#MAGFAB: Death Row Records: The Revival for Rolling Out Magazine
There are labels that make hits. There are labels that make stars. And then there is Death Row Records the label that made Hip Hop history.
In 1991, when Suge Knight, Dr. Dre, and a small circle of believers planted a flag in Los Angeles, nobody knew they were laying the cornerstone of a cultural empire. By 1992, The Chronic didn’t just drop it set the industry off. By 1993, a kid named Snoop Doggy Dogg turned Doggystyle into the fastest-selling debut in hip-hop history. And by 1996, Tupac Shakur walked through those doors and turned Death Row into a movement that the world is still studying, still quoting, still mourning, and still trying to imitate.
Death Row wasn’t a record label. It was a force. A swagger. A West Coast war cry stitched into low-riders, Cuban links, and crooked smiles. It was Dre behind the boards architecting a sound that would define a generation. It was Snoop on the mic with a flow so smooth it felt like silk pulled through gravel. It was Pa; the poet, prophet, prisoner, prince pouring his into wax like he knew time was short. And it was Suge in the captain’s chair, fearless to a fault, building a Black-owned empire that rattled the entire industry.
For a moment in time, Death Row didn’t follow culture. Culture followed Death Row.
The platinum plaques stacked. The Chronic. Doggystyle. All Eyez on Me. Dogg Food. Above the Rim. Murder Was the Case. The label moved over 50 million units in its prime. It changed how rap sounded, how rap looked, how rap walked into a room. It made the West Coast the center of the universe. And then; as all empires do .. it faced its reckoning. Loss. Tragedy. Tupac in ’96. Lawsuits. Prison. Bankruptcy. The throne went cold.
But legends never die. They wait.
In February 2022, the unthinkable happened. Snoop Dogg bought Death Row Records.
The same kid who walked into that label in 1992 with cornrows and a dream walked back in three decades later as the owner. Full circle. Full sovereignty. Full ownership of the masters that built him. It was one of the most poetic moves in music business history — and one of the most strategic. Because Snoop didn’t buy Death Row to put it in a museum. He bought it to resurrect it.
“Death Row will be an NFT label,” Snoop said early on. Then he pivoted. Then he listened. Then he watched the culture. And what emerged wasn’t a nostalgia play. It wasn’t a reboot. It was a rebirth — built around something the original Death Row didn’t fully explore: , range, and emotional sovereignty.
Snoop understood something only a man who has lived multiple lives in this industry can understand. The next era couldn’t sound like the last one. It had to feel like it — fearless, original, unapologetically Black, unapologetically excellent — but it had to speak to a new generation. A generation that wants the grit and the grace. The bass and the ballad. The hustle and the healing.
So he built a roster. And the roster he built tells you exactly where Death Row is headed.
The New Reign
October London is the of the new Death Row. A voice that sounds like it was pulled from a 1972 Stax session and dropped into 2026 — silk, smoke, and Sunday morning all at once. October isn’t chasing trends; he’s restoring a feeling. In a music landscape that often confuses noise for emotion, his voice slows the world down and reminds you what a love song is supposed to do. He represents what Snoop has called “the evolution of the legacy” — proof that Death Row is no longer bound by genre or geography. October is taking the spirit of the original era — fearless authenticity — and channeling it through R&B and . He is the bridge between Marvin and now.
Jane Handcock brings the fire and the femininity, the swagger and the sincerity. She represents what Death Row in the ’90s never had room to fully showcase — a woman in the front row, not the background. Her presence on this roster signals that the new Death Row understands the future of music is not monolithic. It is layered. It is feminine and fearless. It is range.
Tonio Armani carries the polish and the pen. An artist whose sound moves with sophistication, Tonio represents the lyrical evolution of the West Coast voice — refined, intentional, and unafraid of vulnerability. Where the original Death Row was about dominance, Tonio brings dimension. He continues to build his catalog, expanding his impact in hip-hop.
Charlie Bereal is the connective tissue — a generational musician whose roots run deep through gospel, funk, R&B, and hip-hop. The Bereal name is already woven into the fabric of Black music history, and Charlie’s presence on Death Row is a statement that this label respects the architecture beneath the architecture. He is the musicianship, the live instrumentation, the science that turns songs into scripture.
Together, these four artists are not a roster. They are a statement.
What This Era Represents
The original Death Row was about power. The new Death Row is about ownership. About evolution. About the difference between making noise and making music that lasts. The first era proved that a Black-owned label could dominate the world. This era is proving that a Black-owned label can sustain, diversify, and heal — without losing an ounce of edge. The shift reflects a broader cultural redefinition of legacy in hip-hop today.
Snoop sits at the head of the table now, not as a young rapper trying to make it, but as a mogul, a mentor, a steward of a legacy he helped build. He is doing what Suge envisioned but on his own terms — independent, intentional, and built to last. He is the rare artist who has lived long enough to buy back his own history and decide what happens next.
And what happens next is this: returns to the throne.
The new Death Row isn’t trying to recreate The Chronic. It’s not chasing the ghost of ’96. It’s not asking the culture to look backward. It’s asking the culture to look forward while honoring where it all started. October London, Jane Handcock, Tonio Armani, and Charlie Bereal aren’t here to replace the originals. They’re here to extend the bloodline.
Dre gave us the sound. Pac gave us the . Snoop gave us the swagger. Suge gave us the audacity.
And now this new generation — under Snoop’s wing, on Snoop’s label, with Snoop’s blessing — is giving us the next chapter.
The throne was never empty. It was just waiting for the right voices to take their seat.
Death Row didn’t die. Death Row evolved.
And the most dangerous label in music history is dangerous again — not because of who it threatens, but because of what it’s about to remind the world is possible when legacy and vision sit at the same table.
The blueprint is back. The bloodline is deeper. The reign is renewed & this time its the sweet sound of . The culture is watching, and the moment is now.
Long live Death Row.
To bridge the eras, we sat down with each of these remarkable artists and asked them the same carefully crafted questions—reflecting on Death Row’s storied history, its current rebirth, and where they believe the future of Death Row lies. Their answers paint a vivid picture of how this iconic label, once a rap powerhouse, now stands as a platform for new, ful authenticity. Their perspectives invite us to witness not just a label’s evolution, but the unfolding of a bold and new chapter in music.
In 1991, when Suge Knight, Dr. Dre, and a small circle of believers planted a flag in Los Angeles, nobody knew they were laying the cornerstone of a cultural empire. By 1992, The Chronic didn’t just drop it set the industry off. By 1993, a kid named Snoop Doggy Dogg turned Doggystyle into the fastest-selling debut in hip-hop history. And by 1996, Tupac Shakur walked through those doors and turned Death Row into a movement that the world is still studying, still quoting, still mourning, and still trying to imitate.
Death Row wasn’t a record label. It was a force. A swagger. A West Coast war cry stitched into low-riders, Cuban links, and crooked smiles. It was Dre behind the boards architecting a sound that would define a generation. It was Snoop on the mic with a flow so smooth it felt like silk pulled through gravel. It was Pa; the poet, prophet, prisoner, prince pouring his into wax like he knew time was short. And it was Suge in the captain’s chair, fearless to a fault, building a Black-owned empire that rattled the entire industry.
For a moment in time, Death Row didn’t follow culture. Culture followed Death Row.
The platinum plaques stacked. The Chronic. Doggystyle. All Eyez on Me. Dogg Food. Above the Rim. Murder Was the Case. The label moved over 50 million units in its prime. It changed how rap sounded, how rap looked, how rap walked into a room. It made the West Coast the center of the universe. And then; as all empires do .. it faced its reckoning. Loss. Tragedy. Tupac in ’96. Lawsuits. Prison. Bankruptcy. The throne went cold.
But legends never die. They wait.
In February 2022, the unthinkable happened. Snoop Dogg bought Death Row Records.
The same kid who walked into that label in 1992 with cornrows and a dream walked back in three decades later as the owner. Full circle. Full sovereignty. Full ownership of the masters that built him. It was one of the most poetic moves in music business history — and one of the most strategic. Because Snoop didn’t buy Death Row to put it in a museum. He bought it to resurrect it.
“Death Row will be an NFT label,” Snoop said early on. Then he pivoted. Then he listened. Then he watched the culture. And what emerged wasn’t a nostalgia play. It wasn’t a reboot. It was a rebirth — built around something the original Death Row didn’t fully explore: , range, and emotional sovereignty.
Snoop understood something only a man who has lived multiple lives in this industry can understand. The next era couldn’t sound like the last one. It had to feel like it — fearless, original, unapologetically Black, unapologetically excellent — but it had to speak to a new generation. A generation that wants the grit and the grace. The bass and the ballad. The hustle and the healing.
So he built a roster. And the roster he built tells you exactly where Death Row is headed.
The New Reign
October London is the of the new Death Row. A voice that sounds like it was pulled from a 1972 Stax session and dropped into 2026 — silk, smoke, and Sunday morning all at once. October isn’t chasing trends; he’s restoring a feeling. In a music landscape that often confuses noise for emotion, his voice slows the world down and reminds you what a love song is supposed to do. He represents what Snoop has called “the evolution of the legacy” — proof that Death Row is no longer bound by genre or geography. October is taking the spirit of the original era — fearless authenticity — and channeling it through R&B and . He is the bridge between Marvin and now.
Jane Handcock brings the fire and the femininity, the swagger and the sincerity. She represents what Death Row in the ’90s never had room to fully showcase — a woman in the front row, not the background. Her presence on this roster signals that the new Death Row understands the future of music is not monolithic. It is layered. It is feminine and fearless. It is range.
Tonio Armani carries the polish and the pen. An artist whose sound moves with sophistication, Tonio represents the lyrical evolution of the West Coast voice — refined, intentional, and unafraid of vulnerability. Where the original Death Row was about dominance, Tonio brings dimension. He continues to build his catalog, expanding his impact in hip-hop.
Charlie Bereal is the connective tissue — a generational musician whose roots run deep through gospel, funk, R&B, and hip-hop. The Bereal name is already woven into the fabric of Black music history, and Charlie’s presence on Death Row is a statement that this label respects the architecture beneath the architecture. He is the musicianship, the live instrumentation, the science that turns songs into scripture.
Together, these four artists are not a roster. They are a statement.
