#MAGFAB: Anok Yai by Thibaut Grevet: For Perfect Magazine #9
Superstar creative and top model Anok Yai [IG] is styled by Jaheel Weaver [IG] in images by Thibaut Grevet [IG] for The Perfect Magazine #9 Hair by Jacob Kajrup; makeup by Ana Takahashi; set design by Afra Zamara
Many Models are More than Mannequins
Anok speaks words about fashion editorials when she says: "I believe that editorials should be like short films; It should take you on a journey and it should draw you into its world. I’m not gonna lie, there’s nothing I hate more than sitting in front of a white wall and looking bored. I decided to come up with ideas for editorials that I would want to see"
Anok’s remarks reference about the H&M ‘In Between’ campaign putting the models in charge of creating their own narratives.
Frankly, this H&M strategy [of trusting that these figures are best trusted to express their own ‘celebrity’ selves moving from one show to the next] appeals to the models, who continue to seek greater direct influence in fashion week action and events. Translated, they want to have roles beyond being a mannequin.
Anok continues from her very insightful perch of an accomplished artist and creative who runs into life and not away from it. From her paintings and small movie roles to her Perfect Magazine commentary, the prism of her mind goes deeply into the human spirit and experience; and the contradictions of life.
I’ve always been enamored by stories of people disappearing or faking their deaths to start new lives with new identities. Cutting all contact with the past —essentially becoming a new person.
What drives someone to that point .. Desperation? Reinvention? Crime? Autonomy? Love?
If you were able to start a new life but at the cost of destroying your old one … would you do it?
I ask myself this question all the time but the answer always changes..
This editorial represents a woman who made the decision to destroy her past, fake her death, and become anew.
Rebirth by fire.
Many Models are More than Mannequins
Anok speaks words about fashion editorials when she says: "I believe that editorials should be like short films; It should take you on a journey and it should draw you into its world. I’m not gonna lie, there’s nothing I hate more than sitting in front of a white wall and looking bored. I decided to come up with ideas for editorials that I would want to see"
Frankly, this H&M strategy [of trusting that these figures are best trusted to express their own ‘celebrity’ selves moving from one show to the next] appeals to the models, who continue to seek greater direct influence in fashion week action and events. Translated, they want to have roles beyond being a mannequin.
Anok continues from her very insightful perch of an accomplished artist and creative who runs into life and not away from it. From her paintings and small movie roles to her Perfect Magazine commentary, the prism of her mind goes deeply into the human spirit and experience; and the contradictions of life.
I’ve always been enamored by stories of people disappearing or faking their deaths to start new lives with new identities. Cutting all contact with the past —essentially becoming a new person.
What drives someone to that point .. Desperation? Reinvention? Crime? Autonomy? Love?
I ask myself this question all the time but the answer always changes..
This editorial represents a woman who made the decision to destroy her past, fake her death, and become anew.
Rebirth by fire.
#RHOP: Andy Cohen Breaks Silence on RHOP Star Dr. Wendy Osefo's Arrest
Andy Cohen is no longer pleading the fifth when it comes to Dr. Wendy Osefo's shocking arrest.
Four days after The Real Housewives of Potomac star and her husband Eddie Osefo were taken into custody in Westminster, Md., on Oct. 9 for multiple felony charges of fraud, Andy addressed his fellow Bravo stars' new legal problems.
"Like all of you, I found out about the charges against Wendy and Eddie Osefo on Friday morning and there’s not much that I can say," the Watch What Happens Live host said during the Oct. 13 episode of his SiriusXM Andy Cohen Live radio show. "I know nothing of the charges more than you guys do, than what I’ve read."
"I’m really sad about this," Andy added, noting, "I’m a Wendy fan and she has been a great Housewife and a great role model."
The 57-year-old went on to praise Wendy—who shares kids Karter, 11, Kruz, 9, and Kamrynn, 5, with Eddie—for always promoting "education and her solid family values," adding, "I’m really thinking about her and her family."
Last week, a Maryland grand jury indicted Wendy and Eddie, both 41, on multiple felony counts of fraud—seven for the former professor and nine for her husband. Additionally, they were each charged with eight misdemeanor counts of conspiracy fraud and one count of giving a false statement to a police officer, according to online records viewed by E! News.
The charges are related to an April 2024 incident where the Osefos allegedly fraudulently reported a burglary and theft at their home, the Carroll County Sheriff’s Office said in an Oct. 10 statement.
After the couple were released on a $50,000 bond and returned home in the early hours of Oct. 10, a rep for Wendy and Eddie publicly addressed their run-in with the law for the first time.
"Dr. Wendy Osefo and her husband, Edward Osefo, are back home safely with their family and in good spirits,” Wendy’s rep told E! News in an Oct. 10 statement. “They are grateful for the outpouring of concern and support from friends, fans and colleagues.”
The rep added, “The Osefos, alongside their legal team, look forward to their day in court. At this time, they respectfully ask for privacy as they focus on their family and the legal process ahead."
The pair are due back in court in November, online court records show.
The Real Housewives of Potomac airs Sundays at 8 p.m. on Bravo.
Andy Cohen is no longer pleading the fifth when it comes to Dr. Wendy Osefo's shocking arrest.
Four days after The Real Housewives of Potomac star and her husband Eddie Osefo were taken into custody in Westminster, Md., on Oct. 9 for multiple felony charges of fraud, Andy addressed his fellow Bravo stars' new legal problems.
"Like all of you, I found out about the charges against Wendy and Eddie Osefo on Friday morning and there’s not much that I can say," the Watch What Happens Live host said during the Oct. 13 episode of his SiriusXM Andy Cohen Live radio show. "I know nothing of the charges more than you guys do, than what I’ve read."
"I’m really sad about this," Andy added, noting, "I’m a Wendy fan and she has been a great Housewife and a great role model."
The 57-year-old went on to praise Wendy—who shares kids Karter, 11, Kruz, 9, and Kamrynn, 5, with Eddie—for always promoting "education and her solid family values," adding, "I’m really thinking about her and her family."
Last week, a Maryland grand jury indicted Wendy and Eddie, both 41, on multiple felony counts of fraud—seven for the former professor and nine for her husband. Additionally, they were each charged with eight misdemeanor counts of conspiracy fraud and one count of giving a false statement to a police officer, according to online records viewed by E! News.
The charges are related to an April 2024 incident where the Osefos allegedly fraudulently reported a burglary and theft at their home, the Carroll County Sheriff’s Office said in an Oct. 10 statement.
After the couple were released on a $50,000 bond and returned home in the early hours of Oct. 10, a rep for Wendy and Eddie publicly addressed their run-in with the law for the first time.
"Dr. Wendy Osefo and her husband, Edward Osefo, are back home safely with their family and in good spirits,” Wendy’s rep told E! News in an Oct. 10 statement. “They are grateful for the outpouring of concern and support from friends, fans and colleagues.”
The rep added, “The Osefos, alongside their legal team, look forward to their day in court. At this time, they respectfully ask for privacy as they focus on their family and the legal process ahead."
The pair are due back in court in November, online court records show.
The Real Housewives of Potomac airs Sundays at 8 p.m. on Bravo.
#NewMusic from Moonchild With ‘Ride the Wave’
The R&B trio Moonchild has released their new single “Ride the Wave” featuring Astyn Turr.
The smooth-sailing track is enough to quiet any inner noise with lead vocalist Amber Navran’s signature airy vocals beautifully complemented by Turr’s grounding lower notes.
Lyrically, “Ride the Wave” is an encouraging reminder that we all face life’s lows, and just as we embrace its highs, enduring the lows is essential, as they work in tandem to shape our journeys. While we can’t always control what happens, we do have agency over how we respond.
“You won’t keep it from coming your way / All you can do is ride the wave,” Navran sings.
“‘Ride The Wave’ is about accepting that emotions — even the hard ones — are part of being alive,” Moonchild explains. “It’s about giving yourself permission to feel it all and still move through it.”
They continue, “We wanted it to feel like a breath — a small act of self-kindness in song form and Astyn Turr brought a beautiful softness to it. We released it on World Mental Health Day as a reminder that healing isn’t linear — it comes in waves, and all you can do is ride them.”
“Ride The Wave” is accompanied by a music video, directed by Jeremy Eichenbaum, that can be watched below.
Moonchild’s latest track follows their “Not Sorry,” which features Jill Scott and Rapsody. “We wanted this song to feel like a reclamation of voice and power,” shared Moonchild. “To have Jill Scott and Rapsody join us in telling that story is truly an honor.”
“Ride The Wave” and “Not Sorry” will appear on Moonchild’s forthcoming project, which is set to arrive in 2026. It will follow their Grammy-nominated album Starfruit (2022).
The smooth-sailing track is enough to quiet any inner noise with lead vocalist Amber Navran’s signature airy vocals beautifully complemented by Turr’s grounding lower notes.
Lyrically, “Ride the Wave” is an encouraging reminder that we all face life’s lows, and just as we embrace its highs, enduring the lows is essential, as they work in tandem to shape our journeys. While we can’t always control what happens, we do have agency over how we respond.
“You won’t keep it from coming your way / All you can do is ride the wave,” Navran sings.
“‘Ride The Wave’ is about accepting that emotions — even the hard ones — are part of being alive,” Moonchild explains. “It’s about giving yourself permission to feel it all and still move through it.”
They continue, “We wanted it to feel like a breath — a small act of self-kindness in song form and Astyn Turr brought a beautiful softness to it. We released it on World Mental Health Day as a reminder that healing isn’t linear — it comes in waves, and all you can do is ride them.”
“Ride The Wave” is accompanied by a music video, directed by Jeremy Eichenbaum, that can be watched below.
Moonchild’s latest track follows their “Not Sorry,” which features Jill Scott and Rapsody. “We wanted this song to feel like a reclamation of voice and power,” shared Moonchild. “To have Jill Scott and Rapsody join us in telling that story is truly an honor.”
“Ride The Wave” and “Not Sorry” will appear on Moonchild’s forthcoming project, which is set to arrive in 2026. It will follow their Grammy-nominated album Starfruit (2022).
Stream Moonchild’s new song “Ride The Wave” featuring Astyn Turr BELOW:
#HipHopNews: Quavo Says New Album With Pharrell Is “On The Way”
Quavo confirmed he’s working on a full-length project with Pharrell Williams that was recorded entirely in Paris.
