#MAGFAB: British Grammy Sensation Olivia Dean Covers ELLE’s ‘Women in Music’ Issue
British singer Olivia Dean covers ELLE’s 2026 Women in Music Issue, on newsstands April 7. Fresh off the breakout success of her latest album, The Art of Loving, Dean discusses the surreal moment she won her first-ever Grammy for Best New Artist and finding her own way forward as she navigates this newfound level of fame: “My heart is extremely full in a way that is kind of hard to even describe,” she says before pausing to search for language that feels proportionate. “I did not think that was going to happen. I can’t lie to you. I’ve never won an award for music before.”
On locking eyes with her idols, including Lauryn Hill, while accepting her first Grammy: “I need to try and explain this properly, so you can truly wrap your head around it,” she says. “There I am standing at the Grammys. I’m looking at Lauryn Hill, and she is doing this amazing D’Angelo tribute. She’s in my eyeline. I believe I’m in hers. I don’t think she was checking for me, but I was checking her. She won Best New Artist the year I was born, my middle name is Lauryn after her.…It was all the most serendipitous full-circle moment. I was just at home in London a couple of weeks ago on my sofa. Then suddenly I’m holding a Grammy, and Queen Latifah’s looking at me.”
On pushing back against ticket resellers and making her shows accessible: It’s a problem many popular musical acts have faced, but Dean was one of the few to demand a fix from Ticketmaster, which eventually refunded fans who were overcharged by resellers and agreed to cap prices moving forward. “There is no way that I’m going to get up on that stage and sing my heart out while somebody sits at home and makes $500, $600 off of me and you,” she says. “I want people to be able to afford to come to the show. I don’t think you need to be someone who’s got loads of money to enjoy your favorite album. Full stop.”
On describing her brand of feminist romance as the kind that empowers women to do what’s best for them, while lovingly encouraging men to rise to the occasion and unexpected success of her single, ‘Man I Need’: “‘Man I Need’ is a call to action,” Dean explains. “It’s like, ‘I know you can be the man I need if you step up to the plate and be excellent for me. Let me encourage you.’” But she had no idea the hit single would resonate with as many people as it did. “I knew that I’d made something that I was really proud of, but I also know that doesn’t necessarily translate into success,” she says. “There is so much amazing music out there that doesn’t get heard in the same way, but for some reason, people said, ‘Yeah, we like you, Sis.’ And I’ve said, ‘Thank you. Me too.’”
On deleting all social media apps following her Grammy win: “I’ve been thinking about doing it for a while,” she says. “Even though the love has been overwhelming, even that is not healthy sometimes. I don’t think you’re supposed to know everyone’s opinion about you. And I’ve decided I want to live in sweet ignorance.”
On tuning out of the online discourse: “I find a lot of internet discourse and those things so unproductive. I know who I am, and I know that I’m performing and creating from a pure place. You can’t please everybody. And I have such peace in that.”
On choosing joy and challenging expectations onstage: Dean’s playful spirit comes through most clearly onstage. Watching a young Black woman move throughout the world with such freedom, softness, and unburdened optimism feels comforting and, in its own way, radical. “I feel like sometimes it’s my responsibility to show that we can be that,” she says. “My joy is more powerful than whatever you think about me or how I should be presenting. I’ll always choose joy. I want to be happy. This job is too amazing for me not to enjoy it. That would be such a kicker if I’d worked this hard and then realized that I wasn’t enjoying it. I’ve got to have as much fun as possible.”
On the emotional perspective behind The Art of Loving: The album moves through 12 tracks in just 34 minutes, traversing effortlessly across genres like R&B, pop, neo-soul, and beyond. “That’s where I’m at,” Dean says of the album’s healthy, nuanced perspective on love. “I’ve been in therapy for a long time. It has allowed me to have self-awareness and understand that I really don’t have time to fester in negative emotions toward love and men. It doesn’t serve me. I can be annoyed and hurt, but I try to find perspective and compassion. Reading a lot of bell hooks has also given me that.”
On finding acceptance while attending the BRIT School: “It allowed me to free myself from feeling embarrassed about who I was,” she explains. “It was so validating to be surrounded by people who thought music was cool, and wanting to shine was cool. Whereas in my previous school, people would make me feel like I was too much. And it’s like, ‘No, I’m doing too much for you. I’m actually not doing enough yet. I haven’t even gotten started.’”
She’s hesitant to say she was bullied at earlier schools (“I think I put it in a box and was like, ‘No, I wasn’t’”), but she admits to finding female friendships quite hard growing up until she met her best friends at BRIT, the closest of whom is still her roommate to this day. “We met on the first day of BRIT, and I was like, ‘Girl, I’ve been eating my lunch in the toilet. Do you want to be friends?’” she recalls.
On locking eyes with her idols, including Lauryn Hill, while accepting her first Grammy: “I need to try and explain this properly, so you can truly wrap your head around it,” she says. “There I am standing at the Grammys. I’m looking at Lauryn Hill, and she is doing this amazing D’Angelo tribute. She’s in my eyeline. I believe I’m in hers. I don’t think she was checking for me, but I was checking her. She won Best New Artist the year I was born, my middle name is Lauryn after her.…It was all the most serendipitous full-circle moment. I was just at home in London a couple of weeks ago on my sofa. Then suddenly I’m holding a Grammy, and Queen Latifah’s looking at me.”
On pushing back against ticket resellers and making her shows accessible: It’s a problem many popular musical acts have faced, but Dean was one of the few to demand a fix from Ticketmaster, which eventually refunded fans who were overcharged by resellers and agreed to cap prices moving forward. “There is no way that I’m going to get up on that stage and sing my heart out while somebody sits at home and makes $500, $600 off of me and you,” she says. “I want people to be able to afford to come to the show. I don’t think you need to be someone who’s got loads of money to enjoy your favorite album. Full stop.”
On describing her brand of feminist romance as the kind that empowers women to do what’s best for them, while lovingly encouraging men to rise to the occasion and unexpected success of her single, ‘Man I Need’: “‘Man I Need’ is a call to action,” Dean explains. “It’s like, ‘I know you can be the man I need if you step up to the plate and be excellent for me. Let me encourage you.’” But she had no idea the hit single would resonate with as many people as it did. “I knew that I’d made something that I was really proud of, but I also know that doesn’t necessarily translate into success,” she says. “There is so much amazing music out there that doesn’t get heard in the same way, but for some reason, people said, ‘Yeah, we like you, Sis.’ And I’ve said, ‘Thank you. Me too.’”
On deleting all social media apps following her Grammy win: “I’ve been thinking about doing it for a while,” she says. “Even though the love has been overwhelming, even that is not healthy sometimes. I don’t think you’re supposed to know everyone’s opinion about you. And I’ve decided I want to live in sweet ignorance.”
On tuning out of the online discourse: “I find a lot of internet discourse and those things so unproductive. I know who I am, and I know that I’m performing and creating from a pure place. You can’t please everybody. And I have such peace in that.”
On choosing joy and challenging expectations onstage: Dean’s playful spirit comes through most clearly onstage. Watching a young Black woman move throughout the world with such freedom, softness, and unburdened optimism feels comforting and, in its own way, radical. “I feel like sometimes it’s my responsibility to show that we can be that,” she says. “My joy is more powerful than whatever you think about me or how I should be presenting. I’ll always choose joy. I want to be happy. This job is too amazing for me not to enjoy it. That would be such a kicker if I’d worked this hard and then realized that I wasn’t enjoying it. I’ve got to have as much fun as possible.”