What This Era Represents
The original Death Row was about power. The new Death Row is about ownership. About evolution. About the difference between making noise and making music that lasts. The first era proved that a Black-owned label could dominate the world. This era is proving that a Black-owned label can sustain, diversify, and heal — without losing an ounce of edge. The shift reflects a broader cultural redefinition of legacy in hip-hop today.
Snoop sits at the head of the table now, not as a young rapper trying to make it, but as a mogul, a mentor, a steward of a legacy he helped build. He is doing what Suge envisioned but on his own terms — independent, intentional, and built to last. He is the rare artist who has lived long enough to buy back his own history and decide what happens next.
And what happens next is this: returns to the throne.
The new Death Row isn’t trying to recreate The Chronic. It’s not chasing the ghost of ’96. It’s not asking the culture to look backward. It’s asking the culture to look forward while honoring where it all started. October London, Jane Handcock, Tonio Armani, and Charlie Bereal aren’t here to replace the originals. They’re here to extend the bloodline.
Dre gave us the sound. Pac gave us the . Snoop gave us the swagger. Suge gave us the audacity.
And now this new generation — under Snoop’s wing, on Snoop’s label, with Snoop’s blessing — is giving us the next chapter.
The throne was never empty. It was just waiting for the right voices to take their seat.
Death Row didn’t die. Death Row evolved.
And the most dangerous label in music history is dangerous again — not because of who it threatens, but because of what it’s about to remind the world is possible when legacy and vision sit at the same table.
The blueprint is back. The bloodline is deeper. The reign is renewed & this time its the sweet sound of . The culture is watching, and the moment is now.
Long live Death Row.
To bridge the eras, we sat down with each of these remarkable artists and asked them the same carefully crafted questions—reflecting on Death Row’s storied history, its current rebirth, and where they believe the future of Death Row lies. Their answers paint a vivid picture of how this iconic label, once a rap powerhouse, now stands as a platform for new, ful authenticity. Their perspectives invite us to witness not just a label’s evolution, but the unfolding of a bold and new chapter in music.
#RHOA: Mike Bless Makes a Stunning Declaration About Marrying Porsha
When Porsha Williams introduced her "friend-friend" Michael Anthony, aka Mike Bless, on The Real Housewives of Atlanta Season 17, the two playfully practiced exchanging wedding vows in front of her castmates. Now, Mike appears to be ready to meet Porsha at the altar for real, though.
Mike stopped by Porsha's home for a visit in Episode 11, and she already had Chef Maurice hard at work in the kitchen. Upon tasting his "lollipop lamb chop," Mike declared, "Chef, when we get married, you're gonna move in, brother."
Porsha, on the other hand, remained committed only to taking things slow. "I really like Mike, but I am standing ten toes down on my sister's advice," she remarked in a confessional, referring to Lauren Williams. "I know I'm wifey material. I carry that energy anytime I date, so, of course, I can picture a future with you. But I am definitely trying to move differently this time."
On the heels of Mike's marriage statement, he and Porsha went on to discuss their individual love languages. When she specifically mentioned the value she places on communication, Mike expressed skepticism, vaguely stating that he'd "seen some stuff" recently. He was referring to Porsha's public comments during October 2025's CultureCon when she revealed that she was dating two "nice" people, i.e. him and her "lady friend," Patrice "Sway" McKinney.
"I was wrong," Porsha conceded to a producer of her dating-life reveal at CultureCon in Brooklyn, N.Y. "In my odd mind, I thought I was giving him a shoutout."
Back in her kitchen, she asked Mike how he felt about her divulging that information. "I'm not happy about it, if I'm being honest," he admitted. "But I was just like, I'm gonna wait to hear what you have to say about it."
Porsha, meanwhile, took that as an opportunity to get a temperature check on where Mike's head was at regarding their romance. "We've been going on dates for some time now, so I think we need to make a decision, or you need to make a decision of what this is gonna be," she told him. "You want kids, so if I say I don't want to have kids..." That's when Mike interjected to say that he might "fail" in that area, but she assured him that would not be the case.
Meanwhile, in a producer interview, Porsha mentioned the potential fertility issues that she'd previously discussed with her doctor last year. (ICYMI: Mike had already said that Porsha not wanting another child "could be a dealbreaker.")
"I do appreciate the fact that he's letting me take it slow, but at my age, I don't know that I can carry," shared the mom to 7-year old daughter Pilar Jhena McKinley (with ex-fiancé Dennis McKinley). "I don't know that I want to go through the process of IVF again."
As she put it to Mike directly, "What I will say is that you are quality, so I will offer, if you would like to continue to take it slow with me... Will you continue to take it slow with me?" Mike answered, "Of course I will. And I hear you. Everything that you're saying is valid. A part of being your safe space is understanding that."
Mike stopped by Porsha's home for a visit in Episode 11, and she already had Chef Maurice hard at work in the kitchen. Upon tasting his "lollipop lamb chop," Mike declared, "Chef, when we get married, you're gonna move in, brother."
Porsha, on the other hand, remained committed only to taking things slow. "I really like Mike, but I am standing ten toes down on my sister's advice," she remarked in a confessional, referring to Lauren Williams. "I know I'm wifey material. I carry that energy anytime I date, so, of course, I can picture a future with you. But I am definitely trying to move differently this time."
On the heels of Mike's marriage statement, he and Porsha went on to discuss their individual love languages. When she specifically mentioned the value she places on communication, Mike expressed skepticism, vaguely stating that he'd "seen some stuff" recently. He was referring to Porsha's public comments during October 2025's CultureCon when she revealed that she was dating two "nice" people, i.e. him and her "lady friend," Patrice "Sway" McKinney.
"I was wrong," Porsha conceded to a producer of her dating-life reveal at CultureCon in Brooklyn, N.Y. "In my odd mind, I thought I was giving him a shoutout."
Back in her kitchen, she asked Mike how he felt about her divulging that information. "I'm not happy about it, if I'm being honest," he admitted. "But I was just like, I'm gonna wait to hear what you have to say about it."
Porsha, meanwhile, took that as an opportunity to get a temperature check on where Mike's head was at regarding their romance. "We've been going on dates for some time now, so I think we need to make a decision, or you need to make a decision of what this is gonna be," she told him. "You want kids, so if I say I don't want to have kids..." That's when Mike interjected to say that he might "fail" in that area, but she assured him that would not be the case.
Meanwhile, in a producer interview, Porsha mentioned the potential fertility issues that she'd previously discussed with her doctor last year. (ICYMI: Mike had already said that Porsha not wanting another child "could be a dealbreaker.")
"I do appreciate the fact that he's letting me take it slow, but at my age, I don't know that I can carry," shared the mom to 7-year old daughter Pilar Jhena McKinley (with ex-fiancé Dennis McKinley). "I don't know that I want to go through the process of IVF again."
As she put it to Mike directly, "What I will say is that you are quality, so I will offer, if you would like to continue to take it slow with me... Will you continue to take it slow with me?" Mike answered, "Of course I will. And I hear you. Everything that you're saying is valid. A part of being your safe space is understanding that."
#MusicNews: Joe Perform His R&B Classics on His NPR 'Tiny Desk Concert'
R&B singer Joe performed his legendary catalog live in front of the NPR Tiny Desk Concerts audience for Black Music Month.
The performance dropped on Wednesday (June 10), with Joe delivering 6 of his memorable hits, like his Case collaboration "Faded Pictures," "The Love Scene" and "All the Things (Your Man Won't Do)." By the end of the performance, his daughter, Kayla Thomas, joined to sing background on show closer "I Wanna Know." Along with having 4 background vocalists, including Thomas, Joe was backed by a 5-piece band, featuring keyboardist and music director DJ Brown.
Joe has released 13 studio albums to date, the last being My Name Is Joe Thomas in 2016, which featured a cover of Adele classic "Hello." As the singer explained at the start of his NPR Tiny Desk debut, in the last decade, his hiatus has been caused by frequent touring.
In partnership with BET, NPR Tiny Desk's Black Music Month celebration continues throughout June, with upcoming performances by Eve, 8 Ball and MJG, Shaboozey, and Bow Wow. Currently, Joe has been on the road with Keith Sweat, Dru Hill and Ginuwine for The R&B Lovers Tour.
Watch Joe's full performance BELOW
R&B singer Joe performed his legendary catalog live in front of the NPR Tiny Desk Concerts audience for Black Music Month.
The performance dropped on Wednesday (June 10), with Joe delivering 6 of his memorable hits, like his Case collaboration "Faded Pictures," "The Love Scene" and "All the Things (Your Man Won't Do)." By the end of the performance, his daughter, Kayla Thomas, joined to sing background on show closer "I Wanna Know." Along with having 4 background vocalists, including Thomas, Joe was backed by a 5-piece band, featuring keyboardist and music director DJ Brown.
Joe has released 13 studio albums to date, the last being My Name Is Joe Thomas in 2016, which featured a cover of Adele classic "Hello." As the singer explained at the start of his NPR Tiny Desk debut, in the last decade, his hiatus has been caused by frequent touring.
In partnership with BET, NPR Tiny Desk's Black Music Month celebration continues throughout June, with upcoming performances by Eve, 8 Ball and MJG, Shaboozey, and Bow Wow. Currently, Joe has been on the road with Keith Sweat, Dru Hill and Ginuwine for The R&B Lovers Tour.
Watch Joe's full performance BELOW
#HipHopNews: Rapper Mystikal sentenced to 20 years in prison
Mystikal was sentenced to 20 years in prison after pleading guilty to rape earlier this year.
According to a WBRZ report, published on Tuesday (June 12), Mystikal, born Michael Tyler, received a 20-year prison sentence for a rape that occurred in July of 2022 at his Prairieville, La. home. During his sentencing hearing, the victim asked the judge to give the New Orleans rapper the maximum sentence for punching her, choking her, pulling out her braids and forcibly raping her in his home.
After she delivered her victim impact statement, Mystikal was permitted to address the court. He tried to speak to the victim, but was ordered to make his statement to the judge.
"If I did that to you, I deserve the max sentence," he said, looking forward in the courtroom.
Afterward, the judge gave the disgraced rapper a two-decade-long prison sentence for third-degree rape, falling just five years short of the legal maximum.
Mystikal's sentence comes after he pleaded guilty on March 17, 2026 in connection with his 2022 rape arrest. According to WBRZ, the 55-year-old rhymer was originally charged with first-degree rape, which carries a maximum life sentence, but he pleaded to third-degree rape, a lesser charge.