The album was created at Louis Vuitton’s headquarters, where Pharrell built a studio after becoming the brand’s Men’s Creative Director.
Their collaboration highlights the growing connection between Hip Hop and luxury fashion, building on past hits like “Stir Fry.”
Quavo has apparently been in the lab working on his new album with a top-tier collaborator. In footage posted on Oct. 2, the former Migos rapper revealed that his next project will be in collaboration with Pharrell Williams.
Quavo told the paparazzi in Paris about his musical plans. While heading toward an awaiting car, he was asked about a new album, and he was liberal with the tea.
“It’s on the way,” the “WORKIN ME” rapper said. “We dropping it — me and Pharrell.”
He didn’t stop there, either, adding, “We recorded the whole album in Paris. We recorded at [the] Louis V headquarters.”
The Louis Vuitton record studio has definitely been busy. Pharrell currently serves as Louis Vuitton’s Men’s Creative Director, a role he’s had since early 2023. Soon after taking on the title, he built a studio in the French luxury brand’s Paris headquarters so he could simultaneously work on fashion and music. Clipse reportedly recorded their entire Let God Sort Em Out album in the space.
Quavo, whose last album was 2023’s Rocket Power, is not new to collaborating with Pharrell. The Atlanta rapper’s debut album, QUAVO HUNCHO, saw the two unite on “GO ALL THE WAY.” However, their biggest joint effort is the Migos’ “Stir Fry,” which has gone 5X platinum and appeared on the group’s Culture II album.
Though the Migos are on hiatus — especially considering the unfortunate passing of Takeoff in 2022 — Offset mentioned that a reunion with Quavo isn't out of the question. “No conversations about that, though, but it’s possible,” Offset told Apple Music’s Ebro Darden in August. “First, we’re just checking in with each other and [seeing] each other’s worlds, ‘Everything good?,’‘You good?,’ you know?”
As for Quavo’s forthcoming album, there are no further details about a release date or potential title. However, on Sunday (Oct. 12), he shared a photo dump on Instagram with plenty of LV imagery and photos of him in Paris with the caption, “Lil dump Ohhittt new stuff [on the way]. [Just] stay down!”
Quavo confirmed he’s working on a full-length project with Pharrell Williams that was recorded entirely in Paris.
The album was created at Louis Vuitton’s headquarters, where Pharrell built a studio after becoming the brand’s Men’s Creative Director.
Their collaboration highlights the growing connection between Hip Hop and luxury fashion, building on past hits like “Stir Fry.”
Quavo has apparently been in the lab working on his new album with a top-tier collaborator. In footage posted on Oct. 2, the former Migos rapper revealed that his next project will be in collaboration with Pharrell Williams.
Quavo told the paparazzi in Paris about his musical plans. While heading toward an awaiting car, he was asked about a new album, and he was liberal with the tea.
“It’s on the way,” the “WORKIN ME” rapper said. “We dropping it — me and Pharrell.”
He didn’t stop there, either, adding, “We recorded the whole album in Paris. We recorded at [the] Louis V headquarters.”
The Louis Vuitton record studio has definitely been busy. Pharrell currently serves as Louis Vuitton’s Men’s Creative Director, a role he’s had since early 2023. Soon after taking on the title, he built a studio in the French luxury brand’s Paris headquarters so he could simultaneously work on fashion and music. Clipse reportedly recorded their entire Let God Sort Em Out album in the space.
Quavo, whose last album was 2023’s Rocket Power, is not new to collaborating with Pharrell. The Atlanta rapper’s debut album, QUAVO HUNCHO, saw the two unite on “GO ALL THE WAY.” However, their biggest joint effort is the Migos’ “Stir Fry,” which has gone 5X platinum and appeared on the group’s Culture II album.
Though the Migos are on hiatus — especially considering the unfortunate passing of Takeoff in 2022 — Offset mentioned that a reunion with Quavo isn't out of the question. “No conversations about that, though, but it’s possible,” Offset told Apple Music’s Ebro Darden in August. “First, we’re just checking in with each other and [seeing] each other’s worlds, ‘Everything good?,’‘You good?,’ you know?”
As for Quavo’s forthcoming album, there are no further details about a release date or potential title. However, on Sunday (Oct. 12), he shared a photo dump on Instagram with plenty of LV imagery and photos of him in Paris with the caption, “Lil dump Ohhittt new stuff [on the way]. [Just] stay down!”
D'Angelo dead: Grammy-winning R&B singer and neo-soul icon was 51
D’Angelo, the Grammy-winning R&B singer and musician who helped usher in the neo-soul movement, has died after a private battle with cancer, his family announced on Tuesday. He was 51.
“The shining star of our family has dimmed his light for us in this life,” his family said in a statement to multiple news outlets. “After a prolonged and courageous battle with cancer, we are heartbroken to announce that Michael D’Angelo Archer, known to his fans around the world as D’Angelo, has been called home, departing this life today.
"We are saddened that he can only leave dear memories with his family, but we are eternally grateful for the legacy of extraordinarily moving music he leaves behind," the statement added. "We ask that you respect our privacy during this difficult time but invite you all join us in mourning his passing while also celebrating the gift of song that he has left for the world.”
Born Michael Archer in Richmond, Va., D’Angelo was the youngest of three sons of a Pentecostal preacher. He grew up playing music with his older brother, Luther Archer. In 1994, they wrote and coproduced the single “U Will Know” for the R&B supergroup Black Men United, which featured Brian McKnight, Usher, R. Kelly, Boyz II Men and Raphael Saadiq, among others.
D’Angelo released his critically acclaimed debut album, Brown Sugar, the following year. His sophomore album, Voodoo, was released in 2000 and is considered a genre-bending landmark.
It won the Grammy Award for Best R&B Album. And the sultry single “United (How Does It Feel)” earned D’Angelo a Grammy for Best Male R&B Vocal Performance, while the song’s music video — featuring a nude, slow-jam crooning D’Angelo — turned him into an unwitting sex symbol. (Critic Robert Christgau once dubbed D’Angelo “R&B Jesus” and a better performer than Marvin Gaye.)
It also drove him away from the public eye, to alcohol abuse and eventually rehab. In 2008, his former manager, Dominique Trenier, told Spin magazine that D'Angelo was entirely uncomfortable with his sex symbol status.
"I’m glad the video did what it did," Trenier recalled. "But he and I were both disappointed because, to this day, in the general populace’s memory, he’s the naked dude.”
After Voodoo, he did not release another studio album until 2014’s Black Messiah, which also won the Grammy for Best R&B Album.
"We are deeply saddened by the passing of D’Angelo," RCA Records, his longtime label, said in a statement. "He was a peerless visionary who effortlessly blended the classic sounds of soul, funk, gospel, R&B, and jazz with a hip hop sensibility."
D’Angelo collaborated with numerous R&B and hip-hop artists as part of a loose collective known as the Soulquarians, including the Roots, Common, J.Dilla, Erykah Badu, Lauryn Hill and his then-girlfriend Angie Stone, with whom he shared a son, Michael Archer Jr., a hip-hop artist who performs as Swayvo Twain. Stone died in a car crash earlier this year.
“I am grateful for your thoughts and prayers during these very difficult times, as it has been a very rough and sad year for me,” Michael Archer Jr. said in a statement to People magazine on Tuesday. “I ask that you please continue to keep me in your thoughts as it will not be easy, but one thing that both my parents taught me was to be strong, and I intend to do just that."
D'Angelo also has another son, Morocco Archer, and a daughter, Imani Archer, who is a singer.
In May, D’Angelo abruptly canceled a scheduled headlining performance at the Roots Picnic in Philadelphia, citing “an unforeseen” medical issue stemming from a recent surgery.
“It is with the deepest of regrets that [I] must cancel my performance at the Roots Picnic in Philadelphia,” D’Angelo wrote in a statement posted on the event’s Instagram page. “But, due to an unforeseen medical delay regarding surgery [I] had earlier this year, [I’ve] been advised by my team of specialist that the performance this weekend could further complicate matters.”
He thanked his fans for their “continued support” and added: “[I’m] currently in the Lab & can’t wait to serve Up what’s in the Pot! LOVE U All and will see you very soon!” ‘A true original’
As news of his death spread, fellow artists and musicians took to social media to post tributes.
"Gonna miss you so much," DJ Premier wrote on X. "Sleep Peacefully D' Love You KING."
New York City's Electric Lady studios, where D'Angelo recorded Voodoo, posted a captionless image of the singer to Instagram.
Flea, bassist for the Red Hot Chili Peppers, posted a heartfelt Instagram tribute, saying, "I never knew him but humbled myself before his music."
“This really hurts,” Jennifer Hudson wrote on X. “We lost a true original today. It just doesn’t seem real!! It can’t be. D’Angelo, your voice will live on forever. Rest well, King!!!”
D’Angelo, the Grammy-winning R&B singer and musician who helped usher in the neo-soul movement, has died after a private battle with cancer, his family announced on Tuesday. He was 51.
“The shining star of our family has dimmed his light for us in this life,” his family said in a statement to multiple news outlets. “After a prolonged and courageous battle with cancer, we are heartbroken to announce that Michael D’Angelo Archer, known to his fans around the world as D’Angelo, has been called home, departing this life today.
"We are saddened that he can only leave dear memories with his family, but we are eternally grateful for the legacy of extraordinarily moving music he leaves behind," the statement added. "We ask that you respect our privacy during this difficult time but invite you all join us in mourning his passing while also celebrating the gift of song that he has left for the world.”
Born Michael Archer in Richmond, Va., D’Angelo was the youngest of three sons of a Pentecostal preacher. He grew up playing music with his older brother, Luther Archer. In 1994, they wrote and coproduced the single “U Will Know” for the R&B supergroup Black Men United, which featured Brian McKnight, Usher, R. Kelly, Boyz II Men and Raphael Saadiq, among others.
D’Angelo released his critically acclaimed debut album, Brown Sugar, the following year. His sophomore album, Voodoo, was released in 2000 and is considered a genre-bending landmark.
It won the Grammy Award for Best R&B Album. And the sultry single “United (How Does It Feel)” earned D’Angelo a Grammy for Best Male R&B Vocal Performance, while the song’s music video — featuring a nude, slow-jam crooning D’Angelo — turned him into an unwitting sex symbol. (Critic Robert Christgau once dubbed D’Angelo “R&B Jesus” and a better performer than Marvin Gaye.)