On the emotional perspective behind The Art of Loving: The album moves through 12 tracks in just 34 minutes, traversing effortlessly across genres like R&B, pop, neo-soul, and beyond. “That’s where I’m at,” Dean says of the album’s healthy, nuanced perspective on love. “I’ve been in therapy for a long time. It has allowed me to have self-awareness and understand that I really don’t have time to fester in negative emotions toward love and men. It doesn’t serve me. I can be annoyed and hurt, but I try to find perspective and compassion. Reading a lot of bell hooks has also given me that.”
On finding acceptance while attending the BRIT School: “It allowed me to free myself from feeling embarrassed about who I was,” she explains. “It was so validating to be surrounded by people who thought music was cool, and wanting to shine was cool. Whereas in my previous school, people would make me feel like I was too much. And it’s like, ‘No, I’m doing too much for you. I’m actually not doing enough yet. I haven’t even gotten started.’”
She’s hesitant to say she was bullied at earlier schools (“I think I put it in a box and was like, ‘No, I wasn’t’”), but she admits to finding female friendships quite hard growing up until she met her best friends at BRIT, the closest of whom is still her roommate to this day. “We met on the first day of BRIT, and I was like, ‘Girl, I’ve been eating my lunch in the toilet. Do you want to be friends?’” she recalls.
#RHOA: Drew Sidora ordered to vacate home as ex Ralph Pittman awarded custody of kids
“Real Housewives of Atlanta” star Drew Sidora was delivered a painful blow in her divorce from ex Ralph Pittman.
A judge ordered the reality star to vacate her and Pittman’s marital home. She also temporarily lost primary custody of the couple’s shared children — son Machai, born in June 2015, and daughter Aniya, whom they welcomed in February 2018 — according to an amended temporary order obtained by TMZ.
The actress also has an older son, Josiah, 11, from a previous relationship.
Sidora has a deadline of May 31 to officially leave the home, but due to the “current financial circumstances of the parties,” she and Pittman will continue to split the expenses for the home until she leaves.
The parents will continue to share legal custody of the two children. Though, Pittman — who has been living in the property’s basement throughout their tumultuous divorce — was given primary physical custody of the kids during the school year.
Sidora will see her kids on an alternating weekend schedule starting in August. The judge reportedly rendered their decision on Sidora and Pittman’s child custody arrangement after claims were made that their kids had excessive absences from school while in Sidora’s custody.
Pittman is now allowed to move freely throughout the house to get the children ready for school in the mornings.
In response to the ruling, Sidora’s rep told the outlet in a statement: “This matter is still being actively litigated, and is in the middle of the final trial. The Second Temporary Order is, in fact, temporary, and does not reflect the final outcome of the case.”
Pittman declined to share a comment with the outlet. Sidora filed for divorce in March 2023 after nearly nine years of marriage. The exes both claimed their marriage was “irretrievably broken” in their separate filings, which arrived just minutes apart from each other.
Months later, the Bravolebrity confessed that she knew her marriage was over when their romantic problems “started to happen on camera.”
At the time, she told People that the split was the result of a “culmination of things that should not happen in a marriage.”
“I think the inability to own it, the inability to apologize, the inability to work through it, the inability to care about my emotional state and wanting to work and heal that, was very challenging,” Sidora explained.
The “Step Up” star finally reached her “boiling point” when their issues were later shared with an audience thanks to the Bravo reality series, which made her feel “embarrassment on top of what we were dealing with behind closed doors.”
A judge ordered the reality star to vacate her and Pittman’s marital home. She also temporarily lost primary custody of the couple’s shared children — son Machai, born in June 2015, and daughter Aniya, whom they welcomed in February 2018 — according to an amended temporary order obtained by TMZ.
The actress also has an older son, Josiah, 11, from a previous relationship.
Sidora has a deadline of May 31 to officially leave the home, but due to the “current financial circumstances of the parties,” she and Pittman will continue to split the expenses for the home until she leaves.
The parents will continue to share legal custody of the two children. Though, Pittman — who has been living in the property’s basement throughout their tumultuous divorce — was given primary physical custody of the kids during the school year.
Sidora will see her kids on an alternating weekend schedule starting in August. The judge reportedly rendered their decision on Sidora and Pittman’s child custody arrangement after claims were made that their kids had excessive absences from school while in Sidora’s custody.
Pittman is now allowed to move freely throughout the house to get the children ready for school in the mornings.
In response to the ruling, Sidora’s rep told the outlet in a statement: “This matter is still being actively litigated, and is in the middle of the final trial. The Second Temporary Order is, in fact, temporary, and does not reflect the final outcome of the case.”
Pittman declined to share a comment with the outlet. Sidora filed for divorce in March 2023 after nearly nine years of marriage. The exes both claimed their marriage was “irretrievably broken” in their separate filings, which arrived just minutes apart from each other.
Months later, the Bravolebrity confessed that she knew her marriage was over when their romantic problems “started to happen on camera.”
At the time, she told People that the split was the result of a “culmination of things that should not happen in a marriage.”
“I think the inability to own it, the inability to apologize, the inability to work through it, the inability to care about my emotional state and wanting to work and heal that, was very challenging,” Sidora explained.
The “Step Up” star finally reached her “boiling point” when their issues were later shared with an audience thanks to the Bravo reality series, which made her feel “embarrassment on top of what we were dealing with behind closed doors.”
#NewMusic from Kehlani Featuring Missy Elliott “Back and Forth”
Two-time GRAMMY® Award-winning R&B artist Kehlani has released her latest single, “Back and Forth,” featuring a high-profile collaboration with industry pioneer Missy Elliott. The track serves as the final preview for the singer’s upcoming self-titled album, KEHLANI, which is scheduled for global release on April 24.
The single is described as a generational bridge, pairing Kehlani’s “soulful vulnerability” with the signature innovation and charisma of Missy Elliott. According to her team, the collaboration highlights Kehlani’s commitment to artistic evolution while paying tribute to the icons of the genre.
The arrival of the self-titled project on April 24 coincides with Kehlani’s birthday, marking what is being framed as a defining moment in her professional career. The album is characterized as an intimate and fearless body of work, intended to showcase her current clarity, confidence, and creative freedom.
As is often the case with self-titled projects, KEHLANI is presented as the artist’s most personal statement to date. The project reportedly features:
Honest Storytelling: A blend of “soul-baring” narratives that reflect her personal journey.
Genre-Defying Sound: A continuation of the lush, influential R&B production that has established her as a leading voice in the modern landscape.
Two-time GRAMMY® Award-winning R&B artist Kehlani has released her latest single, “Back and Forth,” featuring a high-profile collaboration with industry pioneer Missy Elliott. The track serves as the final preview for the singer’s upcoming self-titled album, KEHLANI, which is scheduled for global release on April 24.
The single is described as a generational bridge, pairing Kehlani’s “soulful vulnerability” with the signature innovation and charisma of Missy Elliott. According to her team, the collaboration highlights Kehlani’s commitment to artistic evolution while paying tribute to the icons of the genre.
The arrival of the self-titled project on April 24 coincides with Kehlani’s birthday, marking what is being framed as a defining moment in her professional career. The album is characterized as an intimate and fearless body of work, intended to showcase her current clarity, confidence, and creative freedom.
As is often the case with self-titled projects, KEHLANI is presented as the artist’s most personal statement to date. The project reportedly features:
Honest Storytelling: A blend of “soul-baring” narratives that reflect her personal journey.