We have reached out to Mystikal's attorney for comment.
Mystikal has an extensive legal history in similar cases like this. Following a 2003 sexual assault involving his hairstylist, he served six years behind bars for sexual battery and extortion. He faced further rape allegations in 2017, but that case was dismissed because of insufficient evidence.
Barack and Michelle Obama Reveal First Joint Portrait at Presidential Center
Barack and Michelle Obama are adding a new piece of personal history to their presidential legacy with the unveiling of their first commissioned joint portrait, now on display at the Obama Presidential Center in Chicago.
Titled The Obamas: Springing Forth, the large-scale artwork was created by Nigerian-born artist Njideka Akunyili Crosby and measures 9 by 10 feet. The portrait captures the couple in a relaxed setting surrounded by layered imagery that reflects different chapters of their lives, including references to Harvard Law Review volumes, cultural influences, and elements of their shared journey.
The piece now hangs inside the Hope and Change Lobby, where visitors will experience the colorful work as part of the center’s public spaces. Barack Obama described the portrait as a reflection of the story they have built together, while Michelle Obama highlighted Crosby’s ability to bring emotion and energy into the artwork.
The unveiling generated widespread attention for the portrait’s vibrant style and personal details, while also leading to conversations about Crosby’s artistic approach and background.
The artwork arrives as the Obama Presidential Center prepares for its official opening in Chicago’s Jackson Park. The $830 million campus, created as a hub for education, culture, and community engagement, will hold its dedication ceremony on June 18 before opening its doors to the public from June 19 through June 21.
The portrait adds another cultural landmark to the center, blending the Obamas’ personal story with a broader mission focused on inspiring future generations.
Mystikal was sentenced to 20 years in prison after pleading guilty to rape earlier this year.
According to a WBRZ report, published on Tuesday (June 12), Mystikal, born Michael Tyler, received a 20-year prison sentence for a rape that occurred in July of 2022 at his Prairieville, La. home. During his sentencing hearing, the victim asked the judge to give the New Orleans rapper the maximum sentence for punching her, choking her, pulling out her braids and forcibly raping her in his home.
After she delivered her victim impact statement, Mystikal was permitted to address the court. He tried to speak to the victim, but was ordered to make his statement to the judge.
"If I did that to you, I deserve the max sentence," he said, looking forward in the courtroom.
Afterward, the judge gave the disgraced rapper a two-decade-long prison sentence for third-degree rape, falling just five years short of the legal maximum.
Mystikal's sentence comes after he pleaded guilty on March 17, 2026 in connection with his 2022 rape arrest. According to WBRZ, the 55-year-old rhymer was originally charged with first-degree rape, which carries a maximum life sentence, but he pleaded to third-degree rape, a lesser charge.
We have reached out to Mystikal's attorney for comment.
Mystikal has an extensive legal history in similar cases like this. Following a 2003 sexual assault involving his hairstylist, he served six years behind bars for sexual battery and extortion. He faced further rape allegations in 2017, but that case was dismissed because of insufficient evidence.
Barack and Michelle Obama Reveal First Joint Portrait at Presidential Center
Titled The Obamas: Springing Forth, the large-scale artwork was created by Nigerian-born artist Njideka Akunyili Crosby and measures 9 by 10 feet. The portrait captures the couple in a relaxed setting surrounded by layered imagery that reflects different chapters of their lives, including references to Harvard Law Review volumes, cultural influences, and elements of their shared journey.
The piece now hangs inside the Hope and Change Lobby, where visitors will experience the colorful work as part of the center’s public spaces. Barack Obama described the portrait as a reflection of the story they have built together, while Michelle Obama highlighted Crosby’s ability to bring emotion and energy into the artwork.
The unveiling generated widespread attention for the portrait’s vibrant style and personal details, while also leading to conversations about Crosby’s artistic approach and background.
The portrait adds another cultural landmark to the center, blending the Obamas’ personal story with a broader mission focused on inspiring future generations.
Iran Coach Says World Cup Team “Oppressed” After Ordered to Leave US After Match
Iran’s World Cup journey has been surrounded by challenges away from the field, and head coach Amir Ghalenoei is now speaking out after his team was required to leave Los Angeles shortly after its match at SoFi Stadium.
Following the game, the Iranian squad was instructed to return to Mexico instead of staying overnight in Southern California as the team had expected. The decision became another frustration for a group that has dealt with complicated travel arrangements throughout the tournament.
Ghalenoei criticized the circumstances surrounding the team’s experience, calling Iran the most oppressed side competing at the World Cup.
The team’s logistical issues began before arriving in Los Angeles. Visa complications forced Iran to adjust its plans, moving operations from Arizona to Tijuana amid ongoing tensions between the United States and Iran. Some members of the staff were unable to travel with the squad and followed events remotely.
U.S. officials said the travel situation followed established tournament procedures, explaining that Iran’s visas had expired and that entry was limited to match-day access.
The match itself also became a source of discussion, with a controversial celebration drawing attention and demonstrations taking place outside the stadium.
Despite the off-field difficulties, Iran continued competing on the global stage while navigating a tournament experience shaped by political tensions, travel restrictions, and intense public attention. The team’s situation has added another layer of conversation around the challenges national squads face while participating in an international event spanning multiple countries and cultures.
Kelly Rowland opens up about Destiny's Child's boldness at a young age, how eczema affected her confidence, and her love for storytelling
So many people around the world are struggling with eczema in silence, but it shouldn't be that way. After her own journey of trial and error, admittedly misdiagnosing herself with allergies, and finally getting the answers she needed, Kelly Rowland decided to take action for herself and for others. That experience inspired her partnership with Lilly and their collaborative EBGLYSS campaign, which focuses on helping people better understand moderate-to-severe eczema, talk openly about their symptoms, and explore treatment options with their doctors.
In an exclusive interview with REVOLT, the Grammy Award-winning artist explains why it was important to share her story publicly, especially after realizing how many people around her were having similar experiences. She discusses the challenges that came with flare-ups, the importance of feeling seen and heard, and why the campaign's message of presence and connection resonated with her. For Rowland, this partnership was about more than raising awareness. The Talk a Good Game artist was intentional about creating space for honest conversations around a condition that often goes undiscussed.
Of course, the conversation goes far beyond skincare. The singer, actress, and mother opens up about what being present looks like in her everyday life, from putting down her phone to spending quality time with her husband, Tim Weatherspoon, and their sons, Titan and Noah. Elsewhere, Rowland shares why storytelling continues to fuel her acting work, what it's like watching creative minds like Jermaine Dupri and The-Dream work in real time, and why she feels a sense of pride reflecting on Destiny's Child's decision to build "Bootylicious" around a sample of Stevie Nicks' "Edge of Seventeen" — a collaboration that even led to the rock icon appearing in the group's memorable music video.
Read the full interview below!
You’ve shared that for a long time, you thought your eczema was “just a rash.” When did you realize it was affecting your everyday life in a bigger way?
When I was taking the time trying to sit and figure it out. You know what I mean? Like, when you actually sit and try to be a doctor, basically (laughs). 'Cause these are the same questions they ask you. But they ask other questions. They know what they're doing. I'm just... whatever. So I sit there, and I'm like, "Wait, so if I scratched here and I scratched here, I must have spread it." You know what I mean? So I was so busy trying to do the back work, which in my brain was, "Oh, I was spreading it."
And then I would notice if I had, like, pasta. You know what I mean? Like, it was tomato sauce. I was like, "Oh, I must be allergic to tomato sauce." Or I had lemonade. I'm allergic to citrus. You know what I mean? Like, I kept trying to self-diagnose, and that was taking up my time. That was also just counterproductive, to be honest, you know? And it didn't add up. And then I asked my esthetician, Shani Darden. She goes, "Kel," and she's looking in my eyes, and she's like, "This is eczema." And I was like, "What?" She's like, "Yes, it's eczema." I was like, "But no, it's a rash." She's like, "It's not a rash. It's eczema." So literally she sent me to a derm, and we started to figure out a game plan. But it was definitely trial and error.
You’ve performed on huge stages your entire life. Were there moments where eczema affected your confidence before going out in front of people?
Yes. I had my makeup artist cover it, but I'd scratched so hard one time in this eye and this eye… This very part right here. And to where it was, like, black. I scratched it so much. So they covered it with makeup. It was, like, a flare-up behind my nose. [There] was one on my shins. That's when I remember wearing stockings on stage for one of the first times. I put on a whole bunch of the Scott Barnes makeup on it. So yeah, it's like, you know, so many things that definitely affect you, and [you're] thinking that people, when they're looking at you in your eyes, that they can see it because it's kind of raised and it just looks different, you know? So it's definitely affected my confidence in that way 'cause I'm like, "They're not looking at me, they're looking at my flare-ups." So I've definitely had those moments.
I also suffer from eczema, and I never really took it seriously until it got worse. A lot of people, especially Black women, push through discomfort because they think it's not serious enough to talk about. Why is it important for you to be honest about your experience publicly?
Because of that very reason. When I talked to other friends about it, we had a very similar way of speaking about it, so I knew it wasn't just me. And I knew that if me and this person had this connection and me and this person had this connection… And one of my girlfriends, she has it all over her hand, so when you greet her, she's really nervous. She wears a lot of gloves. You know what I mean? And I'm like, “I feel like this is a conversation that's bigger.”
So when I was able to speak to the Lilly team about this, and we were so candid and connecting, and we were out playing tennis with the conversation, and EBGLYSS came in and just made it this beautiful, authentic, organic campaign, that's where I wanted to connect. And that's what meant a lot to me. Because I knew that we're all going through this. And the conversation needed to be bigger. I feel like it's too quiet, you know? If you did see something, it was, like, a very quick commercial about it. And then by the time you're thinking about doing it, the commercial's off, and so it's gone out of your brain. You know what I mean? Like, even the way we approached the visual for it was intentional. And I really appreciated them being intentional about this campaign.
You’ve always been intentional about the partnerships you take on. What made working with EBGLYSS feel like the right fit for you personally?
It was a collaborative effort. You know what I mean? Because, like I said, our intentions were the same. We had conversations about this. You know what I mean? Like myself, their team, and everyone on the team. And, yeah, it was intentional. I don't know a better way to say it. And we wanted the story to connect... I wanted people to feel seen and heard and like they weren't alone, the way I felt at one point in time.