It also drove him away from the public eye, to alcohol abuse and eventually rehab. In 2008, his former manager, Dominique Trenier, told Spin magazine that D'Angelo was entirely uncomfortable with his sex symbol status.
"I’m glad the video did what it did," Trenier recalled. "But he and I were both disappointed because, to this day, in the general populace’s memory, he’s the naked dude.”
After Voodoo, he did not release another studio album until 2014’s Black Messiah, which also won the Grammy for Best R&B Album.
"We are deeply saddened by the passing of D’Angelo," RCA Records, his longtime label, said in a statement. "He was a peerless visionary who effortlessly blended the classic sounds of soul, funk, gospel, R&B, and jazz with a hip hop sensibility."
D’Angelo collaborated with numerous R&B and hip-hop artists as part of a loose collective known as the Soulquarians, including the Roots, Common, J.Dilla, Erykah Badu, Lauryn Hill and his then-girlfriend Angie Stone, with whom he shared a son, Michael Archer Jr., a hip-hop artist who performs as Swayvo Twain. Stone died in a car crash earlier this year.
“I am grateful for your thoughts and prayers during these very difficult times, as it has been a very rough and sad year for me,” Michael Archer Jr. said in a statement to People magazine on Tuesday. “I ask that you please continue to keep me in your thoughts as it will not be easy, but one thing that both my parents taught me was to be strong, and I intend to do just that."
D'Angelo also has another son, Morocco Archer, and a daughter, Imani Archer, who is a singer.
In May, D’Angelo abruptly canceled a scheduled headlining performance at the Roots Picnic in Philadelphia, citing “an unforeseen” medical issue stemming from a recent surgery.
“It is with the deepest of regrets that [I] must cancel my performance at the Roots Picnic in Philadelphia,” D’Angelo wrote in a statement posted on the event’s Instagram page. “But, due to an unforeseen medical delay regarding surgery [I] had earlier this year, [I’ve] been advised by my team of specialist that the performance this weekend could further complicate matters.”
He thanked his fans for their “continued support” and added: “[I’m] currently in the Lab & can’t wait to serve Up what’s in the Pot! LOVE U All and will see you very soon!” ‘A true original’
As news of his death spread, fellow artists and musicians took to social media to post tributes.
"Gonna miss you so much," DJ Premier wrote on X. "Sleep Peacefully D' Love You KING."
New York City's Electric Lady studios, where D'Angelo recorded Voodoo, posted a captionless image of the singer to Instagram.
Flea, bassist for the Red Hot Chili Peppers, posted a heartfelt Instagram tribute, saying, "I never knew him but humbled myself before his music."
“This really hurts,” Jennifer Hudson wrote on X. “We lost a true original today. It just doesn’t seem real!! It can’t be. D’Angelo, your voice will live on forever. Rest well, King!!!”
REST IN POWER!
Man Tries To Put Out Martin Luther King’s Eternal Flame By Taking A Leak On It, Sent To Jail
A man in Atlanta tried to extinguish Martin Luther King Jr.’s Eternal Flame by urinating on it at the King Center in Atlanta and now faces a stack of criminal charges.
Officers arrested 26-year-old Brent Jones at 4:30 A.M. Saturday after responding to a trespassing call at the historic site on Auburn Avenue. Police say they found Jones urinating in the reflecting pool near the tomb of Dr. King and Coretta Scott King.
According to arrest warrants, Jones caused nearly $3,000 in damage. He “began damaging the property further” when asked to leave “by urinating into the reflection pool at The King Center, where Dr. Martin Luther King and Ms. Coretta Scott King were laid to rest.”
Authorities say Jones didn’t stop there. He “also damaged the eternal flame at the location that is a memorial site for Dr. King Jr.” by urinating on it “to put it out.” Officers added that he was “stomping on the Eternal Flame, causing significant damage.”
The flame, which burns continuously, represents Dr. King’s vision of peace and equality. As described on the King Center’s website, it “symbolizes the continuing effort to realize Dr. King’s dream of the ‘Beloved Community.’”
The arrest report says Jones climbed into the flame’s pot and “stood in the pot damaging it” after ignoring orders to leave the restricted area. He also “proceeded to scatter the documents that were on the memorial podium for Dr. King Jr.”
Security tried to intervene, but Jones began attempting to fight the on-site guard. Once in handcuffs, he managed to slip out of his restraints and resisted officers during the arrest.
While in custody at the precinct, Jones allegedly “attempted to expose himself and urinate” again, leading to an additional public indecency charge.
He now faces charges including second-degree criminal damage to property, criminal trespass, public indecency and obstruction of law enforcement. He was booked into Fulton County Jail.
The King Center later described the incident as “minor,” without offering further comment on repairs or security changes.
This act follows another troubling incident in 2023 when a woman was arrested for allegedly trying to set fire to Dr. King’s birth home.
The King Center, a national landmark, draws thousands of visitors each year who come to honor the legacy of the civil rights icon and his wife.
Officers arrested 26-year-old Brent Jones at 4:30 A.M. Saturday after responding to a trespassing call at the historic site on Auburn Avenue. Police say they found Jones urinating in the reflecting pool near the tomb of Dr. King and Coretta Scott King.
According to arrest warrants, Jones caused nearly $3,000 in damage. He “began damaging the property further” when asked to leave “by urinating into the reflection pool at The King Center, where Dr. Martin Luther King and Ms. Coretta Scott King were laid to rest.”
Authorities say Jones didn’t stop there. He “also damaged the eternal flame at the location that is a memorial site for Dr. King Jr.” by urinating on it “to put it out.” Officers added that he was “stomping on the Eternal Flame, causing significant damage.”
The flame, which burns continuously, represents Dr. King’s vision of peace and equality. As described on the King Center’s website, it “symbolizes the continuing effort to realize Dr. King’s dream of the ‘Beloved Community.’”
The arrest report says Jones climbed into the flame’s pot and “stood in the pot damaging it” after ignoring orders to leave the restricted area. He also “proceeded to scatter the documents that were on the memorial podium for Dr. King Jr.”
Security tried to intervene, but Jones began attempting to fight the on-site guard. Once in handcuffs, he managed to slip out of his restraints and resisted officers during the arrest.
While in custody at the precinct, Jones allegedly “attempted to expose himself and urinate” again, leading to an additional public indecency charge.
He now faces charges including second-degree criminal damage to property, criminal trespass, public indecency and obstruction of law enforcement. He was booked into Fulton County Jail.
The King Center later described the incident as “minor,” without offering further comment on repairs or security changes.
This act follows another troubling incident in 2023 when a woman was arrested for allegedly trying to set fire to Dr. King’s birth home.
The King Center, a national landmark, draws thousands of visitors each year who come to honor the legacy of the civil rights icon and his wife.
Busta Rhymes Denies Assaulting Ex-Assistant Or Making Employee Unclog Toilet With Hand In Defamation Countersuit
Busta Rhymes has formally denied accusations of assault and workplace abuse made by a former assistant, calling the claims false and retaliatory in a newly filed defamation countersuit.
In a response filed today (October 13) in Brooklyn federal court, the Hip-Hop icon and his company, Starbus LLC, rejected all key allegations made by Dashiel Gables, a former assistant who sued earlier this year.
Gables claimed he was physically attacked, underpaid, and blacklisted after working for the rapper between July 2024 and January 2025.
Busta’s legal team acknowledged Gables’ employment and $1,500-per-week salary but denied any wrongdoing. The filing disputes Gables’ claim that Busta Rhymes punched him in a Brooklyn lobby in January 2025, stating the two were present but that the alleged assault never occurred.
Following the incident, Gables said he sought medical treatment for facial injuries and filed a police report. Busta Rhymes later turned himself in and was charged with third-degree assault.
Gables’ lawsuit seeks $6 to $7 million in damages for unpaid wages, emotional distress, and physical harm.
The response also challenges Gables’ claims of wage theft, arguing he was not legally classified as an employee and was paid appropriately under the law.
Busta’s attorneys filed a countersuit for defamation, accusing Gables of deliberately spreading false and damaging claims to media outlets and at a public press conference.
Gables described a hostile work environment that included verbal insults, physical intimidation, and degrading tasks unrelated to job duties.
Among the most disturbing claims is an incident where another assistant was allegedly forced to unclog a toilet with his bare hand after the rapper said it wasn’t cleaned properly – allegations the rapper flatly denies.
“The foregoing statements are statements of purported fact, not opinion or protected rhetorical hyperbole, and they are false. [Busta Rhymes] did not assault or batter Gables, did not ‘routinely assault’ or spit on employees, did not make the alleged threats, and did not commit the other wrongful acts asserted as facts by Gables,” Busta Rhymes’ attorney J. Patrick Butler wrote in the filing.
The countersuit argues that Gables’ statements were made with “actual malice” and have caused serious harm to the rap star’s reputation and business opportunities.
“At the time he made or caused the Publications, Gables knew the statements were false, or acted with reckless disregard for the truth, including by fabricating allegations of criminal conduct and violence, omitting exculpatory facts, and deliberately ignoring contrary evidence. At a minimum, Gables acted negligently in ascertaining the truth,” Butler added.
Busta Rhymes is seeking compensatory and punitive damages, reimbursement of legal fees, and a court-ordered retraction of the statements.
Busta Rhymes has formally denied accusations of assault and workplace abuse made by a former assistant, calling the claims false and retaliatory in a newly filed defamation countersuit.
In a response filed today (October 13) in Brooklyn federal court, the Hip-Hop icon and his company, Starbus LLC, rejected all key allegations made by Dashiel Gables, a former assistant who sued earlier this year.
Gables claimed he was physically attacked, underpaid, and blacklisted after working for the rapper between July 2024 and January 2025.
Busta’s legal team acknowledged Gables’ employment and $1,500-per-week salary but denied any wrongdoing. The filing disputes Gables’ claim that Busta Rhymes punched him in a Brooklyn lobby in January 2025, stating the two were present but that the alleged assault never occurred.
Following the incident, Gables said he sought medical treatment for facial injuries and filed a police report. Busta Rhymes later turned himself in and was charged with third-degree assault.
