer Missy Elliott, skateboarder Mark Gonzales, NBA star Anthony Edwards, rapper GloRilla, singer and songwriter Teezo Touchdown, musician Jennie and model and actress Gabbriette in a film that is narrated by actor Samuel L. Jackson.
The campaign features two chapters: First was “Pyramids,” a teaser that was released last week with Jackson pondering the lasting significance of the pyramids that he describes as: “big old piles of rock, middle of the desert, they ain’t shiny, they don’t light up, no Wi-Fi, no holograms and not even a food court. But 4,000 years later, people still fly across the world to see them. Why? Because they were made to last.” The video ends with Jackson — dressed in a track suit with the signature Adidas three stripes — putting his Superstars up on a table.
The second chapter, titled “Clocks,” features the seven faces from music, basketball and street culture. “When icons wear icons, culture moves,” the brand said in a statement.
“The Superstar has always been more than just a sneaker — it’s a symbol of originality and a spark for cultural change,” said Annie Barrett, vice president of marketing for Adidas Originals. “From street corners to global stages, it’s been worn by those who don’t wait for permission to lead. This campaign isn’t about looking back — it’s about spotlighting a new generation of Originals who are building what’s next, unapologetically.”
This marks the latest campaign for Originals, which offers collections rooted in sport but adopted by culture. The sub-brand was created in 2001 to reimagine key pieces within the company’s archives. The collection uses the Trefoil logo that was introduced in 1972. Over the years, Adidas Originals has partnered with Run-D.M.C., Y-3, Kith, Pharrell Williams’ Humanrace, Sporty & Rich and others.
The campaign was directed by photographer and filmmaker Thibaut Grevet. It serves to promote the Superstar shoe, which is being offered in either white or black, as well as the Firebird Tracksuit, which was introduced in 1967.
In the first quarter of fiscal 2025, Adidas reported that the company posted double-digit increases in footwear, apparel and lifestyle revenues in the period, led by Originals and other categories.
The campaign features two chapters: First was “Pyramids,” a teaser that was released last week with Jackson pondering the lasting significance of the pyramids that he describes as: “big old piles of rock, middle of the desert, they ain’t shiny, they don’t light up, no Wi-Fi, no holograms and not even a food court. But 4,000 years later, people still fly across the world to see them. Why? Because they were made to last.” The video ends with Jackson — dressed in a track suit with the signature Adidas three stripes — putting his Superstars up on a table.
The second chapter, titled “Clocks,” features the seven faces from music, basketball and street culture. “When icons wear icons, culture moves,” the brand said in a statement.
“The Superstar has always been more than just a sneaker — it’s a symbol of originality and a spark for cultural change,” said Annie Barrett, vice president of marketing for Adidas Originals. “From street corners to global stages, it’s been worn by those who don’t wait for permission to lead. This campaign isn’t about looking back — it’s about spotlighting a new generation of Originals who are building what’s next, unapologetically.”
This marks the latest campaign for Originals, which offers collections rooted in sport but adopted by culture. The sub-brand was created in 2001 to reimagine key pieces within the company’s archives. The collection uses the Trefoil logo that was introduced in 1972. Over the years, Adidas Originals has partnered with Run-D.M.C., Y-3, Kith, Pharrell Williams’ Humanrace, Sporty & Rich and others.
The campaign was directed by photographer and filmmaker Thibaut Grevet. It serves to promote the Superstar shoe, which is being offered in either white or black, as well as the Firebird Tracksuit, which was introduced in 1967.
In the first quarter of fiscal 2025, Adidas reported that the company posted double-digit increases in footwear, apparel and lifestyle revenues in the period, led by Originals and other categories.
Supreme Court Clears Path for Trump to Fire Federal Workers and Dismantle Agencies
The Supreme Court has temporarily cleared a major hurdle for Donald Trump, allowing him to move forward—at least for now—with sweeping plans to slash federal jobs and overhaul multiple government agencies.
In a decision announced Tuesday, the high court placed an administrative hold on a lower court ruling that had blocked Trump’s initiative. Justice Ketanji Brown Jackson was the lone voice of dissent, calling the move “hubristic and senseless.”
At the heart of the case is Trump’s executive order and a related memo that laid out plans to downsize or reorganize 19 federal agencies, including key entities like the Office of Management and Budget, the Office of Personnel Management, and even the U.S. DOGE Service.
Earlier this year, U.S. District Judge Susan Illston ruled that Trump had overstepped by attempting to bypass Congress in a wholesale reworking of government operations. She emphasized that while the president has authority to propose changes, he can’t act unilaterally when Congress has set clear guidelines.
But Trump’s legal team pushed back hard. Solicitor General D. John Sauer argued that the president has constitutional authority under Article II to control federal personnel and doesn’t need a permission slip from Congress to do his job.
Opponents—including major unions, advocacy groups, and cities like Chicago and Baltimore—warned that the cuts could gut vital services and eliminate legally required programs. They urged the court to let the full legal process play out before allowing the plan to take effect.
While Tuesday’s decision doesn’t settle the case, it’s a significant win for Trump and a blow to those fighting to preserve the structure and stability of federal operations.
For now, federal workers and the public are left bracing for what could be a major shake-up in how the U.S. government functions—depending on how this legal battle ends.
In a decision announced Tuesday, the high court placed an administrative hold on a lower court ruling that had blocked Trump’s initiative. Justice Ketanji Brown Jackson was the lone voice of dissent, calling the move “hubristic and senseless.”
At the heart of the case is Trump’s executive order and a related memo that laid out plans to downsize or reorganize 19 federal agencies, including key entities like the Office of Management and Budget, the Office of Personnel Management, and even the U.S. DOGE Service.
Earlier this year, U.S. District Judge Susan Illston ruled that Trump had overstepped by attempting to bypass Congress in a wholesale reworking of government operations. She emphasized that while the president has authority to propose changes, he can’t act unilaterally when Congress has set clear guidelines.
But Trump’s legal team pushed back hard. Solicitor General D. John Sauer argued that the president has constitutional authority under Article II to control federal personnel and doesn’t need a permission slip from Congress to do his job.
Opponents—including major unions, advocacy groups, and cities like Chicago and Baltimore—warned that the cuts could gut vital services and eliminate legally required programs. They urged the court to let the full legal process play out before allowing the plan to take effect.
While Tuesday’s decision doesn’t settle the case, it’s a significant win for Trump and a blow to those fighting to preserve the structure and stability of federal operations.
For now, federal workers and the public are left bracing for what could be a major shake-up in how the U.S. government functions—depending on how this legal battle ends.
AND FINALLY FROM “THE CRAZY PEOPLE SHOPPING AT WALMART” FILES
HAVE A GREAT DAY ALL!!!
EFREM
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