Genre-Defying Sound: A continuation of the lush, influential R&B production that has established her as a leading voice in the modern landscape.
LISTEN HERE:
Creative Autonomy: A focus on the creative freedom she has honed across her discography.
The album is currently available for pre-save on all major digital platforms. Additional details regarding the full tracklist and further collaborations are expected to be announced closer to the release date.
The album is currently available for pre-save on all major digital platforms. Additional details regarding the full tracklist and further collaborations are expected to be announced closer to the release date.
#HipHopNews: Jack Harlow Clowned Over His Oversized Utility Hat In Video for ‘Say Hello’
After claiming "he got Blacker" for his new R&B-inspired album, Monica, Harlow is once again the butt of the jokes after showing up in a ridiculous-looking hat in his new music video.
Normally, Jack Harlow would be the star of his video, but it's his oversized olive green utility hat that stole the show as he walks down a busy New York City street singing the song.
Just like when he dipped into his neo-soul bag, the jokes about his choice of headwear were instantaneous and downright hilarious on social media.
Jack Harlow is getting flamed again on social media, this time for his hat in his latest visual for his single “Say Hello.”
After claiming “he got Blacker” for his new R&B-inspired album, Monica, Harlow is once again the butt of the jokes after showing up in a ridiculous-looking hat in his new music video.
Normally, Jack Harlow would be the star of his video, but it’s his oversized olive green utility hat that stole the show as he walks down a busy New York City street singing the song.
Just like when he dipped into his neo-soul bag, the jokes about his choice of headwear were instantaneous and downright hilarious on social media.
“I have NEVER seen a hat like this in all my natural life,” wrote popular social media comedian KevOnStage.
Another person wrote, “Jack Harlow heard the critiques and got a bigger hat. Unbelievable.”
“This can’t be serious fr… like he done jumped straight into his neo-soul Jill Scott era this is way too deep in that Black cosplay lane. Labels really be shelving actually talented Black artists but approving this?? I’m irritated,” another post read.
The criticism of Harlow’s hat follows after social media blessed him with some clever names after he announced his new project and those headass statements that followed.
We’re not sure if this is the publicity Harlow wanted, but you know what they say: “bad publicity is still publicity.”
Maybe Harlow can channel the jokes and memes into some album sales.
Normally, Jack Harlow would be the star of his video, but it's his oversized olive green utility hat that stole the show as he walks down a busy New York City street singing the song.
Just like when he dipped into his neo-soul bag, the jokes about his choice of headwear were instantaneous and downright hilarious on social media.
Jack Harlow is getting flamed again on social media, this time for his hat in his latest visual for his single “Say Hello.”
After claiming “he got Blacker” for his new R&B-inspired album, Monica, Harlow is once again the butt of the jokes after showing up in a ridiculous-looking hat in his new music video.
Normally, Jack Harlow would be the star of his video, but it’s his oversized olive green utility hat that stole the show as he walks down a busy New York City street singing the song.
Just like when he dipped into his neo-soul bag, the jokes about his choice of headwear were instantaneous and downright hilarious on social media.
“I have NEVER seen a hat like this in all my natural life,” wrote popular social media comedian KevOnStage.
Another person wrote, “Jack Harlow heard the critiques and got a bigger hat. Unbelievable.”
“This can’t be serious fr… like he done jumped straight into his neo-soul Jill Scott era this is way too deep in that Black cosplay lane. Labels really be shelving actually talented Black artists but approving this?? I’m irritated,” another post read.
The criticism of Harlow’s hat follows after social media blessed him with some clever names after he announced his new project and those headass statements that followed.
We’re not sure if this is the publicity Harlow wanted, but you know what they say: “bad publicity is still publicity.”
Maybe Harlow can channel the jokes and memes into some album sales.
Chris Brown And Usher Announce ‘R&B’ Joint Tour
Are you ready for this? Chris Brown and Usher are headed on tour.
The pair shared the news via Instagram, revealing that “R&B” stands for “Raymond and Brown.”
“ITS TIME!n#R&BTOUR #Raymond&Brown..” Chris Brown wrote via Instagram sharing the news that the tour is underway. Although there’s not details of when the tour will kick off, fans are still overly excited. “GONNA BE THE BIGGEST OF ALL TIME!! let’s go bro!! Yalll ready..” commented a fan. “I’m literally boutta cry im so excited..” reacted another.
Ahead of the tour announcement, Chris Brown announced the upcoming release of his 12th studio album, titled “BROWN,” marking a significant milestone in his two-decade career.
The multi-platinum singer confirmed Friday that the highly anticipated project is scheduled to debut on May 22, 2026, via RCA Records. To coincide with the announcement, Brown released his latest single, “Obvious,” across all major streaming platforms.
The track offers fans a first glimpse into the sonic direction of the new LP, blending his signature melodic vocals with contemporary R&B production. Music industry analysts expect the single to perform well on urban radio formats throughout the spring. The album “BROWN” follows his previous successful project, “11:11,” which saw the artist exploring a split-themed sonic landscape.
While full tracklist details remain under wraps, the singer indicated that the eponymous title reflects a more personal and refined approach to his craft. “It’s OBVIOUS I’m tryna start the summer up! May 8th,” Brown said via Instagram.
Are you ready for this? Chris Brown and Usher are headed on tour.
The pair shared the news via Instagram, revealing that “R&B” stands for “Raymond and Brown.”
“ITS TIME!n#R&BTOUR #Raymond&Brown..” Chris Brown wrote via Instagram sharing the news that the tour is underway. Although there’s not details of when the tour will kick off, fans are still overly excited. “GONNA BE THE BIGGEST OF ALL TIME!! let’s go bro!! Yalll ready..” commented a fan. “I’m literally boutta cry im so excited..” reacted another.
Ahead of the tour announcement, Chris Brown announced the upcoming release of his 12th studio album, titled “BROWN,” marking a significant milestone in his two-decade career.
The multi-platinum singer confirmed Friday that the highly anticipated project is scheduled to debut on May 22, 2026, via RCA Records. To coincide with the announcement, Brown released his latest single, “Obvious,” across all major streaming platforms.
The track offers fans a first glimpse into the sonic direction of the new LP, blending his signature melodic vocals with contemporary R&B production. Music industry analysts expect the single to perform well on urban radio formats throughout the spring. The album “BROWN” follows his previous successful project, “11:11,” which saw the artist exploring a split-themed sonic landscape.
While full tracklist details remain under wraps, the singer indicated that the eponymous title reflects a more personal and refined approach to his craft. “It’s OBVIOUS I’m tryna start the summer up! May 8th,” Brown said via Instagram.
Quinta Brunson Explains Janine And Gregory’s Relationship Change On ‘Abbott Elementary’
Abbott Elementary fans are feeling some type of way about Wednesday’s episode, and that’s exactly what Quinta Bronson wants.
“I don’t even want to say I’m sorry,” she told Entertainment Weekly. “We’re all going to go on a nice sun ride with each other [after this], right?
During the episode titled “Trip,” the long-simmering tension between Janine and Gregory (Tyler Williams) reaches a shocking breaking point over what begins as a simple vacation disagreement. While planning a getaway to the Outer Banks, the couple finds themselves at an impasse. Gregory’s frugality leads him to insist on a grueling eight-hour drive to save money. Janine, who wants to be comfortable, secretly buys plane tickets to bypass the hassle. This move forces them to discover if they are truly compatible.