Gables’ lawsuit seeks $6 to $7 million in damages for unpaid wages, emotional distress, and physical harm.
The response also challenges Gables’ claims of wage theft, arguing he was not legally classified as an employee and was paid appropriately under the law.
Busta’s attorneys filed a countersuit for defamation, accusing Gables of deliberately spreading false and damaging claims to media outlets and at a public press conference.
Gables described a hostile work environment that included verbal insults, physical intimidation, and degrading tasks unrelated to job duties.
Among the most disturbing claims is an incident where another assistant was allegedly forced to unclog a toilet with his bare hand after the rapper said it wasn’t cleaned properly – allegations the rapper flatly denies.
“The foregoing statements are statements of purported fact, not opinion or protected rhetorical hyperbole, and they are false. [Busta Rhymes] did not assault or batter Gables, did not ‘routinely assault’ or spit on employees, did not make the alleged threats, and did not commit the other wrongful acts asserted as facts by Gables,” Busta Rhymes’ attorney J. Patrick Butler wrote in the filing.
The countersuit argues that Gables’ statements were made with “actual malice” and have caused serious harm to the rap star’s reputation and business opportunities.
“At the time he made or caused the Publications, Gables knew the statements were false, or acted with reckless disregard for the truth, including by fabricating allegations of criminal conduct and violence, omitting exculpatory facts, and deliberately ignoring contrary evidence. At a minimum, Gables acted negligently in ascertaining the truth,” Butler added.
Busta Rhymes is seeking compensatory and punitive damages, reimbursement of legal fees, and a court-ordered retraction of the statements.
#BoxOfficeNews: ‘Tron: Ares’ Wins the Weekend With a $33.5 Million Debut
Disney’s sci-fi sequel “Tron: Ares” failed to connect in its box office debut, collecting a disappointing $33.5 million from 4,000 North American theaters over the weekend.
It’s a weak start, even for a five-decade-old franchise that’s never been a commercial juggernaut. The trouble is that “Tron: Are” carries a massive $180 million price tag, not including the many millions the studio spent on marketing. Overseas, “Tron: Ares” didn’t make up much ground, adding another $27 million and putting the final global number at $60 million through Sunday
Heading into the weekend, “Tron: Ares” was targeting a decent domestic debut of $45 million to $50 million. A visual spectacle with neon-hued action, the PG-13 film was popular on premium large formats, with Imax, Dolby and 3D screens accounting for 67% of ticket sales.
However, despite a “B+” grade on CinemaScore exit polls, suggesting audiences mostly liked the film, the futuristic adventure couldn’t expand its audience beyond its target demographic of boys and men. (Nearly 70% of opening weekend crowds were male.) As a result, the final weekend tally didn’t come close to matching the prior installment, 2010’s “Tron: Legacy,” which opened to $44 million, not adjusted for inflation. Ticket sales were, at least, way above the original 1982 “Tron,” which launched with $4.7 million on its way to cult status. Jared Leto, Greta Lee and Evan Peters star in the newest installment, which was directed by “Pirates of the Caribbean” alum Joachim Rønning and topically follows humanity’s first contact with artificial intelligence as an advanced program enters the physical world.
“The movie was tracking well, but interest stalled during the last 10 days and the opening dropped,” says David A. Gross, who runs the movie consulting firm Franchise Entertainment Research. However, he adds, “the science fiction genre has always done well overseas. This is effects-driven, good-guys-versus-bad-guys storytelling that’s understood and well-liked across all cultures.”
It was a dispiriting weekend at the box office as two fellow newcomers — Channing Tatum’s dramedy “Roofman” and Jennifer Lopez’s musical “Kiss of the Spider Woman” — also struggled to pack in crowds. Without a major blockbuster in October to boost grosses, overall domestic ticket sales are just 3.8% ahead of 2024, according to Comscore.
In second place, “Roofman” arrived on the lower end of expectations with $8 million from 3,340 locations in its opening weekend. “Kiss of the Spider Woman” bowed far below projections at No. 13 with a paltry $840,000 from 1,300 screens. “Roofman” was aiming for $8 million to $12 million, while “Kiss of the Spider Woman” was targeting $1.5 million to $3 million.
In the case of “Roofman,” an $8 million start is hardly electrifying for something starring Tatum. However the film cost just $19 million to produce, so it’s not much of a financial risk. Paramount distributed “Roofman,” which was developed, financed and produced by Miramax. Derek Cianfrance directed the true story of a former soldier and professional thief who escapes from prison and finds a hideout in a Toys “R” Us. Reviews and word-of-mouth (the film earned a “B+” grade on CinemaScore exit polls and holds an 85% on Rotten Tomatoes) could help “Roofman” stick around beyond its opening weekend.
“Kiss of the Spider Woman” was independently financed for $34 million before it was acquired by Roadside Attractions and Lionsgate for an unspecified sum after its Sundance debut, making it unclear who will shoulder the theatrical losses. Bill Condon directed the remake, which takes place mostly in an Argentinian prison and follows a queer window dresser who dreams up vivid stories of his favorite screen diva (portrayed by Lopez) to escape the horrors of his imprisonment. This is the second film version of “Kiss of the Spider Woman,” following the acclaimed 1985 feature from director Héctor Babenco, which grossed $17 million globally. Even without adjusting for inflation over the past 40 years, the new take on “Spider Woman” might struggle to match those sales.
At No. 6, Sony’s faith-based “Soul on Fire” debuted to $3 million from 1,720 theaters. The inspirational story, about a man who survived fire burns that covered his body, has resonated with moviegoers, evidenced by the “A” grade on CinemaScore.
Holdover titles otherwise rounded out the top of the box office charts. Third place went to Leonardo DiCaprio’s comedic action epic “One Battle After Another” with $6.7 million from 3,127 theaters, declining 38% from the prior weekend. So far, the film has earned $54.5 million in North America and $138 million globally. Since “One Battle” cost above $130 million to produce, the film needs substantial staying power to justify its outsized budget. Ticket sales are typically split 50-50 between studios and theater operators, so “One Battle After Another” requires roughly $300 million to break even theatrically.
In eighth place, Dwayne Johnson’s R-rated sports drama “The Smashing Machine” cratered by 70% in its second weekend with $1.7 million from 3,321 venues. The film, which cost $50 million, has grossed $10.1 million to date and is shaping up to be a major money loser for A24.
In limited release, director Luca Guadagnino’s #MeToo thriller “After the Hunt” earned $154,467 from six screens, translating to $25,745 per location. Julia Roberts, Ayo Edebiri and Andrew Garfield star in the film about a college professor (Roberts) who finds herself at a personal and professional crossroads when her mentee (Edebiri) accuses a friend and colleague (Garfield) of crossing a line. The true test of the film’s commercial viability will come when Amazon MGM expands “After the Hunt” nationwide next weekend.
Another specialty title, A24’s psychological drama “If I Had Legs I’d Kick You,” earned $89,164 on four locations in New York and Los Angeles over the weekend, averaging $22,291 per screen. Rose Byrne stars in the well-reviewed film as a new mother whose life starts to fall apart.
“After a good September, the last few weeks have under-performed,” Gross says. “Momentum changes quickly at the box office, and it has.”
It’s a weak start, even for a five-decade-old franchise that’s never been a commercial juggernaut. The trouble is that “Tron: Are” carries a massive $180 million price tag, not including the many millions the studio spent on marketing. Overseas, “Tron: Ares” didn’t make up much ground, adding another $27 million and putting the final global number at $60 million through Sunday
Heading into the weekend, “Tron: Ares” was targeting a decent domestic debut of $45 million to $50 million. A visual spectacle with neon-hued action, the PG-13 film was popular on premium large formats, with Imax, Dolby and 3D screens accounting for 67% of ticket sales.
However, despite a “B+” grade on CinemaScore exit polls, suggesting audiences mostly liked the film, the futuristic adventure couldn’t expand its audience beyond its target demographic of boys and men. (Nearly 70% of opening weekend crowds were male.) As a result, the final weekend tally didn’t come close to matching the prior installment, 2010’s “Tron: Legacy,” which opened to $44 million, not adjusted for inflation. Ticket sales were, at least, way above the original 1982 “Tron,” which launched with $4.7 million on its way to cult status. Jared Leto, Greta Lee and Evan Peters star in the newest installment, which was directed by “Pirates of the Caribbean” alum Joachim Rønning and topically follows humanity’s first contact with artificial intelligence as an advanced program enters the physical world.
“The movie was tracking well, but interest stalled during the last 10 days and the opening dropped,” says David A. Gross, who runs the movie consulting firm Franchise Entertainment Research. However, he adds, “the science fiction genre has always done well overseas. This is effects-driven, good-guys-versus-bad-guys storytelling that’s understood and well-liked across all cultures.”
It was a dispiriting weekend at the box office as two fellow newcomers — Channing Tatum’s dramedy “Roofman” and Jennifer Lopez’s musical “Kiss of the Spider Woman” — also struggled to pack in crowds. Without a major blockbuster in October to boost grosses, overall domestic ticket sales are just 3.8% ahead of 2024, according to Comscore.
In second place, “Roofman” arrived on the lower end of expectations with $8 million from 3,340 locations in its opening weekend. “Kiss of the Spider Woman” bowed far below projections at No. 13 with a paltry $840,000 from 1,300 screens. “Roofman” was aiming for $8 million to $12 million, while “Kiss of the Spider Woman” was targeting $1.5 million to $3 million.
In the case of “Roofman,” an $8 million start is hardly electrifying for something starring Tatum. However the film cost just $19 million to produce, so it’s not much of a financial risk. Paramount distributed “Roofman,” which was developed, financed and produced by Miramax. Derek Cianfrance directed the true story of a former soldier and professional thief who escapes from prison and finds a hideout in a Toys “R” Us. Reviews and word-of-mouth (the film earned a “B+” grade on CinemaScore exit polls and holds an 85% on Rotten Tomatoes) could help “Roofman” stick around beyond its opening weekend.
“Kiss of the Spider Woman” was independently financed for $34 million before it was acquired by Roadside Attractions and Lionsgate for an unspecified sum after its Sundance debut, making it unclear who will shoulder the theatrical losses. Bill Condon directed the remake, which takes place mostly in an Argentinian prison and follows a queer window dresser who dreams up vivid stories of his favorite screen diva (portrayed by Lopez) to escape the horrors of his imprisonment. This is the second film version of “Kiss of the Spider Woman,” following the acclaimed 1985 feature from director Héctor Babenco, which grossed $17 million globally. Even without adjusting for inflation over the past 40 years, the new take on “Spider Woman” might struggle to match those sales.