And at one point in time, I kind of felt, like, ignorant about it, you know what I mean? Because I didn't have enough information. And when there's even a line that, you know, they provide for everyone out there to be able to call if they have more questions, you know, whether it's about EBGLYSS or it's about, you know, what they're experiencing with their skin, it's just an opportunity to gain wisdom about something that you're going through that causes you discomfort. And I think that we deserve to have all the information there is, and I love that aspect of this, too.
This campaign talks a lot about being present. What does being fully present look like for Kelly Rowland outside of work?
No phone (laughs). It's just connecting. Like, I love being with my kids, and there is no phone — there is Magna-Tiles. You know what I mean? Or once my rehearsal is over, which is what we actually captured in the visual, then Noah comes, and he sees me after rehearsal, it's just connection. You know what I mean? After putting all of my time into my art, I get to just connect with my babies. That feeds me as well, you know what I mean? So it's connecting with my husband and laughing with him in the car, and connecting with my girlfriends and being able to, you know, share and vibrate with them. So, I appreciate it. For the most part, it's just talking, laughing, connecting, sharing joy, sharing whatever it is we need to share. And that pours into me a great deal. I'm really grateful for it.
You celebrated 25 years of 'Survivor.' When you hear those songs, what part of that era connects to you differently than it did at that time?
The fact that me and the ladies were so young, navigating a very big world that at the time was still very male-dominated, and being unapologetically feminine and strong. I'm very proud of us for that… I even just listened to the fact that we put jazz over Stevie Nicks. I was like, "Job well done, girls." I was so proud of that. You know what I mean? And I don't even think we were like — we were just doing it, you know what I mean? I'm so proud of that. I'm so proud of us… We really were bold, really bold. I'm very proud of us for being so bold, so young.
Do your kids know how iconic Destiny's Child actually is yet? Or at home, you're just Mom?
I'm just Mom, and that's just Auntie Mimi and Auntie BB.
Your acting roles have shown a different side of you over the years. What's been the most exciting part about stepping deeper into acting and storytelling?
Storytelling. The storytelling. I love putting on someone else's shoes and seeing what their journey is like… Once I get a script, like breaking that down and in my imagination what it took to bring this character to the very place where they are in the script in which I'm reading them, and then figuring out all the pieces of the backstory.
You've been back in creative spaces with people like Jermaine Dupri and The-Dream. What's been inspiring you musically, and what's still exciting you creatively after all these years?
Honestly, when I'm in there, and I'm watching them in their brain, like watching Jermaine figure out a melody is one thing to a song, because Jermaine is... I don't even know. I'd love to be a fly in the middle of his brain. Especially in so many things that he houses, he's just dope. But how he's putting together the music and why, and what he hears. And then watching him bounce off of [Bryan-Michael Cox] in that time, and then what he hears, and then them collaborating, and then him hearing a melody form, and then him saying it, and then us having the conversation, then it evolving even more. It's just… oh my gosh.
And the same with Dream. I don't even know what planet he's on. I don't. I don't know what planet he's from, he's on. I love watching him as well because of the simple fact that when The-Dream is writing, the words that appear are something from… I just, I don't know. And it always is consuming of love. It's like love consumes it, you know what I mean? I love the space in which he writes. It's consumed by love, and I love that in all its forms. But I feel grateful and really excited to work with them. They are brilliant.
When you're home, what's the real soundtrack of the house? Are the kids playing your music, old Destiny's Child, Hip Hop?
So right now it's Hip Hop, gospel, and jazz. I'll have to share that playlist one day. I have a playlist in the house that plays all the time. It's called "Where the Blessed Rest," and it's on Tidal. It's, like, the best, best playlist. And it houses all those things, from R&B to jazz, Hip Hop, gospel, everything. It houses everything. It's beautiful. But that's the soundtrack, and you also hear Magna-Tiles falling and clacking together. You might hear some pots in the kitchen and me humming.
And you made this playlist?
Yes, I made the playlist.
In an exclusive interview with REVOLT, the Grammy Award-winning artist explains why it was important to share her story publicly, especially after realizing how many people around her were having similar experiences. She discusses the challenges that came with flare-ups, the importance of feeling seen and heard, and why the campaign's message of presence and connection resonated with her. For Rowland, this partnership was about more than raising awareness. The Talk a Good Game artist was intentional about creating space for honest conversations around a condition that often goes undiscussed.
Of course, the conversation goes far beyond skincare. The singer, actress, and mother opens up about what being present looks like in her everyday life, from putting down her phone to spending quality time with her husband, Tim Weatherspoon, and their sons, Titan and Noah. Elsewhere, Rowland shares why storytelling continues to fuel her acting work, what it's like watching creative minds like Jermaine Dupri and The-Dream work in real time, and why she feels a sense of pride reflecting on Destiny's Child's decision to build "Bootylicious" around a sample of Stevie Nicks' "Edge of Seventeen" — a collaboration that even led to the rock icon appearing in the group's memorable music video.
Read the full interview below!
You’ve shared that for a long time, you thought your eczema was “just a rash.” When did you realize it was affecting your everyday life in a bigger way?
When I was taking the time trying to sit and figure it out. You know what I mean? Like, when you actually sit and try to be a doctor, basically (laughs). 'Cause these are the same questions they ask you. But they ask other questions. They know what they're doing. I'm just... whatever. So I sit there, and I'm like, "Wait, so if I scratched here and I scratched here, I must have spread it." You know what I mean? So I was so busy trying to do the back work, which in my brain was, "Oh, I was spreading it."
And then I would notice if I had, like, pasta. You know what I mean? Like, it was tomato sauce. I was like, "Oh, I must be allergic to tomato sauce." Or I had lemonade. I'm allergic to citrus. You know what I mean? Like, I kept trying to self-diagnose, and that was taking up my time. That was also just counterproductive, to be honest, you know? And it didn't add up. And then I asked my esthetician, Shani Darden. She goes, "Kel," and she's looking in my eyes, and she's like, "This is eczema." And I was like, "What?" She's like, "Yes, it's eczema." I was like, "But no, it's a rash." She's like, "It's not a rash. It's eczema." So literally she sent me to a derm, and we started to figure out a game plan. But it was definitely trial and error.
You’ve performed on huge stages your entire life. Were there moments where eczema affected your confidence before going out in front of people?
Yes. I had my makeup artist cover it, but I'd scratched so hard one time in this eye and this eye… This very part right here. And to where it was, like, black. I scratched it so much. So they covered it with makeup. It was, like, a flare-up behind my nose. [There] was one on my shins. That's when I remember wearing stockings on stage for one of the first times. I put on a whole bunch of the Scott Barnes makeup on it. So yeah, it's like, you know, so many things that definitely affect you, and [you're] thinking that people, when they're looking at you in your eyes, that they can see it because it's kind of raised and it just looks different, you know? So it's definitely affected my confidence in that way 'cause I'm like, "They're not looking at me, they're looking at my flare-ups." So I've definitely had those moments.
I also suffer from eczema, and I never really took it seriously until it got worse. A lot of people, especially Black women, push through discomfort because they think it's not serious enough to talk about. Why is it important for you to be honest about your experience publicly?
Because of that very reason. When I talked to other friends about it, we had a very similar way of speaking about it, so I knew it wasn't just me. And I knew that if me and this person had this connection and me and this person had this connection… And one of my girlfriends, she has it all over her hand, so when you greet her, she's really nervous. She wears a lot of gloves. You know what I mean? And I'm like, “I feel like this is a conversation that's bigger.”
So when I was able to speak to the Lilly team about this, and we were so candid and connecting, and we were out playing tennis with the conversation, and EBGLYSS came in and just made it this beautiful, authentic, organic campaign, that's where I wanted to connect. And that's what meant a lot to me. Because I knew that we're all going through this. And the conversation needed to be bigger. I feel like it's too quiet, you know? If you did see something, it was, like, a very quick commercial about it. And then by the time you're thinking about doing it, the commercial's off, and so it's gone out of your brain. You know what I mean? Like, even the way we approached the visual for it was intentional. And I really appreciated them being intentional about this campaign.
You’ve always been intentional about the partnerships you take on. What made working with EBGLYSS feel like the right fit for you personally?
It was a collaborative effort. You know what I mean? Because, like I said, our intentions were the same. We had conversations about this. You know what I mean? Like myself, their team, and everyone on the team. And, yeah, it was intentional. I don't know a better way to say it. And we wanted the story to connect... I wanted people to feel seen and heard and like they weren't alone, the way I felt at one point in time.
And at one point in time, I kind of felt, like, ignorant about it, you know what I mean? Because I didn't have enough information. And when there's even a line that, you know, they provide for everyone out there to be able to call if they have more questions, you know, whether it's about EBGLYSS or it's about, you know, what they're experiencing with their skin, it's just an opportunity to gain wisdom about something that you're going through that causes you discomfort. And I think that we deserve to have all the information there is, and I love that aspect of this, too.
This campaign talks a lot about being present. What does being fully present look like for Kelly Rowland outside of work?
No phone (laughs). It's just connecting. Like, I love being with my kids, and there is no phone — there is Magna-Tiles. You know what I mean? Or once my rehearsal is over, which is what we actually captured in the visual, then Noah comes, and he sees me after rehearsal, it's just connection. You know what I mean? After putting all of my time into my art, I get to just connect with my babies. That feeds me as well, you know what I mean? So it's connecting with my husband and laughing with him in the car, and connecting with my girlfriends and being able to, you know, share and vibrate with them. So, I appreciate it. For the most part, it's just talking, laughing, connecting, sharing joy, sharing whatever it is we need to share. And that pours into me a great deal. I'm really grateful for it.
You celebrated 25 years of 'Survivor.' When you hear those songs, what part of that era connects to you differently than it did at that time?
The fact that me and the ladies were so young, navigating a very big world that at the time was still very male-dominated, and being unapologetically feminine and strong. I'm very proud of us for that… I even just listened to the fact that we put jazz over Stevie Nicks. I was like, "Job well done, girls." I was so proud of that. You know what I mean? And I don't even think we were like — we were just doing it, you know what I mean? I'm so proud of that. I'm so proud of us… We really were bold, really bold. I'm very proud of us for being so bold, so young.
Do your kids know how iconic Destiny's Child actually is yet? Or at home, you're just Mom?
I'm just Mom, and that's just Auntie Mimi and Auntie BB.
Your acting roles have shown a different side of you over the years. What's been the most exciting part about stepping deeper into acting and storytelling?