According to Brunson, this is Janine’s evolution.
“This is a girl who has, over the years, learned to stand up for what she wants and to not to compromise as much,” Brunson said. “We talked about that a lot in the [writers’] room. Her learning, especially with a trip — there was a trip she wanted to take a few seasons ago. And she was going to compromise for the sake of her mother, and she learned not to do that. So she’s trying to exercise that. She’s trying to exercise her wants and getting what she needs.”
With Janine and Gregory at odds, they do the unthinkable: They consider going their separate ways.
“I think [we were excited] because Jeanine and Gregory are two characters we know very well. And more than anything, two characters we think we know very well. So we think we know their relationship,” she said. “We feel settled with it. But I think, as with any relationship, the inside has its own dynamics. And I thought that they’ve been on such an easy ride since they got together, it was interesting to all of us to see some different layers there.”
“I don’t even want to say I’m sorry,” she told Entertainment Weekly. “We’re all going to go on a nice sun ride with each other [after this], right?
During the episode titled “Trip,” the long-simmering tension between Janine and Gregory (Tyler Williams) reaches a shocking breaking point over what begins as a simple vacation disagreement. While planning a getaway to the Outer Banks, the couple finds themselves at an impasse. Gregory’s frugality leads him to insist on a grueling eight-hour drive to save money. Janine, who wants to be comfortable, secretly buys plane tickets to bypass the hassle. This move forces them to discover if they are truly compatible.
According to Brunson, this is Janine’s evolution.
“This is a girl who has, over the years, learned to stand up for what she wants and to not to compromise as much,” Brunson said. “We talked about that a lot in the [writers’] room. Her learning, especially with a trip — there was a trip she wanted to take a few seasons ago. And she was going to compromise for the sake of her mother, and she learned not to do that. So she’s trying to exercise that. She’s trying to exercise her wants and getting what she needs.”
With Janine and Gregory at odds, they do the unthinkable: They consider going their separate ways.
“I think [we were excited] because Jeanine and Gregory are two characters we know very well. And more than anything, two characters we think we know very well. So we think we know their relationship,” she said. “We feel settled with it. But I think, as with any relationship, the inside has its own dynamics. And I thought that they’ve been on such an easy ride since they got together, it was interesting to all of us to see some different layers there.”
No agreement between U.S. and Iran after 21 hours of talks, Vance says
Vice President JD Vance said that Lebanon was never part of the ceasefire deal with Iran, but Israel has offered to “check themselves” in Lebanon to help the deal continue.
Vice President JD Vance said that after 21 hours of negotiating in Pakistan, the U.S. and Iranian delegations had failed to reach a deal to end the war.
"We’ve made very clear what our red lines are, what things we’re willing to accommodate them on, and what things we’re not willing to accommodate them on, and we’ve made that as clear as we possibly could, and may have chosen not to accept our terms," he said.
The vice president said the U.S. needs a firmer commitment that Iran will not develop a nuclear weapon in order to reach an agreement.
"We were negotiating in good faith," Vance said. "And we leave here with a very simple proposal, a method of understanding that is our final and best offer. We'll see if the Iranians accept it."
The vice president said that he and the U.S. delegation were in "constant communication" with Trump throughout the 21 hours of peace talks. Vance told reporters that the president urged him to have "good faith" and "make your best effort to get a deal."
"We did that, and unfortunately, we weren't able to make any headway," Vance said.
Iran's president cites continued Israeli attacks on Lebanon as sore spot during talks
U.S. & World
Iran's president, Masoud Pezeshkian, cited Israel's continued attacks on targets inside Lebanon as a primary source of tension as his country and the United States engaged in peace talks in Islamabad.
The president urged the U.S. and third-party nations to pressure Israel to halt the attacks, which he said compose war crimes because they allegedly hit civilian sites, including a nursery.
His remarks were reported by semi-official news agency Mehr, via its Telegram account. Pezeshkian said Iran has sought to settle disputes through peaceful means, but alleged that U.S. breaches of previous agreements mean success in Islamabad depends on the integrity of the U.S. side.
French President Emmanuel Macron said he spoke to Pezeshkian by phone today, during which time he said respecting the current ceasefire means Lebanon should be included. The country has long been a base for Iran-backed Hezbollah militants, a proxy for the Islamic republic that Israel has omitted from the ceasefire and continued to attack.
Macron also said Iran should quickly restore a free-flowing Strait of Hormuz, the waterway through which one-fifth of the world's oil flows and the location of successful efforts by Iran to thwart outbound oil tankers in response to U.S. and Israeli attacks.
"I emphasized the need for Iran to swiftly restore freedom and security of navigation in the Strait of Hormuz, to which France stands ready to contribute," Macron wrote.
Yesterday, Macron condemned attacks on targets in Lebanon and said they threaten to derail weekend peace talks, according to the French Embassy in the United States.
Trump says U.S. has won 'regardless' of what happens in negotiations with Iran
Trump told reporters at the White House this afternoon that the U.S. has won the war "regardless of what happens" in the ongoing peace talks with Iran.
"I'm getting a lot of reports. They've been meeting for many hours, as you probably have noticed. We'll see what happens," Trump said.
"Regardless of what happens, we win. We totally defeated that country. And so let's see what happens. Maybe they make a deal. Maybe they don't," the president continued.
Trump reiterated his claims that the U.S. has already completely destroyed Iran's military and is now working to clear any naval mines out of the Strait of Hormuz.
"In addition to that, we're negotiating," Trump said. "Whether we make a deal or not makes no difference to me."
Vice President JD Vance said that Lebanon was never part of the ceasefire deal with Iran, but Israel has offered to “check themselves” in Lebanon to help the deal continue.
Vice President JD Vance said that after 21 hours of negotiating in Pakistan, the U.S. and Iranian delegations had failed to reach a deal to end the war.
"We’ve made very clear what our red lines are, what things we’re willing to accommodate them on, and what things we’re not willing to accommodate them on, and we’ve made that as clear as we possibly could, and may have chosen not to accept our terms," he said.
The vice president said the U.S. needs a firmer commitment that Iran will not develop a nuclear weapon in order to reach an agreement.
"We were negotiating in good faith," Vance said. "And we leave here with a very simple proposal, a method of understanding that is our final and best offer. We'll see if the Iranians accept it."
The vice president said that he and the U.S. delegation were in "constant communication" with Trump throughout the 21 hours of peace talks. Vance told reporters that the president urged him to have "good faith" and "make your best effort to get a deal."
"We did that, and unfortunately, we weren't able to make any headway," Vance said.
Iran's president cites continued Israeli attacks on Lebanon as sore spot during talks
U.S. & World
Iran's president, Masoud Pezeshkian, cited Israel's continued attacks on targets inside Lebanon as a primary source of tension as his country and the United States engaged in peace talks in Islamabad.
The president urged the U.S. and third-party nations to pressure Israel to halt the attacks, which he said compose war crimes because they allegedly hit civilian sites, including a nursery.
His remarks were reported by semi-official news agency Mehr, via its Telegram account. Pezeshkian said Iran has sought to settle disputes through peaceful means, but alleged that U.S. breaches of previous agreements mean success in Islamabad depends on the integrity of the U.S. side.
French President Emmanuel Macron said he spoke to Pezeshkian by phone today, during which time he said respecting the current ceasefire means Lebanon should be included. The country has long been a base for Iran-backed Hezbollah militants, a proxy for the Islamic republic that Israel has omitted from the ceasefire and continued to attack.