At No. 6, Sony’s faith-based “Soul on Fire” debuted to $3 million from 1,720 theaters. The inspirational story, about a man who survived fire burns that covered his body, has resonated with moviegoers, evidenced by the “A” grade on CinemaScore.
Holdover titles otherwise rounded out the top of the box office charts. Third place went to Leonardo DiCaprio’s comedic action epic “One Battle After Another” with $6.7 million from 3,127 theaters, declining 38% from the prior weekend. So far, the film has earned $54.5 million in North America and $138 million globally. Since “One Battle” cost above $130 million to produce, the film needs substantial staying power to justify its outsized budget. Ticket sales are typically split 50-50 between studios and theater operators, so “One Battle After Another” requires roughly $300 million to break even theatrically.
In eighth place, Dwayne Johnson’s R-rated sports drama “The Smashing Machine” cratered by 70% in its second weekend with $1.7 million from 3,321 venues. The film, which cost $50 million, has grossed $10.1 million to date and is shaping up to be a major money loser for A24.
In limited release, director Luca Guadagnino’s #MeToo thriller “After the Hunt” earned $154,467 from six screens, translating to $25,745 per location. Julia Roberts, Ayo Edebiri and Andrew Garfield star in the film about a college professor (Roberts) who finds herself at a personal and professional crossroads when her mentee (Edebiri) accuses a friend and colleague (Garfield) of crossing a line. The true test of the film’s commercial viability will come when Amazon MGM expands “After the Hunt” nationwide next weekend.
Another specialty title, A24’s psychological drama “If I Had Legs I’d Kick You,” earned $89,164 on four locations in New York and Los Angeles over the weekend, averaging $22,291 per screen. Rose Byrne stars in the well-reviewed film as a new mother whose life starts to fall apart.
“After a good September, the last few weeks have under-performed,” Gross says. “Momentum changes quickly at the box office, and it has.”
Rep. Jasmine Crockett Reacts To Criticism From Stephen A. Smith
Following Stephen A. Smith’s tirade against Jasmine Crockett and those alike, the U.S. Representative for Texas has reacted.
She replied with a prayer hands emoji to rapper Willie D’s comments about Smith.
“Stephen A. Smith taking shots at Jasmine Crockett ain’t just messy, it’s weak,” he stated in a repost shared on Crockett’s Instagram Stories. “Dude is sitting on one of the biggest mics in America, and instead of using it to uplift, he’s tearing down a Black woman who’s out here putting in real work. That ain’t critique, that’s betrayal. Jasmine Crockett ain’t the problem.”
He described Crockett as “the kind of woman who walks into rooms full of snakes and makes the snakes flinch.” When it came to Smith, Willie noted, “Stephen showing us what happens when the paycheck gets louder than the principle. That’s sucker shyt, straight up.”
Last week on Smith’s podcast, Straight Shooter with Stephen A., he called Crockett out.
“How a Jasmine Crockett chooses to express herself, I’m like ‘Is that gonna help your district in Texas?’ Aren’t you there to find a way to get stuff done as opposed to just being an impediment to what Trump wants?,” Smith expressed of Crockett’s critiques of the current head of state.
Oddly enough, he first praised Crockett on the episode. “I’m not calling her out because I don’t like her. I think Jasmine Crockett is an intelligent, accomplished woman,” he noted before mocking her. “‘I’m just gon’ go off about Trump, cuss him out every chance I get, say the most derogatory and incendiary things imaginable and that’s my day’s work.’ That ain’t work!”
Following Stephen A. Smith’s tirade against Jasmine Crockett and those alike, the U.S. Representative for Texas has reacted.
She replied with a prayer hands emoji to rapper Willie D’s comments about Smith.
“Stephen A. Smith taking shots at Jasmine Crockett ain’t just messy, it’s weak,” he stated in a repost shared on Crockett’s Instagram Stories. “Dude is sitting on one of the biggest mics in America, and instead of using it to uplift, he’s tearing down a Black woman who’s out here putting in real work. That ain’t critique, that’s betrayal. Jasmine Crockett ain’t the problem.”
He described Crockett as “the kind of woman who walks into rooms full of snakes and makes the snakes flinch.” When it came to Smith, Willie noted, “Stephen showing us what happens when the paycheck gets louder than the principle. That’s sucker shyt, straight up.”
Last week on Smith’s podcast, Straight Shooter with Stephen A., he called Crockett out.
“How a Jasmine Crockett chooses to express herself, I’m like ‘Is that gonna help your district in Texas?’ Aren’t you there to find a way to get stuff done as opposed to just being an impediment to what Trump wants?,” Smith expressed of Crockett’s critiques of the current head of state.
Oddly enough, he first praised Crockett on the episode. “I’m not calling her out because I don’t like her. I think Jasmine Crockett is an intelligent, accomplished woman,” he noted before mocking her. “‘I’m just gon’ go off about Trump, cuss him out every chance I get, say the most derogatory and incendiary things imaginable and that’s my day’s work.’ That ain’t work!”
Sheryl Lee Ralph and the DIVA Foundation Celebrate 35 Years of "Divas Simply Singing! Raising Health Awareness"
In a meaningful celebration of activism through the arts, Emmy® Award-winning and Tony®-nominated actress and advocate Sheryl Lee Ralph, alongside her nonprofit organization, The DIVA Foundation, is pleased to announce the upcoming 35th Anniversary Gala and Taping of DIVAS Simply Singing! This event aims to raise awareness about important health issues and will be held on Saturday, November 1, 2025, at 5:30 pm at the distinguished Taglyan Cultural Complex in Hollywood, California. Attendees can look forward to an inspiring evening dedicated to addressing health disparities and promoting well-being.
Since its inception in 1990 by Sheryl Lee Ralph, a dedicated advocate for positive change, DIVAS Simply Singing! has consistently emphasized advocacy through artistic expression. This year's milestone event will feature powerhouse performances by Emmy Award-winning actresses Jenifer Lewis and Loretta Devine, GRAMMY Award-winners Andra Day and Lalah Hathaway, GRAMMY-nominated country artist Mickey Guyton, Grey's Anatomy star James Pickens Jr., musical artist Gina Taylor-Pickens, legendary vocalist Freda Payne, and rising R&B artist India Shawn. Additional performer announcements and special guests are anticipated in the coming weeks, promising an unforgettable celebration of music, advocacy, and unity.
This gala is more than a celebration — it's a call to action, says Sheryl Lee Ralph, Founder. For 35 years, we have unwaveringly committed to our mission. This year's DIVAS will honor our rich history, continue our impactful efforts, and focus strategically on advancing health equity for the future.
During this significant occasion, the DIVA Foundation will also present its esteemed DIVA Honors Program, celebrating outstanding individuals whose contributions embody the organization's equity, wellness, and advocacy mission. This year's distinguished honorees include Jewel Thais-Williams, recipient of the Ivy Ralph Legend of Distinction Award; Dr. Maya Green, honored with the Wellness Warrior Award; Reverend Debra Frazer-Howze recipient of the Inaugural Debra Frazer-Howze Trailblazer Award; Marilyn McCoo and Billy Davis Jr., recipients of the Legacy of Love Humanitarian Honor presented by AARP and Lula Washington, recognized with the Artistic Activism Award for her impact in dance and cultural expression.
The 2025 gala is made possible by the generous support of presenting sponsor Gilead Sciences, a longtime partner and champion of The DIVA Foundation's mission to uplift, educate, and empower.
For updates, tickets, or sponsorship opportunities, visitwww.diva.foundation and follow @divafoundation on social media.
Since its inception in 1990 by Sheryl Lee Ralph, a dedicated advocate for positive change, DIVAS Simply Singing! has consistently emphasized advocacy through artistic expression. This year's milestone event will feature powerhouse performances by Emmy Award-winning actresses Jenifer Lewis and Loretta Devine, GRAMMY Award-winners Andra Day and Lalah Hathaway, GRAMMY-nominated country artist Mickey Guyton, Grey's Anatomy star James Pickens Jr., musical artist Gina Taylor-Pickens, legendary vocalist Freda Payne, and rising R&B artist India Shawn. Additional performer announcements and special guests are anticipated in the coming weeks, promising an unforgettable celebration of music, advocacy, and unity.
This gala is more than a celebration — it's a call to action, says Sheryl Lee Ralph, Founder. For 35 years, we have unwaveringly committed to our mission. This year's DIVAS will honor our rich history, continue our impactful efforts, and focus strategically on advancing health equity for the future.
During this significant occasion, the DIVA Foundation will also present its esteemed DIVA Honors Program, celebrating outstanding individuals whose contributions embody the organization's equity, wellness, and advocacy mission. This year's distinguished honorees include Jewel Thais-Williams, recipient of the Ivy Ralph Legend of Distinction Award; Dr. Maya Green, honored with the Wellness Warrior Award; Reverend Debra Frazer-Howze recipient of the Inaugural Debra Frazer-Howze Trailblazer Award; Marilyn McCoo and Billy Davis Jr., recipients of the Legacy of Love Humanitarian Honor presented by AARP and Lula Washington, recognized with the Artistic Activism Award for her impact in dance and cultural expression.
The 2025 gala is made possible by the generous support of presenting sponsor Gilead Sciences, a longtime partner and champion of The DIVA Foundation's mission to uplift, educate, and empower.
For updates, tickets, or sponsorship opportunities, visitwww.diva.foundation and follow @divafoundation on social media.
Laurence Fishburne speaking on Future Matrix sequels:‘I don’t know if it makes sense.’
A longtime film star recently opened up about returning to a classic movie series.
Laurence Fishburne, who played Morpheus in the iconic “Matrix” franchise, said it wouldn’t be so simple for him to reprise his well-known role.
The actor was noncommittal when asked if he would return for an upcoming fifth installment of “The Matrix” during a reunion panel at New York Comic Con over the weekend.
“It depends on how good it is, really,” Fishburne said, per Variety. “If it’s great, then yeah, if it makes sense. I don’t know if it makes sense.”