Storytelling. The storytelling. I love putting on someone else's shoes and seeing what their journey is like… Once I get a script, like breaking that down and in my imagination what it took to bring this character to the very place where they are in the script in which I'm reading them, and then figuring out all the pieces of the backstory.
You've been back in creative spaces with people like Jermaine Dupri and The-Dream. What's been inspiring you musically, and what's still exciting you creatively after all these years?
Honestly, when I'm in there, and I'm watching them in their brain, like watching Jermaine figure out a melody is one thing to a song, because Jermaine is... I don't even know. I'd love to be a fly in the middle of his brain. Especially in so many things that he houses, he's just dope. But how he's putting together the music and why, and what he hears. And then watching him bounce off of [Bryan-Michael Cox] in that time, and then what he hears, and then them collaborating, and then him hearing a melody form, and then him saying it, and then us having the conversation, then it evolving even more. It's just… oh my gosh.
And the same with Dream. I don't even know what planet he's on. I don't. I don't know what planet he's from, he's on. I love watching him as well because of the simple fact that when The-Dream is writing, the words that appear are something from… I just, I don't know. And it always is consuming of love. It's like love consumes it, you know what I mean? I love the space in which he writes. It's consumed by love, and I love that in all its forms. But I feel grateful and really excited to work with them. They are brilliant.
When you're home, what's the real soundtrack of the house? Are the kids playing your music, old Destiny's Child, Hip Hop?
So right now it's Hip Hop, gospel, and jazz. I'll have to share that playlist one day. I have a playlist in the house that plays all the time. It's called "Where the Blessed Rest," and it's on Tidal. It's, like, the best, best playlist. And it houses all those things, from R&B to jazz, Hip Hop, gospel, everything. It houses everything. It's beautiful. But that's the soundtrack, and you also hear Magna-Tiles falling and clacking together. You might hear some pots in the kitchen and me humming.
And you made this playlist?
Yes, I made the playlist.
Patrick Ta issues apology over Transition Blush launch controversy – ‘I am genuinely sorry’
The make-up artist and founder of Patrick Ta Beauty shared a statement to Instagram following backlash across social media amid speculation that the Transition Blush sku was based on a technique by MUA Painted by Esther
MUA Patrick Ta has issued a public apology after the latest launch from his eponymous brand was met with controversy.
Patrick Ta Beauty added Transition Blush to its line-up in late May, only to be met with social media speculation that the MUA had allegedly designed the product based on a technique made popular by make-up artist Ngozi Esther Edeme, also known as Painted by Esther on social media.
Now, the MUA has expressed his remorse for “the hurt and frustration caused”.
In an Instagram post shared on 16 June, Ta wrote: “Recently, the launch of Transition Blush contributed to a larger issue than I first understood, and I want to take a moment to take accountability.
“My intention was to create a product that made a make-up technique I love more accessible.
“It was never my intention to claim ownership over a blush technique or a way of applying make-up.
“As an artist and creator myself, I now understand why Esther and others saw it through a different lens.
“I am genuinely sorry for the hurt and frustration caused.
“That was never my intention, but I have learned that impact matters more than intent.
“I understand that the reaction was not just about the product itself.
“It was about something much bigger: recognition, visibility and the experiences many creators, especially Black creators, have had when their contributions to culture are overlooked or not recognised.
“Black creators have had an enormous influence on beauty culture, trends and artistry, and that influence often goes unattributed and unrewarded.
“I have tremendous respect for Esther and for all the artists and creators who have helped shape and advance this technique.
“Artists, creators, and communities are the reason brands succeed, and I recognise my responsibility to acknowledge influence and help ensure that people feel respected, valued, and fairly supported.
“Right now, my focus is to continue to learn and find meaningful ways to support the artists, creators, founders, and communities that make this industry flourish.
“Artistry has given me my voice and my career, and it is important to me to continue to pour into and champion the next generation of artists.”
The launch from Patrick Ta Beauty comprised three new products: Liquid Transition Brightening Blush (US$34); Transition Blurring Blush Duo ($30, available in five shades); and a Dual-Ended Transition Blush Brush ($40) – sold individually or as a set for $88.
Patrick Ta’s Transition Blush collection encourages users to implement a layered technique – it is this technique that has found Ta in hot water after claiming he had “created a three-step blush technique”.
Many pointed out how the technique was recently popularised by celebrity make-up artist Painted by Esther, whose clients include singer Tyla and supermodel Naomi Campbell.
Painted by Esther, who took to TikTok on 24 May to speak on the controversy, allegedly claimed that Ta’s team had even tried to book a session with her to learn the technique.
The MUA’s video has amassed more than 4.1 million views and almost 539,000 likes
This is not the first time Patrick Ta Beauty has faced scrutiny, with the brand previously having to defend the price of its $42 eyeshadow following backlash from consumers.
Since the controversy first arose, MAC Cosmetics has spotlighted Painted by Esther, and her long-time client and Love Island USA star Olandria [full name Olandria Carthen], for the third issue of its relaunched MACzine.
The May issue of the digital publication highlights the Estée Lauder Companies-owned cosmetics giant’s blush collection, calling on make-up artist Painted by Esther to bring the collection to life.
The make-up artist and founder of Patrick Ta Beauty shared a statement to Instagram following backlash across social media amid speculation that the Transition Blush sku was based on a technique by MUA Painted by Esther
MUA Patrick Ta has issued a public apology after the latest launch from his eponymous brand was met with controversy.
Patrick Ta Beauty added Transition Blush to its line-up in late May, only to be met with social media speculation that the MUA had allegedly designed the product based on a technique made popular by make-up artist Ngozi Esther Edeme, also known as Painted by Esther on social media.
Now, the MUA has expressed his remorse for “the hurt and frustration caused”.
In an Instagram post shared on 16 June, Ta wrote: “Recently, the launch of Transition Blush contributed to a larger issue than I first understood, and I want to take a moment to take accountability.
“My intention was to create a product that made a make-up technique I love more accessible.
“It was never my intention to claim ownership over a blush technique or a way of applying make-up.
“As an artist and creator myself, I now understand why Esther and others saw it through a different lens.
“I am genuinely sorry for the hurt and frustration caused.
“That was never my intention, but I have learned that impact matters more than intent.
“I understand that the reaction was not just about the product itself.
“It was about something much bigger: recognition, visibility and the experiences many creators, especially Black creators, have had when their contributions to culture are overlooked or not recognised.
“Black creators have had an enormous influence on beauty culture, trends and artistry, and that influence often goes unattributed and unrewarded.
“I have tremendous respect for Esther and for all the artists and creators who have helped shape and advance this technique.
“Artists, creators, and communities are the reason brands succeed, and I recognise my responsibility to acknowledge influence and help ensure that people feel respected, valued, and fairly supported.
“Right now, my focus is to continue to learn and find meaningful ways to support the artists, creators, founders, and communities that make this industry flourish.
“Artistry has given me my voice and my career, and it is important to me to continue to pour into and champion the next generation of artists.”
The launch from Patrick Ta Beauty comprised three new products: Liquid Transition Brightening Blush (US$34); Transition Blurring Blush Duo ($30, available in five shades); and a Dual-Ended Transition Blush Brush ($40) – sold individually or as a set for $88.
Patrick Ta’s Transition Blush collection encourages users to implement a layered technique – it is this technique that has found Ta in hot water after claiming he had “created a three-step blush technique”.
Many pointed out how the technique was recently popularised by celebrity make-up artist Painted by Esther, whose clients include singer Tyla and supermodel Naomi Campbell.
Painted by Esther, who took to TikTok on 24 May to speak on the controversy, allegedly claimed that Ta’s team had even tried to book a session with her to learn the technique.
The MUA’s video has amassed more than 4.1 million views and almost 539,000 likes
This is not the first time Patrick Ta Beauty has faced scrutiny, with the brand previously having to defend the price of its $42 eyeshadow following backlash from consumers.
Since the controversy first arose, MAC Cosmetics has spotlighted Painted by Esther, and her long-time client and Love Island USA star Olandria [full name Olandria Carthen], for the third issue of its relaunched MACzine.
The May issue of the digital publication highlights the Estée Lauder Companies-owned cosmetics giant’s blush collection, calling on make-up artist Painted by Esther to bring the collection to life.
Diddy's Prison Release Date Moved Up Again To Early 2028
Sean Combs, widely known as Diddy, has received another favorable update regarding his prison release date, which has been moved earlier to February 23, 2028. This adjustment shortens his sentence by two months from the previously scheduled April 25, 2028 date.
Diddy is currently serving a 50-month sentence at FCI Fort Dix in New Jersey following his conviction last July on two counts related to transportation to engage in prostitution. This marks the third revision of his release date since the conviction.
Initially, his release was set for May 8, 2028. However, in November 2025, the date was pushed back to June 4, 2028 after reports emerged about alleged alcohol use while incarcerated. The date was then moved forward to April 25, 2028 before this latest update from the Federal Bureau of Prisons.
The Bureau attributed the new release date to good conduct time, program credits, and time served, though they did not specify which factors applied directly to Diddy's case. Despite the current February 2028 date, there remains the possibility of an even earlier release depending on ongoing legal efforts.
Diddy's legal team continues to push an appeal to overturn his conviction entirely. The case is now under review by judges at the 2nd U.S. Circuit Court of Appeals, which could impact his incarceration timeline further.
In addition to his prison sentence, Diddy recently achieved a significant legal victory when a federal judge dismissed most claims in a civil lawsuit filed by former Danity Kane member Dawn Richard. The suit involved allegations of emotional abuse and breach of contract, but the judge ruled that the statute of limitations had expired on most of the claims, allowing only one to potentially be refiled.
Despite facing over 70 civil lawsuits nationwide, Diddy's current legal momentum appears favorable, with multiple developments working in his favor across different cases.
Diddy is currently serving a 50-month sentence at FCI Fort Dix in New Jersey following his conviction last July on two counts related to transportation to engage in prostitution. This marks the third revision of his release date since the conviction.
Initially, his release was set for May 8, 2028. However, in November 2025, the date was pushed back to June 4, 2028 after reports emerged about alleged alcohol use while incarcerated. The date was then moved forward to April 25, 2028 before this latest update from the Federal Bureau of Prisons.
The Bureau attributed the new release date to good conduct time, program credits, and time served, though they did not specify which factors applied directly to Diddy's case. Despite the current February 2028 date, there remains the possibility of an even earlier release depending on ongoing legal efforts.