Macron also said Iran should quickly restore a free-flowing Strait of Hormuz, the waterway through which one-fifth of the world's oil flows and the location of successful efforts by Iran to thwart outbound oil tankers in response to U.S. and Israeli attacks.
"I emphasized the need for Iran to swiftly restore freedom and security of navigation in the Strait of Hormuz, to which France stands ready to contribute," Macron wrote.
Yesterday, Macron condemned attacks on targets in Lebanon and said they threaten to derail weekend peace talks, according to the French Embassy in the United States.
Trump says U.S. has won 'regardless' of what happens in negotiations with Iran
Trump told reporters at the White House this afternoon that the U.S. has won the war "regardless of what happens" in the ongoing peace talks with Iran.
"I'm getting a lot of reports. They've been meeting for many hours, as you probably have noticed. We'll see what happens," Trump said.
"Regardless of what happens, we win. We totally defeated that country. And so let's see what happens. Maybe they make a deal. Maybe they don't," the president continued.
Trump reiterated his claims that the U.S. has already completely destroyed Iran's military and is now working to clear any naval mines out of the Strait of Hormuz.
"In addition to that, we're negotiating," Trump said. "Whether we make a deal or not makes no difference to me."
Judge Denies Offset’s DNA Request for Cardi B’s Newborn
The high-stakes divorce between Cardi B and Offset has taken a sharp turn into legal and personal turmoil. According to court documents obtained by TMZ, a judge has officially weighed in on a series of paternity requests made by the former Migos rapper—requests that involve Cardi’s newest addition and her rumored relationship with NFL star Stefon Diggs.
The order, issued on February 25, 2026, offers a glimpse into the increasingly fractured relationship between the two hip-hop stars, confirming that the battle for custody and clarity is reaching a boiling point.
The court documents reveal a split decision regarding Offset’s demands for DNA testing. While the judge denied his request for a DNA test on Cardi’s “newborn”—widely believed to be the child she welcomed with Stefon Diggs in November—the court granted a paternity request for another one of her children.
Though the names and exact birth dates of the children are redacted in the public filing, the timeline suggests a clear distinction:
The Denied Request: Linked to the “newborn” (born November 2025), whom Offset reportedly believes is not his.
The Granted Request: Linked to an older child, possibly their last child together born in 2024, or another child within the family structure.
Beyond the paternity dispute, the judge has moved to settle the public war of words. The order strictly prohibits both Offset and Cardi B from making “disparaging or defamatory remarks” about one another on social media or in press interviews.
This move follows months of subliminal posts and public outbursts that have characterized their split since Cardi initially filed for divorce in 2024. For two artists who have historically used social media to air grievances, this legal muzzle marks a significant shift in how the proceedings will move forward.
While the couple has famously weathered storms before—including a high-profile split and reconciliation in 2020—insiders suggest that this latest legal maneuvering marks the definitive end. Offset’s decision to formally question the paternity of the children appears to be the “point of no return” for Cardi, who has requested primary custody.
As the divorce proceedings continue into the spring of 2026, the focus remains on the well-being of the children and the division of a massive joint empire. With the court now involved in the most intimate details of their family life, the “rekindling” fans once hoped for seems more unlikely than ever.
The order, issued on February 25, 2026, offers a glimpse into the increasingly fractured relationship between the two hip-hop stars, confirming that the battle for custody and clarity is reaching a boiling point.
The court documents reveal a split decision regarding Offset’s demands for DNA testing. While the judge denied his request for a DNA test on Cardi’s “newborn”—widely believed to be the child she welcomed with Stefon Diggs in November—the court granted a paternity request for another one of her children.
Though the names and exact birth dates of the children are redacted in the public filing, the timeline suggests a clear distinction:
The Denied Request: Linked to the “newborn” (born November 2025), whom Offset reportedly believes is not his.
The Granted Request: Linked to an older child, possibly their last child together born in 2024, or another child within the family structure.
Beyond the paternity dispute, the judge has moved to settle the public war of words. The order strictly prohibits both Offset and Cardi B from making “disparaging or defamatory remarks” about one another on social media or in press interviews.
This move follows months of subliminal posts and public outbursts that have characterized their split since Cardi initially filed for divorce in 2024. For two artists who have historically used social media to air grievances, this legal muzzle marks a significant shift in how the proceedings will move forward.
While the couple has famously weathered storms before—including a high-profile split and reconciliation in 2020—insiders suggest that this latest legal maneuvering marks the definitive end. Offset’s decision to formally question the paternity of the children appears to be the “point of no return” for Cardi, who has requested primary custody.
As the divorce proceedings continue into the spring of 2026, the focus remains on the well-being of the children and the division of a massive joint empire. With the court now involved in the most intimate details of their family life, the “rekindling” fans once hoped for seems more unlikely than ever.
#RIP: Grammy-Winning Producer Sidney ‘Omen’ Brown Found Dead in NYC at 49
The hip-hop and R&B communities are reeling following the sudden and tragic passing of Sidney “Omen” Brown, a visionary producer whose sonic fingerprints helped define the sound of the 2000s and 2010s. Brown was found dead in his East Harlem apartment this past Saturday. He was 49.
The discovery was made after Brown failed to appear for a scheduled DJ set at Barawine Harlem. Concerned by the uncharacteristic absence, family members went to his residence, where they made the devastating discovery. His sister, Nicole Iris Brown, told NBC News that the family is in a state of shock, noting that Sidney was “holistic and healthy” and had no known illnesses.
Known professionally as Omen, Brown was a “producer’s producer”—a craftsman capable of navigating the high-octane energy of Southern rap and the atmospheric, emotional depths of modern R&B. His discography serves as a timeline of the genre’s evolution over the last two decades.
The Grammy Peak: Omen contributed to Ludacris’ seminal 2006 project Release Therapy, producing the standout track “Tell It Like It Is.” The project went on to win the Grammy for Best Rap Album, cementing Omen’s status in the upper echelon of hip-hop hitmakers.
The Drake Era: He was a key architect in the early sound of Drake, producing “Shut It Down” for the rapper’s 2010 debut album, Thank Me Later. The track remains a fan favorite for its smooth, melodic transition—a hallmark of Omen’s production style.
Artistic Mastery with Beyoncé: In 2013, Omen earned credits as a producer, programmer, lyricist, and composer for Beyoncé’s critically acclaimed track “Mine.” His work on the self-titled visual album showcased his ability to blend complex arrangements with mainstream appeal.
As of Tuesday, the New York City Office of Chief Medical Examiner stated that the “cause and manner of death are pending further study.” For now, his family and collaborators are left to grapple with the loss of a man whose work was often the heartbeat of the party, even when he remained behind the scenes.
Omen’s passing marks the loss of a true student of the craft—a musician who bridged the gap between the Bronx-born roots of the culture and the global pop dominance it enjoys today.
Rest in Power Omen.
The hip-hop and R&B communities are reeling following the sudden and tragic passing of Sidney “Omen” Brown, a visionary producer whose sonic fingerprints helped define the sound of the 2000s and 2010s. Brown was found dead in his East Harlem apartment this past Saturday. He was 49.
The discovery was made after Brown failed to appear for a scheduled DJ set at Barawine Harlem. Concerned by the uncharacteristic absence, family members went to his residence, where they made the devastating discovery. His sister, Nicole Iris Brown, told NBC News that the family is in a state of shock, noting that Sidney was “holistic and healthy” and had no known illnesses.