It was announced in 2024 that screenwriter Drew Goddard would write and direct the new Matrix film. This will be the first Matrix movie not led by Lana and Lilly Wachowski although Lana will serve as an executive producer.
Fishburne, 64, said that he reached out to Lana Wachowski about joining “The Matrix Resurrections,” the series’ fourth film which released in 2021, but was not invited to return.
Yaya Abdul-Mateen II was casted as Morpheus in Resurrections.
“I reached out,” Fishburne said. “It just didn’t pan out. I said, ‘Thank you very much,’ and Lana said, ‘Thank you very much, I’ll think about it,’ and that was that.”
He has yet to be approached about a return for the fifth film as well, per the report. It has not been announced whether stars Keanu Reeves and Carrie-Anne Moss will return for the next film .
“There’s no movie that comes after The Matrix that’s a sci-fi action or fantasy movie that’s not been influenced by it,” Fishburne said. “It’s everywhere. It’s so pervasive you almost forget where it came from at this point. Now, people don’t realize, but no Matrix, no MCU. It (just) doesn’t look the same.”
A longtime film star recently opened up about returning to a classic movie series.
Laurence Fishburne, who played Morpheus in the iconic “Matrix” franchise, said it wouldn’t be so simple for him to reprise his well-known role.
The actor was noncommittal when asked if he would return for an upcoming fifth installment of “The Matrix” during a reunion panel at New York Comic Con over the weekend.
“It depends on how good it is, really,” Fishburne said, per Variety. “If it’s great, then yeah, if it makes sense. I don’t know if it makes sense.”
It was announced in 2024 that screenwriter Drew Goddard would write and direct the new Matrix film. This will be the first Matrix movie not led by Lana and Lilly Wachowski although Lana will serve as an executive producer.
Fishburne, 64, said that he reached out to Lana Wachowski about joining “The Matrix Resurrections,” the series’ fourth film which released in 2021, but was not invited to return.
Yaya Abdul-Mateen II was casted as Morpheus in Resurrections.
“I reached out,” Fishburne said. “It just didn’t pan out. I said, ‘Thank you very much,’ and Lana said, ‘Thank you very much, I’ll think about it,’ and that was that.”
He has yet to be approached about a return for the fifth film as well, per the report. It has not been announced whether stars Keanu Reeves and Carrie-Anne Moss will return for the next film .
“There’s no movie that comes after The Matrix that’s a sci-fi action or fantasy movie that’s not been influenced by it,” Fishburne said. “It’s everywhere. It’s so pervasive you almost forget where it came from at this point. Now, people don’t realize, but no Matrix, no MCU. It (just) doesn’t look the same.”
Judge recommends Nelly be repaid legal fees in ‘Country Grammar’ lawsuit filed by former St. Lunatics member Ali
Ali dropped his $50M lawsuit over Country Grammar royalties in April 2025, but Nelly’s attorneys wanted to continue the case to take action against its “frivolous” nature.
A federal judge agreed that Ali’s attorneys acted in bad faith and recommended that they repay Nelly’s legal fees.
Other members of St. Lunatics dropped out of the lawsuit prior to its dismissal, stating it was unauthorized.
A New York federal judge has recommended that Nelly be reimbursed for the legal bills he racked up defending what the court called a “baseless” and “frivolous” lawsuit filed by his former St. Lunatics bandmate, Ali Jones.
According to Billboard, U.S. Magistrate Judge Robert W. Lehrburger issued the opinion last Friday (Oct. 10), concluding that Ali’s attorneys pursued the copyright ownership case long after it was clear the claims had “no chance of success.” Judge Lehrburger said Nelly’s legal team should be compensated for the unnecessary costs of defending against a meritless filing.
“It should have been patently obvious to [Ali]’s attorneys that his copyright ownership claim was time-barred,” he wrote. “After being placed on notice that the [case] stood no chance of success, [Ali] did not withdraw his complaint. Instead, his attorneys doubled down.”
The 2024 lawsuit claimed Nelly owed Ali a share of royalties from his 2000 debut album Country Grammar, which spent five weeks at No. 1 on the Billboard 200 and launched Nelly’s solo career. Ali alleged that he and other St. Lunatics members were cut out of credits and royalties. Three of the group’s members, Murphy Lee, Kyjuan, and City Spud, quickly dropped out, later saying they hadn’t authorized the suit. Ali continued alone but voluntarily dismissed the case in April 2025.
Despite its dismissal, Nelly’s attorneys sought sanctions against Ali’s counsel, arguing that the lawsuit was “ridiculous” and “time-barred according to [Ali’s] own pleading.” Judge Lehrburger agreed, writing that lead attorney Precious Felder Gates “vexatiously protracted the proceedings in bad faith by attempting to obfuscate the facts she knew barred Jones’ claims.”
The judge didn’t set a specific dollar amount but ordered that Gates cover Nelly’s legal expenses incurred after she re-filed an amended complaint. The final sanction amount must still be approved by a district judge. In a statement to Billboard, Nelly’s attorney Ken Freundlich said the ruling “sends a message to lawyers that there will be consequences for dragging a defendant into an action that is frivolous on its face and refusing to withdraw it.”
A federal judge agreed that Ali’s attorneys acted in bad faith and recommended that they repay Nelly’s legal fees.
Other members of St. Lunatics dropped out of the lawsuit prior to its dismissal, stating it was unauthorized.
A New York federal judge has recommended that Nelly be reimbursed for the legal bills he racked up defending what the court called a “baseless” and “frivolous” lawsuit filed by his former St. Lunatics bandmate, Ali Jones.
According to Billboard, U.S. Magistrate Judge Robert W. Lehrburger issued the opinion last Friday (Oct. 10), concluding that Ali’s attorneys pursued the copyright ownership case long after it was clear the claims had “no chance of success.” Judge Lehrburger said Nelly’s legal team should be compensated for the unnecessary costs of defending against a meritless filing.
“It should have been patently obvious to [Ali]’s attorneys that his copyright ownership claim was time-barred,” he wrote. “After being placed on notice that the [case] stood no chance of success, [Ali] did not withdraw his complaint. Instead, his attorneys doubled down.”
The 2024 lawsuit claimed Nelly owed Ali a share of royalties from his 2000 debut album Country Grammar, which spent five weeks at No. 1 on the Billboard 200 and launched Nelly’s solo career. Ali alleged that he and other St. Lunatics members were cut out of credits and royalties. Three of the group’s members, Murphy Lee, Kyjuan, and City Spud, quickly dropped out, later saying they hadn’t authorized the suit. Ali continued alone but voluntarily dismissed the case in April 2025.
Despite its dismissal, Nelly’s attorneys sought sanctions against Ali’s counsel, arguing that the lawsuit was “ridiculous” and “time-barred according to [Ali’s] own pleading.” Judge Lehrburger agreed, writing that lead attorney Precious Felder Gates “vexatiously protracted the proceedings in bad faith by attempting to obfuscate the facts she knew barred Jones’ claims.”
The judge didn’t set a specific dollar amount but ordered that Gates cover Nelly’s legal expenses incurred after she re-filed an amended complaint. The final sanction amount must still be approved by a district judge. In a statement to Billboard, Nelly’s attorney Ken Freundlich said the ruling “sends a message to lawyers that there will be consequences for dragging a defendant into an action that is frivolous on its face and refusing to withdraw it.”
TikTok Star ‘Boss & CEO’ Mainly Mannie Reveals HIV Diagnosis In Emotional Video From Hospital Bed: My Ex Gave Me This & I Didn’t Know
TikTok star #MainlyMannie, known as “Boss and CEO” to his 1.4 million followers, has revealed he is HIV positive in an emotional video filmed from his hospital bed.
He disclosed that he was diagnosed in the summer after experiencing sudden mobility issues. Mannie shared that he contracted the virus from his ex-partner but emphasized he does not see himself as a victim. Despite the challenges, he expressed optimism about his future and posted another video showing fans his journey of learning how to walk again.
The cost of his medication, approximately $4,000 per month, prompted Mannie to launch a #GoFundMe campaign. The fundraiser has already garnered over $12,00 toward its $18,000 goal. He plans to use part of the funds to support HIV-related charities.
We extend our love and support to Mainly Mannie amid his healing journey.
TikTok star #MainlyMannie, known as “Boss and CEO” to his 1.4 million followers, has revealed he is HIV positive in an emotional video filmed from his hospital bed.
He disclosed that he was diagnosed in the summer after experiencing sudden mobility issues. Mannie shared that he contracted the virus from his ex-partner but emphasized he does not see himself as a victim. Despite the challenges, he expressed optimism about his future and posted another video showing fans his journey of learning how to walk again.
The cost of his medication, approximately $4,000 per month, prompted Mannie to launch a #GoFundMe campaign. The fundraiser has already garnered over $12,00 toward its $18,000 goal. He plans to use part of the funds to support HIV-related charities.
We extend our love and support to Mainly Mannie amid his healing journey.
Arthur M. Blank Family Foundation donating $50M to Black Atlanta HBCU's
The Arthur M. Blank Family Foundation announced a $50 million donation to Atlanta’s historically Black colleges and universities on Monday, aiming to close financial aid gaps that might otherwise prevent students from completing their degrees.
The money will support nearly 10,000 students with “gap scholarships” if they are approaching graduation in good academic standing and have exhausted all other sources of financial support. The aim is to raise graduation rates at Clark Atlanta University, Morehouse College, Morris Brown College and Spelman College, according to the foundation’s announcement.
“These grants are a material investment in hope,” said Fay Twersky, the foundation’s president.
The 10-year commitment comes days after the Trump administration said it would redirect nearly $500 million in federal funding toward HBCUs and tribal colleges as a one-time investment. A similar amount would be cut from colleges with large enrollments of Hispanics and other minorities, amid other moves to eliminate programs that promote diversity in higher education.
Arthur Blank's net worth has grown to more than $11 billion, according to the Forbes List, since he retired as co-founder of The Home Depot in 2001 and became owner of the city’s professional football and soccer teams, the Atlanta Falcons and Atlanta United.
Blank committed to giving at least half his wealth away by signing the Giving Pledge, and his family foundation has donated more than $1.5 billion to date, philanthropy evident in hospitals, schools, museums, stadiums and the arts.
This donation is the foundation’s biggest yet to HBCUs in Georgia, following such previous gifts as $10 million to Spelman College for an innovation lab and $6 million to refurbish athletic fields at Clark Atlanta, Albany State, Miles College and Savannah State.