Diddy's legal team continues to push an appeal to overturn his conviction entirely. The case is now under review by judges at the 2nd U.S. Circuit Court of Appeals, which could impact his incarceration timeline further.
In addition to his prison sentence, Diddy recently achieved a significant legal victory when a federal judge dismissed most claims in a civil lawsuit filed by former Danity Kane member Dawn Richard. The suit involved allegations of emotional abuse and breach of contract, but the judge ruled that the statute of limitations had expired on most of the claims, allowing only one to potentially be refiled.
Despite facing over 70 civil lawsuits nationwide, Diddy's current legal momentum appears favorable, with multiple developments working in his favor across different cases.
Tom Holland And Zendaya Celebrate Private Wedding With Family In Joyous Union
Tom Holland has officially confirmed his marriage to Zendaya, revealing that their wedding was an intimate celebration attended by close family members. The beloved couple, who have long been admired for their chemistry both on and off screen, have now taken a joyous step forward in their relationship, much to the delight of their fans worldwide.
The news of the marriage was subtly confirmed when Tom Holland mentioned that all their family members were present at the ceremony, emphasizing the private and heartfelt nature of the occasion. While he chose to keep the details under wraps, his comment marked the first public acknowledgment of their union, sparking excitement and admiration across the entertainment community.
The relationship between Tom Holland and Zendaya has been followed closely since it blossomed, with fans eagerly supporting the couple’s journey. Their romance began amidst their collaborative projects, growing steadily as they balanced their high-profile careers and personal lives with grace and discretion. This marriage symbolizes the culmination of years of mutual respect, affection, and partnership.
The wedding’s intimate setting, where family was at the core, reflects the couple’s shared values. Both stars have often expressed the importance of close-knit ties and loyalty, which was clearly mirrored in the guest list for their special day. This approach has only deepened public admiration, portraying them as grounded and genuine despite their celebrity status.
Fans have reacted with overwhelming positivity, celebrating the couple’s happiness and wishing them well. Social media and fan communities have been buzzing with congratulations and heartfelt messages, praising Tom Holland and Zendaya for maintaining such a strong and inspiring connection amid the pressures of fame. Their marriage is seen as a beacon of hope and a reminder that true love can flourish even in the spotlight.
As they embark on this new chapter together, the couple’s union is expected to strengthen their already formidable bond and inspire many. The celebration of their love story is a testament to their dedication to each other and their families, promising a future filled with shared joy and continued success.
In an era where celebrity relationships often face intense scrutiny, Tom Holland and Zendaya’s marriage stands out as a sincere and uplifting milestone. Their decision to keep the ceremony private yet inclusive of family underscores their desire for authenticity and meaningful connection above all else.
As fans eagerly await more glimpses into this exciting new phase, the couple’s marriage serves as a heartwarming reminder that even the brightest stars value love, loyalty, and the power of family.
The news of the marriage was subtly confirmed when Tom Holland mentioned that all their family members were present at the ceremony, emphasizing the private and heartfelt nature of the occasion. While he chose to keep the details under wraps, his comment marked the first public acknowledgment of their union, sparking excitement and admiration across the entertainment community.
The relationship between Tom Holland and Zendaya has been followed closely since it blossomed, with fans eagerly supporting the couple’s journey. Their romance began amidst their collaborative projects, growing steadily as they balanced their high-profile careers and personal lives with grace and discretion. This marriage symbolizes the culmination of years of mutual respect, affection, and partnership.
The wedding’s intimate setting, where family was at the core, reflects the couple’s shared values. Both stars have often expressed the importance of close-knit ties and loyalty, which was clearly mirrored in the guest list for their special day. This approach has only deepened public admiration, portraying them as grounded and genuine despite their celebrity status.
Fans have reacted with overwhelming positivity, celebrating the couple’s happiness and wishing them well. Social media and fan communities have been buzzing with congratulations and heartfelt messages, praising Tom Holland and Zendaya for maintaining such a strong and inspiring connection amid the pressures of fame. Their marriage is seen as a beacon of hope and a reminder that true love can flourish even in the spotlight.
As they embark on this new chapter together, the couple’s union is expected to strengthen their already formidable bond and inspire many. The celebration of their love story is a testament to their dedication to each other and their families, promising a future filled with shared joy and continued success.
In an era where celebrity relationships often face intense scrutiny, Tom Holland and Zendaya’s marriage stands out as a sincere and uplifting milestone. Their decision to keep the ceremony private yet inclusive of family underscores their desire for authenticity and meaningful connection above all else.
As fans eagerly await more glimpses into this exciting new phase, the couple’s marriage serves as a heartwarming reminder that even the brightest stars value love, loyalty, and the power of family.
Obama Presidential Center Opening Ceremony: Over a Dozen Performers Announced, Including Bruce Springsteen & Christina Aguilera
The Obama Foundation is making a big announcement. The Obama Presidential Center‘s grand opening ceremony is taking place on Thursday (June 18), and will feature a star-studded roster of performers.
The center is described as a “vibrant 19.3 acre campus located in Chicago’s historic Jackson Park. Designed to inspire, empower, and connect people to change their world, the campus features a diverse array of public spaces. Head to the Museum to learn who shaped our democracy. Enjoy the natural beauty of the outdoors at the Women’s Garden or the Wetland Walk. Grab a book at the Library. The campus is open daily, free of charge, for all to enjoy.”
It will officially open on Juneteenth (June 19), open from Mon – Sun 6 a.m. – 9 p.m. CT, located at 6001 S. Stony Island Ave. in Chicago, Ill.
The ceremony one day before will begin at 11 a.m. CT, and there are a ton of stars performing.
The actual ceremony is invite-only, but the Obama Foundation is hosting a free watch party on Midway Plaisance. You can also watch a live-stream on the foundation’s website.
From the Obama Foundation:
The Grand pening Ceremony marks the official dedication of the Obama Presidential Center. The livestreamed event brings together global leaders, artists, changemakers, and citizens for an inspiring celebration of the values that shaped the Obama presidency and continues to inspire people everywhere to believe in their power to create change.
Tune in right here at 11 a.m. CT on June 18 for a front-row seat to history no matter where you are.
Obama Presidential Center Grand Opening Ceremony Performers
The Roots
Bruce Springsteen
Christina Aguilera
Common
Eddie Vedder
Jennifer Hudson
John Legend
Stevie Wonder
Marc Anthony
U2‘s Bono and The Edge
Tems
Marsai Martin
Barack Obama also has a comedy series coming to HBO soon.
The center is described as a “vibrant 19.3 acre campus located in Chicago’s historic Jackson Park. Designed to inspire, empower, and connect people to change their world, the campus features a diverse array of public spaces. Head to the Museum to learn who shaped our democracy. Enjoy the natural beauty of the outdoors at the Women’s Garden or the Wetland Walk. Grab a book at the Library. The campus is open daily, free of charge, for all to enjoy.”
It will officially open on Juneteenth (June 19), open from Mon – Sun 6 a.m. – 9 p.m. CT, located at 6001 S. Stony Island Ave. in Chicago, Ill.
The ceremony one day before will begin at 11 a.m. CT, and there are a ton of stars performing.
The actual ceremony is invite-only, but the Obama Foundation is hosting a free watch party on Midway Plaisance. You can also watch a live-stream on the foundation’s website.
From the Obama Foundation:
The Grand pening Ceremony marks the official dedication of the Obama Presidential Center. The livestreamed event brings together global leaders, artists, changemakers, and citizens for an inspiring celebration of the values that shaped the Obama presidency and continues to inspire people everywhere to believe in their power to create change.
Tune in right here at 11 a.m. CT on June 18 for a front-row seat to history no matter where you are.
Obama Presidential Center Grand Opening Ceremony Performers
The Roots
Bruce Springsteen
Christina Aguilera
Common
Eddie Vedder
Jennifer Hudson
John Legend
Stevie Wonder
Marc Anthony
U2‘s Bono and The Edge
Tems
Marsai Martin
Barack Obama also has a comedy series coming to HBO soon.
Serena Williams Returning to Wimbledon, Competing in Doubles with Sister Venus!
Serena Williams and her older sister Venus Williams are reuniting to compete at Wimbledon!
If you don’t know, Serena, 44, and Venus, 46, are six-time doubles champions at the famed tennis tournament, and they will be reuniting once again when it kicks off later this month.
The tournament confirmed on social media, “Back together, at Wimbledon. Serena and Venus Williams will compete in the Ladies’ Doubles at The Championships 2026.”
On the court today (June 16) while competing at the Berlin Open, Serena said about a potential return, “I don’t know. I had nothing better to do. I got tired of sitting at home. My kids are out of school for the summer, so why not?”
“I never got to play here; it was always just the men. It feels really special to play somewhere so iconic,” she added.
Wimbledon kicks off in the UK on June 29.
Serena Williams and her older sister Venus Williams are reuniting to compete at Wimbledon!
If you don’t know, Serena, 44, and Venus, 46, are six-time doubles champions at the famed tennis tournament, and they will be reuniting once again when it kicks off later this month.
The tournament confirmed on social media, “Back together, at Wimbledon. Serena and Venus Williams will compete in the Ladies’ Doubles at The Championships 2026.”
On the court today (June 16) while competing at the Berlin Open, Serena said about a potential return, “I don’t know. I had nothing better to do. I got tired of sitting at home. My kids are out of school for the summer, so why not?”
“I never got to play here; it was always just the men. It feels really special to play somewhere so iconic,” she added.
Wimbledon kicks off in the UK on June 29.
David Oyelowo Apologizes After ‘Subservience’ Comments About Black Southern Dialect Spark Backlash
*David Oyelowo is apologizing after comments he made about Southern Black dialect sparked backlash across social media and reopened long-standing conversations about language, culture, and representation.
The Nigerian-British actor, best known for portraying Dr. Martin Luther King Jr. in “Selma,” found himself under fire after appearing on the One54 Africa podcast, where he weighed in on the ongoing debate surrounding Black British actors working in Hollywood.
While discussing accents, Oyelowo suggested that Southern Black speech evolved from a Nigerian accent altered by slavery.
“If you take the Nigerian accent like this and you slow it down, you put a lot of slavery in there and then you start to put a little bit of subservience in it,” he said during the interview.