Known professionally as Omen, Brown was a “producer’s producer”—a craftsman capable of navigating the high-octane energy of Southern rap and the atmospheric, emotional depths of modern R&B. His discography serves as a timeline of the genre’s evolution over the last two decades.
The Grammy Peak: Omen contributed to Ludacris’ seminal 2006 project Release Therapy, producing the standout track “Tell It Like It Is.” The project went on to win the Grammy for Best Rap Album, cementing Omen’s status in the upper echelon of hip-hop hitmakers.
The Drake Era: He was a key architect in the early sound of Drake, producing “Shut It Down” for the rapper’s 2010 debut album, Thank Me Later. The track remains a fan favorite for its smooth, melodic transition—a hallmark of Omen’s production style.
Artistic Mastery with Beyoncé: In 2013, Omen earned credits as a producer, programmer, lyricist, and composer for Beyoncé’s critically acclaimed track “Mine.” His work on the self-titled visual album showcased his ability to blend complex arrangements with mainstream appeal.
As of Tuesday, the New York City Office of Chief Medical Examiner stated that the “cause and manner of death are pending further study.” For now, his family and collaborators are left to grapple with the loss of a man whose work was often the heartbeat of the party, even when he remained behind the scenes.
Omen’s passing marks the loss of a true student of the craft—a musician who bridged the gap between the Bronx-born roots of the culture and the global pop dominance it enjoys today.
Rest in Power Omen.
South Carolina’s Dawn Staley Becomes Highest-Paid Coach In Women’s College Basketball At $4.25 Million
Dawn Staley just added another major title to her résumé — the highest-paid coach in women’s college basketball.
According to USA TODAY Sports, the South Carolina Gamecocks women’s basketball icon will earn $4.25 million for the 2025–26 season, officially putting her ahead of every other women’s college basketball coach in the country. The salary bump is part of the five-year agreement she signed in March 2025, with her pay set to increase by $250,000 annually through 2030.
The historic payday comes after yet another dominant season in Columbia. Under Staley, South Carolina has now won three national championships, reached eight Final Fours, and just made its sixth straight trip to the national semifinals, where the Gamecocks beat UConn Huskies women’s basketball before falling to UCLA Bruins women’s basketball in the title game.
Her compensation now tops coaching giants like Geno Auriemma ($3.79 million), Kim Mulkey ($3.35 million), and Vic Schaefer ($2.3 million), while also eclipsing the salaries of at least seven men’s public-school SEC coaches.
And the résumé behind the check speaks for itself: 10 SEC regular-season titles, 683 Division I wins, three Olympic gold medals, six WNBA All-Star appearances, and Hall of Fame status. At this point, Staley isn’t just coaching greatness — she’s being paid like the empire builder she is.
According to USA TODAY Sports, the South Carolina Gamecocks women’s basketball icon will earn $4.25 million for the 2025–26 season, officially putting her ahead of every other women’s college basketball coach in the country. The salary bump is part of the five-year agreement she signed in March 2025, with her pay set to increase by $250,000 annually through 2030.
The historic payday comes after yet another dominant season in Columbia. Under Staley, South Carolina has now won three national championships, reached eight Final Fours, and just made its sixth straight trip to the national semifinals, where the Gamecocks beat UConn Huskies women’s basketball before falling to UCLA Bruins women’s basketball in the title game.
Her compensation now tops coaching giants like Geno Auriemma ($3.79 million), Kim Mulkey ($3.35 million), and Vic Schaefer ($2.3 million), while also eclipsing the salaries of at least seven men’s public-school SEC coaches.
And the résumé behind the check speaks for itself: 10 SEC regular-season titles, 683 Division I wins, three Olympic gold medals, six WNBA All-Star appearances, and Hall of Fame status. At this point, Staley isn’t just coaching greatness — she’s being paid like the empire builder she is.
Cats The Jellicle Ball Revitalizes Broadway With Vibrant NYC Ballroom Flair
The atmosphere pulses with energy every night in Midtown Manhattan as a dazzling reinvention of a Broadway classic takes center stage. At the Broadhurst Theatre, located at 235 W. 44th Street, audiences experience a thrilling 2 hours and 25 minutes of spectacle, complete with one intermission, in the vibrant new production known as Cats: The Jellicle Ball.
Imagine a nightclub scene where bodies sway and twirl in sync with electrifying beats. Neon costumes flash from “Let’s Get Physical” aerobics chic to avant-garde architectural ensembles, as performers fiercely compete on a runway that doubles as a battleground for style and charisma. The crowd, animated and feverish, fans themselves with folding fans that stir the air into a swirling cyclone of excitement.
Surprisingly, the soundtrack fueling this euphoric party isn’t the typical club anthem but Andrew Lloyd Webber’s immortal score from Cats, highlighted by the energetic number “Skimbleshanks the Railway Cat.” This reinvention breathes fresh life into the beloved musical, transforming it into an exuberant celebration of New York’s ballroom culture.
Formerly a haunting, balletic spectacle emblematic of 1980s excess, Cats now emerges as a glittering explosion of joyous chaos. The show, smartly retitled Cats: The Jellicle Ball, opened on a Tuesday night at the Broadhurst Theatre after a successful off-Broadway stint in the summer of 2024. This new incarnation not only respects its roots but also expands its creative boundaries, delivering an experience that is even more exhilarating and tailored to the uptown audience. Theatergoers are sure to have the time of their “nine lives.”
The most striking departure from the original is conceptual: the characters are no longer cats but humans. This daring transformation might sound implausible, yet it fits seamlessly with the spirit of Cats, a show known for its whimsical and sometimes absurd charm. The visionary co-directors Zhailon Levingston and Bill Rauch have masterfully executed this humanization, shedding the feline personas while preserving the heart of the story.
The classic characters penned by T.S. Eliot—Munkustrap (played by Dudney Joseph Jr.), Old Deuteronomy (André De Shields), and their companions—have been reimagined as human figures inhabiting New York City. The mystical Jellicle Ball, originally conceived as a celestial event ascending to the Heaviside Layer, is now depicted as a pulsating Harlem ball. Here, dance, fashion, attitude, and vogueing compete in a fierce display of self-expression and community pride.
Those familiar with ballroom culture through shows like RuPaul’s Drag Race or the documentary Paris Is Burning will recognize the framework: various “houses” gather under cover of darkness to showcase their creativity and vie for trophies. This vibrant subculture, rich in history and significance, forms the heartbeat of Cats: The Jellicle Ball. However, the production prioritizes entertainment over education, delivering a captivating celebration of this world.
The choreography, crafted by Omari Wiles and Arturo Lyons, replaces traditional ballet moves with dynamic strip teases and dramatic death drops, reflecting the raw energy of ballroom dance. The festivities commence with DJ Griddlebone (Ken Ard, who originally played Macavity), spinning a vinyl of the Cats Broadway cast recording to enthusiastic cheers.
Though there’s the feel of a club DJ, every note and lyric is performed live by a hidden orchestra, ensuring the authenticity of the Cats score remains intact. The music is cleverly remixed at times, evoking playful nods such as “The Ethel Merman Disco Album,” but the essence is unmistakably true to the original composition.
André De Shields commands the stage as Old Deuteronomy, entering with regal presence reminiscent of a pope in Vatican City. He presides over a lavish procession and a lively judging panel featuring rotating celebrity guests who evaluate the contestants in various “cat-egories.”