It’s money well spent, since Atlanta’s HBCUs contribute $1 billion in annual economic impact to the region, and HBCUs outperform all other institutions in moving students from the lowest 40% of household income to the top 60%, the foundation statement said.
“Our hope is that by helping more students earn their degrees, launch successful careers and become alumni who give back, we are investing in a cycle of opportunity that benefits young people and their families in Atlanta and communities across the nation for years to come,” the foundation said.
Leaders of the four schools praised the foundation for meeting a critical need.
“This monumental investment will empower our students to remain focused on their academic studies and ensure that their talent, ambition, hard work, and integrity, not financial hardship, will determine their futures,” said Dr. F. DuBois Bowman, the president of Morehouse College.
The money will support nearly 10,000 students with “gap scholarships” if they are approaching graduation in good academic standing and have exhausted all other sources of financial support. The aim is to raise graduation rates at Clark Atlanta University, Morehouse College, Morris Brown College and Spelman College, according to the foundation’s announcement.
“These grants are a material investment in hope,” said Fay Twersky, the foundation’s president.
The 10-year commitment comes days after the Trump administration said it would redirect nearly $500 million in federal funding toward HBCUs and tribal colleges as a one-time investment. A similar amount would be cut from colleges with large enrollments of Hispanics and other minorities, amid other moves to eliminate programs that promote diversity in higher education.
Arthur Blank's net worth has grown to more than $11 billion, according to the Forbes List, since he retired as co-founder of The Home Depot in 2001 and became owner of the city’s professional football and soccer teams, the Atlanta Falcons and Atlanta United.
Blank committed to giving at least half his wealth away by signing the Giving Pledge, and his family foundation has donated more than $1.5 billion to date, philanthropy evident in hospitals, schools, museums, stadiums and the arts.
This donation is the foundation’s biggest yet to HBCUs in Georgia, following such previous gifts as $10 million to Spelman College for an innovation lab and $6 million to refurbish athletic fields at Clark Atlanta, Albany State, Miles College and Savannah State.
It’s money well spent, since Atlanta’s HBCUs contribute $1 billion in annual economic impact to the region, and HBCUs outperform all other institutions in moving students from the lowest 40% of household income to the top 60%, the foundation statement said.
“Our hope is that by helping more students earn their degrees, launch successful careers and become alumni who give back, we are investing in a cycle of opportunity that benefits young people and their families in Atlanta and communities across the nation for years to come,” the foundation said.
Leaders of the four schools praised the foundation for meeting a critical need.
“This monumental investment will empower our students to remain focused on their academic studies and ensure that their talent, ambition, hard work, and integrity, not financial hardship, will determine their futures,” said Dr. F. DuBois Bowman, the president of Morehouse College.
Za’Darius Smith’s shocking Retirement from the NFL and The Philadelphia Eagles
After 11 seasons of relentless determination, the defensive star walks away from the game that transformed his life
In an unexpected turn that reverberated throughout professional football, Za’Darius Smith disclosed his departure from the N.F.L. on Oct. 13, posting an introspective message on Instagram that caught teammates, coaches and fans unprepared. The Philadelphia Eagles defensive end, barely five games into his tenure with the organization, chose to step away during the heart of the season—a rarity that amplifies the weight of his decision.
Smith’s announcement defies the typical rhythm of professional sports retirements, which generally unfold when seasons conclude or during quieter summer months. His choice to exit now raises questions about what prompted such decisive action and what it signals about the toll the sport exacts from its players.
The trajectory of Smith’s football career defies expectations. Emerging from Greenville, Ala., with merely a single season of high school competition under his belt, he built an 11-year professional legacy that speaks to raw talent meeting unwavering commitment. His path from small-town athlete to N.F.L. standout embodies the transformative possibilities athletics can unlock.
Through his social media farewell, Smith acknowledged the emotional complexity of his decision. The mixture of relief, nostalgia and uncertainty colored his words as he processed the magnitude of closing this chapter. Football provided more than a profession—it delivered economic stability, relationships with exceptional coaches and competition against elite athletes while representing prestigious franchises across the league.
The gratitude in Smith’s message underscores how thoroughly the sport reshaped his circumstances and those of his family. What began as a late introduction to organized football evolved into a platform that elevated his entire household, creating opportunities that seemed impossibly distant during his Alabama upbringing.
Smith’s midseason withdrawal caught the football community off guard, disrupting expectations and leaving Philadelphia’s defensive scheme in flux. Players typically announce retirements after final games conclude or once offseason reflection provides clarity. His decision to exit during active competition suggests urgency—whether driven by physical concerns, family considerations or something deeper remains unknown.
The Eagles now face the challenge of recalibrating their defensive approach without a proven edge rusher who brought experience and leadership to their front seven. Smith’s absence creates both strategic complications and roster questions as the organization navigates the remainder of its season.
Throughout his professional tenure, Smith established himself as a formidable presence on defensive lines across multiple organizations. His stops with the Baltimore Ravens and Green Bay Packers preceded his brief Philadelphia chapter, each stint marked by disruptive playmaking and consistent pressure on opposing quarterbacks.
Beyond statistics, Smith cultivated a reputation as someone who invested in younger teammates, sharing tactical insights and professional wisdom gained through years of elite competition. His influence extended into communities where he played, particularly through mentorship initiatives aimed at aspiring athletes navigating similar circumstances to his own background.
Smith’s 11 professional seasons included multiple Pro Bowl selections and pivotal roles on championship-contending defenses. Across three franchises, he demonstrated leadership that transcended the field—establishing youth mentorship programs, spearheading charitable efforts in his Alabama hometown and building meaningful connections within each N.F.L. community he called home.
As Smith transitions away from playing, the football world contemplates how his voice and experience might continue shaping the sport. Former players frequently migrate into coaching, broadcasting or organizational roles where their knowledge benefits the next generation. Smith’s communication skills and evident passion suggest he could excel in such capacities should he choose to remain connected to the game.
His retirement serves as a reminder of football’s impermanence. The physical demands and mental strain of professional athletics create expiration dates that arrive without warning, regardless of talent or achievement. Smith’s story resonates beyond his personal journey, illuminating how sports create pathways from challenging circumstances toward prosperity and purpose.
The defensive end’s decision to announce his retirement mid-campaign breaks convention, but it reflects personal agency—a player determining his own timeline rather than allowing injury or declining performance to script his exit. In an industry where control often eludes athletes, Smith’s announcement reclaims authorship over his narrative’s conclusion.
As the N.F.L. continues without him, Smith‘s influence persists through the players he mentored, the communities he supported and the example he set for athletes who start behind and fight forward. His career may have ended abruptly, but its impact extends far beyond any single season or game.
After 11 seasons of relentless determination, the defensive star walks away from the game that transformed his life
In an unexpected turn that reverberated throughout professional football, Za’Darius Smith disclosed his departure from the N.F.L. on Oct. 13, posting an introspective message on Instagram that caught teammates, coaches and fans unprepared. The Philadelphia Eagles defensive end, barely five games into his tenure with the organization, chose to step away during the heart of the season—a rarity that amplifies the weight of his decision.
Smith’s announcement defies the typical rhythm of professional sports retirements, which generally unfold when seasons conclude or during quieter summer months. His choice to exit now raises questions about what prompted such decisive action and what it signals about the toll the sport exacts from its players.
The trajectory of Smith’s football career defies expectations. Emerging from Greenville, Ala., with merely a single season of high school competition under his belt, he built an 11-year professional legacy that speaks to raw talent meeting unwavering commitment. His path from small-town athlete to N.F.L. standout embodies the transformative possibilities athletics can unlock.
Through his social media farewell, Smith acknowledged the emotional complexity of his decision. The mixture of relief, nostalgia and uncertainty colored his words as he processed the magnitude of closing this chapter. Football provided more than a profession—it delivered economic stability, relationships with exceptional coaches and competition against elite athletes while representing prestigious franchises across the league.
The gratitude in Smith’s message underscores how thoroughly the sport reshaped his circumstances and those of his family. What began as a late introduction to organized football evolved into a platform that elevated his entire household, creating opportunities that seemed impossibly distant during his Alabama upbringing.
Smith’s midseason withdrawal caught the football community off guard, disrupting expectations and leaving Philadelphia’s defensive scheme in flux. Players typically announce retirements after final games conclude or once offseason reflection provides clarity. His decision to exit during active competition suggests urgency—whether driven by physical concerns, family considerations or something deeper remains unknown.
The Eagles now face the challenge of recalibrating their defensive approach without a proven edge rusher who brought experience and leadership to their front seven. Smith’s absence creates both strategic complications and roster questions as the organization navigates the remainder of its season.
Throughout his professional tenure, Smith established himself as a formidable presence on defensive lines across multiple organizations. His stops with the Baltimore Ravens and Green Bay Packers preceded his brief Philadelphia chapter, each stint marked by disruptive playmaking and consistent pressure on opposing quarterbacks.
Beyond statistics, Smith cultivated a reputation as someone who invested in younger teammates, sharing tactical insights and professional wisdom gained through years of elite competition. His influence extended into communities where he played, particularly through mentorship initiatives aimed at aspiring athletes navigating similar circumstances to his own background.
Smith’s 11 professional seasons included multiple Pro Bowl selections and pivotal roles on championship-contending defenses. Across three franchises, he demonstrated leadership that transcended the field—establishing youth mentorship programs, spearheading charitable efforts in his Alabama hometown and building meaningful connections within each N.F.L. community he called home.
As Smith transitions away from playing, the football world contemplates how his voice and experience might continue shaping the sport. Former players frequently migrate into coaching, broadcasting or organizational roles where their knowledge benefits the next generation. Smith’s communication skills and evident passion suggest he could excel in such capacities should he choose to remain connected to the game.
His retirement serves as a reminder of football’s impermanence. The physical demands and mental strain of professional athletics create expiration dates that arrive without warning, regardless of talent or achievement. Smith’s story resonates beyond his personal journey, illuminating how sports create pathways from challenging circumstances toward prosperity and purpose.
The defensive end’s decision to announce his retirement mid-campaign breaks convention, but it reflects personal agency—a player determining his own timeline rather than allowing injury or declining performance to script his exit. In an industry where control often eludes athletes, Smith’s announcement reclaims authorship over his narrative’s conclusion.