The clip quickly spread online, with critics arguing that Oyelowo reduced a complex linguistic and cultural tradition to stereotypes rooted in submission rather than resilience, survival and innovation.
Cultural commentator Demetria L. Lucas was among the first prominent voices to push back.
“David Oyelowo is a Druski skit come to life,” Lucas wrote on Threads, arguing that his comments revealed more about how some people perceive Black Southerners than about the actual history of Black Southern speech.
Media personality Bevy Smith also joined the criticism, calling on audiences to “divest” from the actor’s work.
As the backlash intensified, actor Karen Pittman offered a more measured response.
“I am a trained American actor. I spent three years in intense voice and diction classes, learning dialects and creating them,” Pittman wrote on Threads.
Pittman acknowledged that many people were hurt by the remarks but suggested Oyelowo may have expressed himself poorly rather than intentionally causing offense.
“It’s troubling that David’s inelegant way of expressing his process has been painful and insulting for many people,” Pittman wrote. “I honestly don’t think he meant any harm and I hope that we can give him some grace and the benefit of the doubt.”
The backlash resonated because Black Southern speech and African American Vernacular English have long been misunderstood, mocked and treated as signs of lesser intelligence despite their enormous influence on American culture.
From blues, gospel and jazz to hip-hop, literature, comedy and politics, Black Southern language traditions have helped shape the American experience.
For many critics, Oyelowo’s reference to “subservience” echoed a familiar form of respectability politics—the idea that Black people who speak closer to standard English are somehow more educated, refined or intelligent than those who do not.
Oyelowo’s comments came during a broader discussion about a viral Druski comedy sketch that poked fun at Black British actors portraying African American characters.
In the skit, a British actor playing an enslaved man in a historical drama suddenly drops his Southern accent once the director yells “cut.”
Oyelowo said he found the sketch funny but argued that it was not particularly helpful.
He argued that white British actors rarely face the same scrutiny when working in American productions.
Still, the debate itself is not new.
Spike Lee and Samuel L. Jackson have both questioned whether Hollywood treats Black experiences as interchangeable while profiting from distinctly African American stories.
The issue has never been about talent. Actors including Daniel Kaluuya, Cynthia Erivo, Damson Idris, John Boyega, Idris Elba and Oyelowo himself have delivered acclaimed performances.
The larger question is whether Hollywood adequately invests in African American actors when telling African American stories.
Facing mounting criticism, Oyelowo addressed the controversy in an Instagram statement.
“I want to apologize unreservedly to all those who were rightly offended by my comments on the One54 Africa podcast regarding Southern Accents,” he wrote. “It was the wrong thing to say and it is not how I feel.”
He continued by acknowledging the cultural significance of Black Southern speech.
“I have nothing but deep respect and great love for Black people of all kinds, especially those from the American South. Reducing a dialect born from the richness and resilience of Black Southern culture to anything less was careless and wrong.”
The actor concluded by asking for forgiveness and reaffirming his commitment to uplifting Black communities through both his work and public platform.
The controversy may fade, but the larger debates over language, identity and representation are unlikely to disappear.
The Nigerian-British actor, best known for portraying Dr. Martin Luther King Jr. in “Selma,” found himself under fire after appearing on the One54 Africa podcast, where he weighed in on the ongoing debate surrounding Black British actors working in Hollywood.
While discussing accents, Oyelowo suggested that Southern Black speech evolved from a Nigerian accent altered by slavery.
“If you take the Nigerian accent like this and you slow it down, you put a lot of slavery in there and then you start to put a little bit of subservience in it,” he said during the interview.
The clip quickly spread online, with critics arguing that Oyelowo reduced a complex linguistic and cultural tradition to stereotypes rooted in submission rather than resilience, survival and innovation.
Cultural commentator Demetria L. Lucas was among the first prominent voices to push back.
“David Oyelowo is a Druski skit come to life,” Lucas wrote on Threads, arguing that his comments revealed more about how some people perceive Black Southerners than about the actual history of Black Southern speech.
Media personality Bevy Smith also joined the criticism, calling on audiences to “divest” from the actor’s work.
As the backlash intensified, actor Karen Pittman offered a more measured response.
“I am a trained American actor. I spent three years in intense voice and diction classes, learning dialects and creating them,” Pittman wrote on Threads.
Pittman acknowledged that many people were hurt by the remarks but suggested Oyelowo may have expressed himself poorly rather than intentionally causing offense.
“It’s troubling that David’s inelegant way of expressing his process has been painful and insulting for many people,” Pittman wrote. “I honestly don’t think he meant any harm and I hope that we can give him some grace and the benefit of the doubt.”
The backlash resonated because Black Southern speech and African American Vernacular English have long been misunderstood, mocked and treated as signs of lesser intelligence despite their enormous influence on American culture.
From blues, gospel and jazz to hip-hop, literature, comedy and politics, Black Southern language traditions have helped shape the American experience.
For many critics, Oyelowo’s reference to “subservience” echoed a familiar form of respectability politics—the idea that Black people who speak closer to standard English are somehow more educated, refined or intelligent than those who do not.
Oyelowo’s comments came during a broader discussion about a viral Druski comedy sketch that poked fun at Black British actors portraying African American characters.
In the skit, a British actor playing an enslaved man in a historical drama suddenly drops his Southern accent once the director yells “cut.”
Oyelowo said he found the sketch funny but argued that it was not particularly helpful.
He argued that white British actors rarely face the same scrutiny when working in American productions.
Still, the debate itself is not new.
Spike Lee and Samuel L. Jackson have both questioned whether Hollywood treats Black experiences as interchangeable while profiting from distinctly African American stories.
The issue has never been about talent. Actors including Daniel Kaluuya, Cynthia Erivo, Damson Idris, John Boyega, Idris Elba and Oyelowo himself have delivered acclaimed performances.
The larger question is whether Hollywood adequately invests in African American actors when telling African American stories.
Facing mounting criticism, Oyelowo addressed the controversy in an Instagram statement.
“I want to apologize unreservedly to all those who were rightly offended by my comments on the One54 Africa podcast regarding Southern Accents,” he wrote. “It was the wrong thing to say and it is not how I feel.”
He continued by acknowledging the cultural significance of Black Southern speech.
“I have nothing but deep respect and great love for Black people of all kinds, especially those from the American South. Reducing a dialect born from the richness and resilience of Black Southern culture to anything less was careless and wrong.”
The actor concluded by asking for forgiveness and reaffirming his commitment to uplifting Black communities through both his work and public platform.
The controversy may fade, but the larger debates over language, identity and representation are unlikely to disappear.
Activists Demands LAPD Release Footage After Family Dog Is Fatally Shot
The Los Angeles chapter of the National Action Network is demanding the immediate release of body-worn camera footage and the identities of the LAPD officers involved in the fatal shooting of a family dog during a weekend police response.
The organization, founded by Rev. Al Sharpton, announced a 7am press conference today, Tuesday (06-16-26) outside LAPD headquarters as questions continue to mount surrounding the death of Jameson, a dog whose owner says was shot and killed after officers responded to her apartment Saturday night.
According to the National Action Network, Jameson’s owner, Marie Marcel, was celebrating the New York Knicks’ NBA championship when Los Angeles police officers arrived at her residence following a noise complaint.
The group says Jameson exited the apartment and approached officers during the encounter before being shot.
National Action Network leaders say the circumstances surrounding the shooting require immediate public disclosure of evidence and officer identities.
“The tragic killing of Jameson was unnecessary and unwarranted,” said Najee Ali, senior organizer of the Los Angeles National Action Network.
“We demand immediate accountability, which can only happen through the prompt release of the body-worn camera footage and the names of the officers responsible for shooting and killing Jameson. The public deserves transparency, and the family deserves answers.”
Ali said the organization is encouraging residents, animal advocates, civil rights supporters and community members to attend upcoming Los Angeles Police Commission meetings and speak during public comment periods to demand accountability.
“We stand with Marie Marcel and all those seeking justice for Jameson,” Ali said. “No family should have to experience this type of tragedy without a full and transparent investigation.”
The National Action Network is also seeking a meeting with LAPD Chief Jim McDonnell to discuss the shooting and broader departmental use-of-force policies.
Jonathan Moseley, the organization’s Western Regional Director, questioned whether officers had alternatives available before using deadly force.
“If officers had sufficient time to draw and fire a weapon, they had sufficient time to consider less-lethal alternatives, including the use of a Taser,” Moseley said.
“This incident raises broader concerns about LAPD’s continued use of deadly force in questionable circumstances. The public deserves answers and meaningful reforms.”
The group argues that the release of body-camera footage is necessary to provide a clearer understanding of what occurred and whether department policies were followed.
Fatal police shootings involving family pets have generated controversy across the country in recent years, with civil rights advocates, attorneys and animal welfare organizations frequently questioning whether less-lethal options were available during encounters involving dogs.
Supporters of greater transparency argue that body-camera footage often plays a critical role in determining whether officers followed department policy and whether alternative tactics could have been used before resorting to deadly force.
For many families, the loss of a pet is deeply personal, making investigations into such incidents highly emotional and often the focus of public scrutiny.
The shooting has generated concern among community members and animal advocates who are calling for additional information about the encounter.
National Action Network leaders say they are seeking a full, transparent and independent investigation into the incident while urging city officials to ensure accountability if misconduct is found.
The organization is also encouraging members of the public to participate in upcoming Police Commission meetings to voice concerns and request greater transparency from the department.
As of Monday, LAPD had not publicly released body-worn camera footage related to the shooting, and details surrounding the encounter remain limited.
A press conference is scheduled for Tuesday morning outside LAPD headquarters, where National Action Network representatives are expected to renew calls for the release of video evidence and additional details about the incident.
For Jameson’s owner and supporters, the focus remains on obtaining answers about the moments that led to the dog’s death and determining whether the shooting could have been avoided.
The organization, founded by Rev. Al Sharpton, announced a 7am press conference today, Tuesday (06-16-26) outside LAPD headquarters as questions continue to mount surrounding the death of Jameson, a dog whose owner says was shot and killed after officers responded to her apartment Saturday night.
According to the National Action Network, Jameson’s owner, Marie Marcel, was celebrating the New York Knicks’ NBA championship when Los Angeles police officers arrived at her residence following a noise complaint.
The group says Jameson exited the apartment and approached officers during the encounter before being shot.
National Action Network leaders say the circumstances surrounding the shooting require immediate public disclosure of evidence and officer identities.