For example, the character of Skimbleshanks the Railway Cat, portrayed by the vivacious Emma Sofia, competes in the “Old Way vs. New Way” category as a spirited MTA conductor. The mischievous duo Mungojerrie and Rumpleteazer, played by Jonathan Burke and Dava Huesca, traditionally cockney burglars, are reinterpreted with sharp New York accents in the “Tag Team” competition.
The show’s standout performer is Sydney James Harcourt, embodying the Rum Tum Tugger with magnetic charisma. Awarded the “Realness” category, Harcourt’s powerful voice and rockstar stage presence transform the character from a playful Mick Jagger impersonator to a sultry, smoldering figure reminiscent of Usher. His frequent shirt removals add to the character’s provocative energy.
The production balances polished Broadway vocals and choreography with scrappier, more spontaneous moments reminiscent of a late-night party at Pieces, the iconic Greenwich Village club. This contrast energizes Cats: The Jellicle Ball, blending traditional musical theater with the vibrant, less formal ballroom scene to create a unique and eclectic atmosphere.
Two cast members bring particular authenticity to the production’s updated setting. Junior LaBeija as Gus the Theater Cat and “Tempress” Chasity Moore as the ostracized Grizabella infuse their roles with genuine pathos and emotional depth. LaBeija, who appeared in the 1990 documentary Paris Is Burning, offers a profoundly moving portrayal of Gus, capturing the character’s weariness and humor with subtlety and grace. His simple eyebrow lifts draw big laughs without effort.
Chasity Moore delivers an emotionally resonant performance as Grizabella, the outcast seeking acceptance. While her rendition of the iconic song “Memory” may lack the polish of a typical Broadway showstopper, it feels heartfelt and sincere, perfectly in tune with this unconventional production’s spirit.
The charm of Cats: The Jellicle Ball lies in its inventive approach, a fresh take that could only thrive in the creative melting pot of New York City. This revival is a shining example of Broadway’s capacity to reinvent itself by embracing local culture and pushing artistic boundaries.
In a season full of theatrical offerings, Cats: The Jellicle Ball stands out as a celebration of diversity, innovation, and the vibrant energy of the city that never sleeps. This reimagined classic promises an unforgettable night that can only be experienced in New York. Truly, it’s a show for the city’s “kittens”—a dazzling, euphoric party that invites everyone to join the dance.
Imagine a nightclub scene where bodies sway and twirl in sync with electrifying beats. Neon costumes flash from “Let’s Get Physical” aerobics chic to avant-garde architectural ensembles, as performers fiercely compete on a runway that doubles as a battleground for style and charisma. The crowd, animated and feverish, fans themselves with folding fans that stir the air into a swirling cyclone of excitement.
Surprisingly, the soundtrack fueling this euphoric party isn’t the typical club anthem but Andrew Lloyd Webber’s immortal score from Cats, highlighted by the energetic number “Skimbleshanks the Railway Cat.” This reinvention breathes fresh life into the beloved musical, transforming it into an exuberant celebration of New York’s ballroom culture.
Formerly a haunting, balletic spectacle emblematic of 1980s excess, Cats now emerges as a glittering explosion of joyous chaos. The show, smartly retitled Cats: The Jellicle Ball, opened on a Tuesday night at the Broadhurst Theatre after a successful off-Broadway stint in the summer of 2024. This new incarnation not only respects its roots but also expands its creative boundaries, delivering an experience that is even more exhilarating and tailored to the uptown audience. Theatergoers are sure to have the time of their “nine lives.”
The most striking departure from the original is conceptual: the characters are no longer cats but humans. This daring transformation might sound implausible, yet it fits seamlessly with the spirit of Cats, a show known for its whimsical and sometimes absurd charm. The visionary co-directors Zhailon Levingston and Bill Rauch have masterfully executed this humanization, shedding the feline personas while preserving the heart of the story.
The classic characters penned by T.S. Eliot—Munkustrap (played by Dudney Joseph Jr.), Old Deuteronomy (André De Shields), and their companions—have been reimagined as human figures inhabiting New York City. The mystical Jellicle Ball, originally conceived as a celestial event ascending to the Heaviside Layer, is now depicted as a pulsating Harlem ball. Here, dance, fashion, attitude, and vogueing compete in a fierce display of self-expression and community pride.
Those familiar with ballroom culture through shows like RuPaul’s Drag Race or the documentary Paris Is Burning will recognize the framework: various “houses” gather under cover of darkness to showcase their creativity and vie for trophies. This vibrant subculture, rich in history and significance, forms the heartbeat of Cats: The Jellicle Ball. However, the production prioritizes entertainment over education, delivering a captivating celebration of this world.
The choreography, crafted by Omari Wiles and Arturo Lyons, replaces traditional ballet moves with dynamic strip teases and dramatic death drops, reflecting the raw energy of ballroom dance. The festivities commence with DJ Griddlebone (Ken Ard, who originally played Macavity), spinning a vinyl of the Cats Broadway cast recording to enthusiastic cheers.
Though there’s the feel of a club DJ, every note and lyric is performed live by a hidden orchestra, ensuring the authenticity of the Cats score remains intact. The music is cleverly remixed at times, evoking playful nods such as “The Ethel Merman Disco Album,” but the essence is unmistakably true to the original composition.
André De Shields commands the stage as Old Deuteronomy, entering with regal presence reminiscent of a pope in Vatican City. He presides over a lavish procession and a lively judging panel featuring rotating celebrity guests who evaluate the contestants in various “cat-egories.”
For example, the character of Skimbleshanks the Railway Cat, portrayed by the vivacious Emma Sofia, competes in the “Old Way vs. New Way” category as a spirited MTA conductor. The mischievous duo Mungojerrie and Rumpleteazer, played by Jonathan Burke and Dava Huesca, traditionally cockney burglars, are reinterpreted with sharp New York accents in the “Tag Team” competition.
The show’s standout performer is Sydney James Harcourt, embodying the Rum Tum Tugger with magnetic charisma. Awarded the “Realness” category, Harcourt’s powerful voice and rockstar stage presence transform the character from a playful Mick Jagger impersonator to a sultry, smoldering figure reminiscent of Usher. His frequent shirt removals add to the character’s provocative energy.
The production balances polished Broadway vocals and choreography with scrappier, more spontaneous moments reminiscent of a late-night party at Pieces, the iconic Greenwich Village club. This contrast energizes Cats: The Jellicle Ball, blending traditional musical theater with the vibrant, less formal ballroom scene to create a unique and eclectic atmosphere.
Two cast members bring particular authenticity to the production’s updated setting. Junior LaBeija as Gus the Theater Cat and “Tempress” Chasity Moore as the ostracized Grizabella infuse their roles with genuine pathos and emotional depth. LaBeija, who appeared in the 1990 documentary Paris Is Burning, offers a profoundly moving portrayal of Gus, capturing the character’s weariness and humor with subtlety and grace. His simple eyebrow lifts draw big laughs without effort.
Chasity Moore delivers an emotionally resonant performance as Grizabella, the outcast seeking acceptance. While her rendition of the iconic song “Memory” may lack the polish of a typical Broadway showstopper, it feels heartfelt and sincere, perfectly in tune with this unconventional production’s spirit.
The charm of Cats: The Jellicle Ball lies in its inventive approach, a fresh take that could only thrive in the creative melting pot of New York City. This revival is a shining example of Broadway’s capacity to reinvent itself by embracing local culture and pushing artistic boundaries.