As the N.F.L. continues without him, Smith‘s influence persists through the players he mentored, the communities he supported and the example he set for athletes who start behind and fight forward. His career may have ended abruptly, but its impact extends far beyond any single season or game.
Cheryl Salt James Addresses Rumors That her Ex Husband is bisexual
Legendary rapper Cheryl “Salt” James, one half of the iconic hip-hop duo Salt-N-Pepa, is speaking out and setting the record straight — literally. The 58-year-old hip-hop pioneer just addressed a wave of viral social media rumors claiming that she caught her ex-husband, Gavin Wray, “with a man.”
According to Media Take Out, dozens of videos have popped up on Instagram, TikTok, and YouTube, many using AI-generated voiceovers and fake “receipts,” to claim that Salt ended her marriage after allegedly discovering Gavin’s secret relationship with a man. But now Salt is firing back — and she’s not holding her tongue.
In a new statement, Salt flat-out denied the rumors, calling them false and hurtful. “That’s not true,” she said firmly. “We split up for other reasons, but that wasn’t one of them. And to the best of my knowledge, he’s straight.”
Salt and Gavin Wray were together for more than a decade before marrying in 2000, and the couple shared two children before quietly divorcing several years ago. While Salt has typically kept her personal life private, the rumors became so widespread that she felt she had to speak up.
“She’s never been one to get into gossip,” a friend close to the rapper told Media Take Out, “but when AI videos start making up fake stories about your marriage — that’s where she draws the line.”
The controversy started when AI-generated clips began circulating, using old interviews and fabricated audio to make it sound like Salt had admitted to catching Gavin “in a compromising position.” Some of the videos even featured realistic but digitally altered footage, making them appear more believable.
Fans flooded Salt’s social media pages with questions, forcing the rap icon to step in and clarify the situation. “It’s crazy what people will believe,” one commenter wrote. “These AI rumors are getting out of control.”
Salt responded with grace — but made her frustration known, reminding fans how easily misinformation spreads online, especially when it’s about celebrity relationships.
While Salt didn’t go into full detail, insiders say her marriage to Gavin ended due to irreconcilable differences and the pressures of fame — not infidelity or secret relationships.
“They loved each other for a long time,” one source shared. “It just ran its course. There was no drama, no big scandal — just two people growing in different directions.”
Salt, who rose to fame in the late ’80s with hits like “Push It” and “Shoop”, has since focused on her faith, family, and continued touring with her Salt-N-Pepa bandmate Sandra “Pepa” Denton.
Salt is reminding everyone not to believe everything they see online — especially in an era where AI-generated gossip videos are blurring the line between truth and fiction.
“Social media can be such a mess,” she said with a laugh. “I’m all about spreading love, not lies.”
So there you have it — Salt didn’t catch her ex with a man, she’s not dragging his name, and she’s too grown (and too classy) to let fake rumors throw her off beat.
According to Media Take Out, dozens of videos have popped up on Instagram, TikTok, and YouTube, many using AI-generated voiceovers and fake “receipts,” to claim that Salt ended her marriage after allegedly discovering Gavin’s secret relationship with a man. But now Salt is firing back — and she’s not holding her tongue.
In a new statement, Salt flat-out denied the rumors, calling them false and hurtful. “That’s not true,” she said firmly. “We split up for other reasons, but that wasn’t one of them. And to the best of my knowledge, he’s straight.”
Salt and Gavin Wray were together for more than a decade before marrying in 2000, and the couple shared two children before quietly divorcing several years ago. While Salt has typically kept her personal life private, the rumors became so widespread that she felt she had to speak up.
“She’s never been one to get into gossip,” a friend close to the rapper told Media Take Out, “but when AI videos start making up fake stories about your marriage — that’s where she draws the line.”
The controversy started when AI-generated clips began circulating, using old interviews and fabricated audio to make it sound like Salt had admitted to catching Gavin “in a compromising position.” Some of the videos even featured realistic but digitally altered footage, making them appear more believable.
Fans flooded Salt’s social media pages with questions, forcing the rap icon to step in and clarify the situation. “It’s crazy what people will believe,” one commenter wrote. “These AI rumors are getting out of control.”
Salt responded with grace — but made her frustration known, reminding fans how easily misinformation spreads online, especially when it’s about celebrity relationships.
While Salt didn’t go into full detail, insiders say her marriage to Gavin ended due to irreconcilable differences and the pressures of fame — not infidelity or secret relationships.
“They loved each other for a long time,” one source shared. “It just ran its course. There was no drama, no big scandal — just two people growing in different directions.”
Salt, who rose to fame in the late ’80s with hits like “Push It” and “Shoop”, has since focused on her faith, family, and continued touring with her Salt-N-Pepa bandmate Sandra “Pepa” Denton.
Salt is reminding everyone not to believe everything they see online — especially in an era where AI-generated gossip videos are blurring the line between truth and fiction.
“Social media can be such a mess,” she said with a laugh. “I’m all about spreading love, not lies.”
So there you have it — Salt didn’t catch her ex with a man, she’s not dragging his name, and she’s too grown (and too classy) to let fake rumors throw her off beat.
LeBron James Says He Warned Accountant Not to ‘Steal’ His Money: ‘It Ain’t Going to Be Good’
LeBron James says he had a word of warning when he first started working with a financial advisor: Don’t screw over the NBA legend because that won’t end “good for
James recently sat down with his wife Savannah James and her co-host April McDaniel on their Dear Media podcast, Everybody’s Crazy, for an episode debuting Oct. 14. The couple talked about being together since high school and differences in their upbringings, according to People.
The NBA star described his childhood “in the projects in Akron, Ohio, and not having shit,” while Savannah James “comes from a two-parent household and siblings in the house,” he said.
LeBron James said because of his past, it’s “sometimes hard to take risks,” including trusting new people like his wife when they first got together—or his financial adviser.
“I have a lot of more risky friends, and friends that are less risky,” LeBron said. “But for me, like, when I'm talking to my business partners and shit like that, financial advisors, you know, accountants, all that type of shit. My financial advisor, the first thing I told him when he wanted to manage my money was if you steal my money, bro, or if I'm broke, bro, I’m letting you know, bro, it ain’t going to be good for you."
The four-time NBA MVP last month told Complex his net worth is "way less" than Forbes' estimated $1.2 billion, joking that he only has a "couple thousand" in the bank.
On the podcast, James also talked about how that reluctance to trust also showed up when he moved in with his wife when they were young.
As a kid, James said, "it was my mom and my uncles, and then just friends and girls and guys just coming in, you know? Shit that's what I grew up on.”
He continued: “So, me settling down and deciding that she’s going to be the one that's in the house, giving her the key or the garage door code, that shit was different, bro.”
They were married in September 2013 and have three children: Bronny, 21, Bryce Maximus, 18, and Zhuri Nova, 10.
The Los Angeles Lakers are starting their season without James, as the NBA’s all-time leading scorer is reportedly undergoing treatment for sciatica and will sit out the first few weeks of his 23rd pro season.
Mitt Romney Breaks Silence After Sister-in-Law Found Dead in a Parking Lot
Mitt Romney is speaking out following the death of his 64-year-old sister-in-law Carrie Romney, who was found dead in a parking lot last week.
Carrie‘s body was discovered at the scenes at around 8:30pm on Friday (October 10) in a parking lot in the Valencia neighborhood of Los Angeles.
NBC Los Angeles reports that a “woman jumped or fell from a five-story parking structure and died at the scene.” Authorities say that foul play is not suspected.
An investigation into the cause of Carrie‘s death is underway and will be “determined by the Los Angeles County Department of Medical Examiner’s Office,” according to People.
Mitt released a statement on Monday (October 13) in response to the tragic news.
“Our family is heartbroken by the loss of Carrie, who brought warmth and love to all our lives. We ask for privacy during this difficult time,” Mitt told People.
We’re sending our thoughts and condolences to the Romney family during this difficult time.
Mitt Romney is speaking out following the death of his 64-year-old sister-in-law Carrie Romney, who was found dead in a parking lot last week.
Carrie‘s body was discovered at the scenes at around 8:30pm on Friday (October 10) in a parking lot in the Valencia neighborhood of Los Angeles.
NBC Los Angeles reports that a “woman jumped or fell from a five-story parking structure and died at the scene.” Authorities say that foul play is not suspected.
An investigation into the cause of Carrie‘s death is underway and will be “determined by the Los Angeles County Department of Medical Examiner’s Office,” according to People.
Mitt released a statement on Monday (October 13) in response to the tragic news.
“Our family is heartbroken by the loss of Carrie, who brought warmth and love to all our lives. We ask for privacy during this difficult time,” Mitt told People.
We’re sending our thoughts and condolences to the Romney family during this difficult time.
Alec Baldwin & Stephen Baldwin Get Into Car Crash in New York
Alec Baldwin and his brother Stephen Baldwin were involved in a car crash on Monday (October 13).
The 67-year-old star and his sibling crashed head-first into a tree while driving in their Range Rover through East Hampton, New York, reports TMZ.
In photos obtained by the outlet, you can see the white vehicle smashed into a large tree. The front end is badly damaged.
The It’s Complicated star is seen standing outside the car, talking to the police officer on scene, and chatting with someone on his cell phone.
There was also a garbage truck nearby, but the company told TMZ their driver wasn’t involved in the accident.
No information has been shared about who was driving the car and who actually owns it yet. But based on the photos, it seems like neither brother was seriously injured
Alec Baldwin and his brother Stephen Baldwin were involved in a car crash on Monday (October 13).
The 67-year-old star and his sibling crashed head-first into a tree while driving in their Range Rover through East Hampton, New York, reports TMZ.
In photos obtained by the outlet, you can see the white vehicle smashed into a large tree. The front end is badly damaged.
The It’s Complicated star is seen standing outside the car, talking to the police officer on scene, and chatting with someone on his cell phone.
There was also a garbage truck nearby, but the company told TMZ their driver wasn’t involved in the accident.
No information has been shared about who was driving the car and who actually owns it yet. But based on the photos, it seems like neither brother was seriously injured
AND FINALLY FROM “THE CRAZY PEOPLE SHOPPING AT WALMART” FILES
HAVE A GREAT DAY ALL!!!
EFREM
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