“The tragic killing of Jameson was unnecessary and unwarranted,” said Najee Ali, senior organizer of the Los Angeles National Action Network.
“We demand immediate accountability, which can only happen through the prompt release of the body-worn camera footage and the names of the officers responsible for shooting and killing Jameson. The public deserves transparency, and the family deserves answers.”
Ali said the organization is encouraging residents, animal advocates, civil rights supporters and community members to attend upcoming Los Angeles Police Commission meetings and speak during public comment periods to demand accountability.
“We stand with Marie Marcel and all those seeking justice for Jameson,” Ali said. “No family should have to experience this type of tragedy without a full and transparent investigation.”
The National Action Network is also seeking a meeting with LAPD Chief Jim McDonnell to discuss the shooting and broader departmental use-of-force policies.
Jonathan Moseley, the organization’s Western Regional Director, questioned whether officers had alternatives available before using deadly force.
“If officers had sufficient time to draw and fire a weapon, they had sufficient time to consider less-lethal alternatives, including the use of a Taser,” Moseley said.
“This incident raises broader concerns about LAPD’s continued use of deadly force in questionable circumstances. The public deserves answers and meaningful reforms.”
The group argues that the release of body-camera footage is necessary to provide a clearer understanding of what occurred and whether department policies were followed.
Fatal police shootings involving family pets have generated controversy across the country in recent years, with civil rights advocates, attorneys and animal welfare organizations frequently questioning whether less-lethal options were available during encounters involving dogs.
Supporters of greater transparency argue that body-camera footage often plays a critical role in determining whether officers followed department policy and whether alternative tactics could have been used before resorting to deadly force.
For many families, the loss of a pet is deeply personal, making investigations into such incidents highly emotional and often the focus of public scrutiny.
The shooting has generated concern among community members and animal advocates who are calling for additional information about the encounter.
National Action Network leaders say they are seeking a full, transparent and independent investigation into the incident while urging city officials to ensure accountability if misconduct is found.
The organization is also encouraging members of the public to participate in upcoming Police Commission meetings to voice concerns and request greater transparency from the department.
As of Monday, LAPD had not publicly released body-worn camera footage related to the shooting, and details surrounding the encounter remain limited.
A press conference is scheduled for Tuesday morning outside LAPD headquarters, where National Action Network representatives are expected to renew calls for the release of video evidence and additional details about the incident.
For Jameson’s owner and supporters, the focus remains on obtaining answers about the moments that led to the dog’s death and determining whether the shooting could have been avoided.
McDonald’s Brings Back The Fried Apple Pie After 30 Years
The fried apple pie is back at McDonald’s, and for anyone who grew up reaching into a hot cardboard sleeve for that crispy, blistered crust, this one hits different. McDonald’s confirmed it on June 16, announcing that the OG fried apple pie returns to participating restaurants nationwide starting June 23 for a limited time, marking the first time the deep fried version has been on the menu in more than three decades. The timing is built around America’s 250th birthday, but for a lot of us the real headline is simpler. The good pie is coming home.
If you are younger than thirty five, there is a real chance you have never tasted the original. McDonald’s quietly swapped the fried apple pie for a baked version back in 1992, part of a broader move toward menu items the chain wanted to sell as lighter. The baked pie has its fans, but it never recreated the magic of the fried one. That molten apple filling, the sugar dusted shell, the way the whole thing crackled when you bit in too soon and paid for it on the roof of your mouth. People have been asking for it back for years. Now they are finally getting it.
Here is the part the food blogs are skipping. The fried hand pie is not really a McDonald’s invention. It is Southern, and more specifically it lives deep in the heart of Black Southern cooking. Fried apple and peach hand pies have been a staple at cookouts, church functions, and grandmother’s kitchens across the South for generations, long before a fast food chain figured out how to scale them. The McDonald’s version traces back to the 1960s, when an East Tennessee owner operator named Litton Cochran turned a fried apple hand pie into a menu item. It became a local favorite first, then a national one. That lineage is why the fried apple pie feels less like a corporate throwback and more like a memory you can actually taste.
McDonald’s leaned all the way into the nostalgia for this run. The returning fried apple pie features the brand’s signature filling made with apples grown in America, wrapped in the same golden, flaky fried crust longtime fans remember. It first debuted in 1968 alongside the Big Mac, so the dessert is celebrating its own kind of anniversary too. The company is even installing a thirty five foot tall fried apple pie sculpture on Route 66 in Joliet, Illinois near its Chicago headquarters, and that giant pie will stand from June 23 through July 4.
One quick note for accuracy, because a few of the viral posts going around got the date slightly off. Several early Instagram graphics list June 22 as the launch day. McDonald’s official announcement says June 23. If you are planning a pie run, go with the 23rd to be safe.
Now for the move the internet is really buzzing about. With the fried apple pie back in the building, the legendary Apple Pie McFlurry is officially back on the table. For the uninitiated, this is one of McDonald’s most famous secret menu hacks, the kind of thing fans have been making themselves for years. The formula is simple. You order a McFlurry of your choice, ask for hot caramel sauce, then smash a warm pie right into it and mix. The hot and cold contrast, the cinnamon spiced filling melting into soft serve, the caramel pulling it all together. It is the kind of dessert that looks engineered in a lab and was actually invented by regular people who refused to choose between two good things.
To be clear, the Apple Pie McFlurry is not a brand new official menu item in the States. It is a fan created secret menu combo, and whether your local spot will blend it for you depends on the crew and how busy they are. Plenty of locations will hand you the pieces and let you build it yourself, which honestly is half the fun. With the fried pie back for a limited window, this is the best chance in years to make the viral version exactly how it was meant to be.
McDonald’s is not the only chain dressing up for the country’s 250th. Burger King rolled out a Firecracker Cookie Pie with a sugar cookie crust and star shaped sprinkles, Sonic is pouring a red, white, and blue slush float, and Hardee’s has a Star Spangled Biscuit with red and blue sprinkles. It is a full on patriotic dessert season across fast food. But the fried apple pie is the one carrying actual history, and that is what separates it from the pack of limited time gimmicks.
The bottom line is that this is a limited run, available while supplies last at participating locations and through the McDonald’s app. If the fried apple pie was part of your childhood, you already know what you are doing this week. And if you have only ever known the baked version, consider this your formal introduction to what you have been missing. Get there early, order two, and if you are feeling bold, drop one straight into a McFlurry and thank the culture later.
The fried apple pie is back at McDonald’s, and for anyone who grew up reaching into a hot cardboard sleeve for that crispy, blistered crust, this one hits different. McDonald’s confirmed it on June 16, announcing that the OG fried apple pie returns to participating restaurants nationwide starting June 23 for a limited time, marking the first time the deep fried version has been on the menu in more than three decades. The timing is built around America’s 250th birthday, but for a lot of us the real headline is simpler. The good pie is coming home.
If you are younger than thirty five, there is a real chance you have never tasted the original. McDonald’s quietly swapped the fried apple pie for a baked version back in 1992, part of a broader move toward menu items the chain wanted to sell as lighter. The baked pie has its fans, but it never recreated the magic of the fried one. That molten apple filling, the sugar dusted shell, the way the whole thing crackled when you bit in too soon and paid for it on the roof of your mouth. People have been asking for it back for years. Now they are finally getting it.
Here is the part the food blogs are skipping. The fried hand pie is not really a McDonald’s invention. It is Southern, and more specifically it lives deep in the heart of Black Southern cooking. Fried apple and peach hand pies have been a staple at cookouts, church functions, and grandmother’s kitchens across the South for generations, long before a fast food chain figured out how to scale them. The McDonald’s version traces back to the 1960s, when an East Tennessee owner operator named Litton Cochran turned a fried apple hand pie into a menu item. It became a local favorite first, then a national one. That lineage is why the fried apple pie feels less like a corporate throwback and more like a memory you can actually taste.
McDonald’s leaned all the way into the nostalgia for this run. The returning fried apple pie features the brand’s signature filling made with apples grown in America, wrapped in the same golden, flaky fried crust longtime fans remember. It first debuted in 1968 alongside the Big Mac, so the dessert is celebrating its own kind of anniversary too. The company is even installing a thirty five foot tall fried apple pie sculpture on Route 66 in Joliet, Illinois near its Chicago headquarters, and that giant pie will stand from June 23 through July 4.
One quick note for accuracy, because a few of the viral posts going around got the date slightly off. Several early Instagram graphics list June 22 as the launch day. McDonald’s official announcement says June 23. If you are planning a pie run, go with the 23rd to be safe.
Now for the move the internet is really buzzing about. With the fried apple pie back in the building, the legendary Apple Pie McFlurry is officially back on the table. For the uninitiated, this is one of McDonald’s most famous secret menu hacks, the kind of thing fans have been making themselves for years. The formula is simple. You order a McFlurry of your choice, ask for hot caramel sauce, then smash a warm pie right into it and mix. The hot and cold contrast, the cinnamon spiced filling melting into soft serve, the caramel pulling it all together. It is the kind of dessert that looks engineered in a lab and was actually invented by regular people who refused to choose between two good things.
To be clear, the Apple Pie McFlurry is not a brand new official menu item in the States. It is a fan created secret menu combo, and whether your local spot will blend it for you depends on the crew and how busy they are. Plenty of locations will hand you the pieces and let you build it yourself, which honestly is half the fun. With the fried pie back for a limited window, this is the best chance in years to make the viral version exactly how it was meant to be.
McDonald’s is not the only chain dressing up for the country’s 250th. Burger King rolled out a Firecracker Cookie Pie with a sugar cookie crust and star shaped sprinkles, Sonic is pouring a red, white, and blue slush float, and Hardee’s has a Star Spangled Biscuit with red and blue sprinkles. It is a full on patriotic dessert season across fast food. But the fried apple pie is the one carrying actual history, and that is what separates it from the pack of limited time gimmicks.
The bottom line is that this is a limited run, available while supplies last at participating locations and through the McDonald’s app. If the fried apple pie was part of your childhood, you already know what you are doing this week. And if you have only ever known the baked version, consider this your formal introduction to what you have been missing. Get there early, order two, and if you are feeling bold, drop one straight into a McFlurry and thank the culture later.
AND FINALLY FROM “THE CRAZY PEOPLE SHOPPING AT WALMART” FILES
Courtesy of P.O.Wm
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Dino just masking
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EFREM