In a season full of theatrical offerings, Cats: The Jellicle Ball stands out as a celebration of diversity, innovation, and the vibrant energy of the city that never sleeps. This reimagined classic promises an unforgettable night that can only be experienced in New York. Truly, it’s a show for the city’s “kittens”—a dazzling, euphoric party that invites everyone to join the dance.
The WNBA Officially Expands To Cleveland, Detroit & Philadelphia Through 2030
The WNBA’s rapid growth just got even bigger. The league and NBA Board of Governors have now formally approved three new expansion franchises in Cleveland, Detroit, and Philadelphia, locking in a major next chapter for women’s basketball. The move was officially confirmed by the WNBA on Friday, marking one of the biggest expansion waves in league history.
Under the approved rollout, Cleveland will tip off in 2028, Detroit in 2029, and Philadelphia in 2030, bringing the league’s footprint deeper into legacy basketball markets with proven pro sports fan bases.
The additions continue the WNBA’s aggressive momentum following the arrivals of the Golden State Valkyries, Toronto Tempo, and Portland Fire, signaling that demand for women’s basketball franchises is still surging.
Detroit’s return is especially notable given the city’s championship WNBA history, while Philadelphia will finally land its first franchise. Cleveland also marks a return to the league, bringing back WNBA basketball to another familiar market.
By 2030, the WNBA is now set to reach 18 teams, underscoring just how quickly the business of women’s sports continues to expand.
Under the approved rollout, Cleveland will tip off in 2028, Detroit in 2029, and Philadelphia in 2030, bringing the league’s footprint deeper into legacy basketball markets with proven pro sports fan bases.
The additions continue the WNBA’s aggressive momentum following the arrivals of the Golden State Valkyries, Toronto Tempo, and Portland Fire, signaling that demand for women’s basketball franchises is still surging.
Detroit’s return is especially notable given the city’s championship WNBA history, while Philadelphia will finally land its first franchise. Cleveland also marks a return to the league, bringing back WNBA basketball to another familiar market.
By 2030, the WNBA is now set to reach 18 teams, underscoring just how quickly the business of women’s sports continues to expand.
California Comgressman and Candidate for Governor Eric Swalwell Calls Sexual Misconduct Allegations ‘Flat Out False’
California Governor candidate Eric Swalwell has spoken out about the sexual assault allegations that he’s currently facing, calling them “flat out false.”
The 45-year-old politician shared a video on X addressing the allegations on Apr. 10. In his video, he announced his intent to “fight” them.
“A lot has been said about me today through anonymous allegations, and I thought it was important that you see and hear from me directly,” he said. “These allegations of sexual assault are flat-out false. They are absolutely false. They did not happen. They have never happened. And I will fight them with everything that I have.”
Swalwell continued on, admitting that he isn’t “perfect” or a “saint,” but his prior “mistakes in judgement” are private matters between him and his wife, Brittany Watts. The politician issued an apology to her, for “putting her in this position.”
After that, Swalwell apologized to his supporters for having to deal with what he’s been accused of. “For over 20 years, I have served the public as a city councilman, as a member of Congress, and as a prosecutor who went to court on behalf of victims, particularly on behalf of sexual assault victims,” Swalwell added. “That’s who I am and have always been.”
Swalwell was previously accused of rape by a former staffer, who claimed that the congressman assaulted her when she was heavily intoxicated. She alleges that the incident left her with bruises and bleeding. “I was pushing him off of me, saying no,” said the woman, according to CNN about the incident, which she claims to have happened in 2024 after she stopped working with him. “He didn’t stop.”
His accuser claimed that this was the second instance of nonconsensual sexual assault that she experienced with him, following an incident in 2019 when she woke up naked with him in a hotel room after drinking heavily one night. The woman claimed not to remember what happened but could feel physically that they’d had sexual contact with each other.
Three other women have accused him of other instances of sexual misconduct. The allegations have led to top Democratic supporters withdrawing their endorsements for him in the upcoming election.
California Governor candidate Eric Swalwell has spoken out about the sexual assault allegations that he’s currently facing, calling them “flat out false.”
The 45-year-old politician shared a video on X addressing the allegations on Apr. 10. In his video, he announced his intent to “fight” them.
“A lot has been said about me today through anonymous allegations, and I thought it was important that you see and hear from me directly,” he said. “These allegations of sexual assault are flat-out false. They are absolutely false. They did not happen. They have never happened. And I will fight them with everything that I have.”
Swalwell continued on, admitting that he isn’t “perfect” or a “saint,” but his prior “mistakes in judgement” are private matters between him and his wife, Brittany Watts. The politician issued an apology to her, for “putting her in this position.”
After that, Swalwell apologized to his supporters for having to deal with what he’s been accused of. “For over 20 years, I have served the public as a city councilman, as a member of Congress, and as a prosecutor who went to court on behalf of victims, particularly on behalf of sexual assault victims,” Swalwell added. “That’s who I am and have always been.”
Swalwell was previously accused of rape by a former staffer, who claimed that the congressman assaulted her when she was heavily intoxicated. She alleges that the incident left her with bruises and bleeding. “I was pushing him off of me, saying no,” said the woman, according to CNN about the incident, which she claims to have happened in 2024 after she stopped working with him. “He didn’t stop.”
His accuser claimed that this was the second instance of nonconsensual sexual assault that she experienced with him, following an incident in 2019 when she woke up naked with him in a hotel room after drinking heavily one night. The woman claimed not to remember what happened but could feel physically that they’d had sexual contact with each other.
Three other women have accused him of other instances of sexual misconduct. The allegations have led to top Democratic supporters withdrawing their endorsements for him in the upcoming election.
Octavia Butler's Parable of the Sower Is Headed to the Big Screen
Octavia Butler's science fiction novel, Parable of the Sower, headed for the big screen...
Melina Matsoukas has found her next directorial project in Octavia E. Butler’s landmark sci-fi odyssey “Parable of the Sower.”
Matsoukas, whose resume includes “Queen & Slim,” “Insecure” and several key collaborations with Beyoncé, will direct and produce the film adaptation of Butler’s 1993 dystopian novel. Hailed as “notable book of the year” by the New York Times upon its original publication, “Parable of the Sower” became a New York Times bestseller in 2020, 27 years later, due to its prescience and enduring notoriety.
Melina Matsoukas has found her next directorial project in Octavia E. Butler’s landmark sci-fi odyssey “Parable of the Sower.”
Matsoukas, whose resume includes “Queen & Slim,” “Insecure” and several key collaborations with Beyoncé, will direct and produce the film adaptation of Butler’s 1993 dystopian novel. Hailed as “notable book of the year” by the New York Times upon its original publication, “Parable of the Sower” became a New York Times bestseller in 2020, 27 years later, due to its prescience and enduring notoriety.
The novel is set in early 2020s California as global climate change and economic crises lead to social chaos. The central hero is Lauren Olamina, a young woman who suffers from hyperempathy — a debilitating sensitivity to others’ emotions; the story follows as the surrounding anarchy creeps into her family’s small community, and she must navigate the fallout.
AND FINALLY FROM “THE CRAZY PEOPLE SHOPPING AT WALMART” FILES
Courtesy of P.O.Wm
Enjoy!
Aftermath of a Walmart Brawl
You knows its lowdown when everyone is wearing pajamas
AND NOW Meet: Marcelo
It's Marcelo! You can see more HERE
DISCLAIMER: WE DO NOT OWN any images posted on this blog. All images are found online or submitted.
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HAVE A GREAT DAY ALL!!!
EFREM
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