Faith Carmicheal, Tracy Murrell, BLVDNEXT, Atlanta, Georgia

Faith Carmichael Taps Tracy Murrell To Create Art In Historic Atlanta Through BLVDNEXT Arts Initiative

The Integral Group, a Black-owned development company partnered with cultural agency Next to support artists.


The Integral Group, a Black-owned development company, partnered with cultural agency Next to support artists while revamping a historic Atlanta neighborhood with its BLVDNEXT arts initiative. Eventually, the current construction site will be a multi-use complex on 22 acres, replacing the former Atlanta Medical Center. The years-long project could undoubtedly be less than aesthetically pleasing. However, the owner of NEXT, Faith Carmichael, and the Integral Group came up with a plan to decorate construction fencing with murals that speak to the community in transition.

The project’s BLVDNEXT initiative seeks to create a space that honors and respects the present while simultaneously preparing for the future. Carmichael and inaugural artist Tracy Murrell spoke with BLACK ENTERPRISE about the initiative, discussing how visual art plays a part in development and how community history shaped their approach.

Why was it important for art to be involved from the very beginning of this development?

Carmichael: They [are] a Black-owned development company, and over the years of working together, they’ve shown a sincere and authentic commitment to community, to the Atlanta arts ecosystem, and to rising artists of color. This is a space with deep history and legacy, but also a history of disinvestment and real challenges. The question became how we could use the power of art to show that this developer was walking the talk. They were committed to building something that respected the legacy and the stories of the community, not just focusing on the future.

Tracy, as the inaugural artist, what did it feel like to know you were setting the tone for a project that would last for years?

Faith and I have worked together for years. When she calls with an idea, they’re always thoughtful. She never just asks if you want to put work somewhere. She asks if you want to be in conversation.

Faith Carmicheal, Tracy Murrell, BLVDNEXT, Atlanta, Georgia

What kind of response have you seen from the community so far?

When I finally saw how people were responding, friends calling and saying they loved what they were seeing on Boulevard, it validated that the work was speaking to my people. That’s meaningful. It always makes me smile.

How do you think about working with artists as this initiative continues?

Carmichael: Atlanta has an abundance of creative talent. Our role is making sure more people know that. Artists inspire the vision. We already know the talent is there. The work is about engaging artists who are already telling our stories beautifully and giving them space to be seen.

What kinds of stories can the audience expect as the project continues?

Carmichael: Anything and everything we do will tell our stories—the stories of Black and brown communities and the narratives that come from them. Whether artists are Atlanta-based or not, the stories will always be rooted in this city.

Construction in an older, established area can be jarring for long-term residents. The separation of what exists from what will be can create a disconnect. By centering art rather than the finish line, the BLVDNEXT project reimagines what development can look like when it listens first.

Richard White, senior vice president of The Integral Group, told BE the company is determined to “honor the culture of this neighborhood and make it visible, even if others choose not to.”

White insists art is the proper medium to give that visibility as it “holds history, voice, and identity, and those things matter.”

For Murrell and Carmichael, the work is both personal and communal, a living conversation unfolding along a familiar Atlanta corridor. As the site continues to evolve, the art stands as an early promise that legacy, creativity, and community remain inseparable from what comes NEXT.

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Dominique Dawson, Costume Designer, Sony Animation, GOAT

Meet Dominique Dawson, The Costume Designer Behind Sony Animation’s Bold New Film, ‘GOAT’

The San Francisco native steps into new territory: animation.


Audiences should expect the movie theater to be a jungle thanks to GOAT which opened at the box office Feb.13. Blending global sports culture, next-generation animation and fearless creativity, the Sony Pictures Animation film arrives with serious pedigree, backed by the artists behind K-Pop Demon Hunters and Spider-Man: Across the Spider-Verse, and a production team that includes four-time NBA champion Stephen Curry (who also lends his voice to Lenny the giraffe). 

While audiences are sure to be enamored by a cast of athletic animals, the film’s immersive world is stitched together by Emmy-nominated costume designer Dominique Dawson—a multidisciplinary creative whose bold, story-driven work has helped shape projects like Ava DuVernay’s Origin, Donald Glover’s Swarm, and Jordan Peele’s HIM.

With GOAT, the San Francisco native steps into new territory: animation. The original action-comedy centers on Will, a small goat who has a chance to achieve his wildest dream—playing professional roarball, a high-intensity, co-ed, full-contact sport, dominated by the fastest, fiercest animals in the world. 

Dawson says she approached the GOAT project intent on building a world that felt culturally grounded and visually authentic. 

“I really wanted to step into the world of Vineland,” Dawson tells BLACK ENTERPRISE. “The climate and the actual landscaping of the town is very jungle vibes. It’s hot. There’s a lot of hills—a lot to navigate. So we knew that we couldn’t do a lot of layering with big coats because it just wouldn’t make sense.” 

To construct that realism in GOAT, Dawson immersed herself in research.

“I built out decks and jumped into looking at animal movements and anatomy and understanding the different species,” she explained. “Then we jumped into what do these animals do for a living? Being able to have that hierarchy—careers, lawyers, doctors, construction workers—that dictated a lot of their looks.” 

For Dawson, animation unlocked a level of creative freedom rarely possible in live action. 

“Typically, I have to figure out how I can get my hands on this couture piece—is it going to arrive on time? Is it going to be two times smaller than what they said initially? None of those worries were part of my thinking, which is so freeing,” she says. “I really just got to have at it. 

That freedom proved especially important when designing Jett Fillmore, the league’s celebrated MVP, voiced by Gabrielle Union. 

“I wanted Jett to feel powerful,” Dawson says. “I played with power suits in the beginning. What I learned is by showing more of her frame, you actually get a better understanding of her swag and femininity.”

She adds, “It still feels like she’s on that line of masculine, feminine vibes.”

The scale of work was massive. 

“Even just for one rendering of Jett’s looks, we would do like 60 versions that had all different colorways, adjustments and detailing—and that’s just for one outfit. The main issue was the catwalk looks. That was really where we wanted to make a statement.”

The attention to character extended across the roster, particularly to Will, the undersized rookie determined to prove that “smalls can ball.”

“I studied a lot of street ball—courts like the Rucker and West 4th,” Dawson says. “He’s the one small who, when he comes to the court, wants to appear at least as big as he can. So going in a slimmed-down silhouette is not going to service him. He wants to bulk it out.”

Dawson’s solution was to put Will in a baggier hoodie, layered over longer tees to exaggerate his presence. 

“Showing his progression and growth as he gets drafted, he stays in practice gear out the gate, then you get to see him step out in a deconstructed bomber jacket and a variety of looks that show he’s got some paper now, and he can express himself in that way.”

While roarball exists in an all-animal universe, it’s aesthetic is deeply rooted in recognizable cultural touchpoints. Dawson’s own experiences helped anchor that authenticity.

“I grew up playing basketball, so I have a really strong knowledge of the sport,” she says. “I looked at gladiator-type vibes and attending a lot of games myself. I’m a sports fan. I just got off doing two football movies back-to-back, so I have a very clear understanding of fandom and all of that. The gladiator thing added a larger component because this is a global league…The stakes are high and it’s do or die, so we really wanted to showcase that.”

The result is a film that feels both imaginative and familiar. Animation also allowed Dawson to explore design possibilities that would have been impractical or unsafe in live action. 

“Modo is one of my favorite characters,” Dawson says, referencing the Komodo dragon voiced by Nick Kroll who is one of the film’s most kinetic characters. “If an actor was wearing tight denim pants with all these belts and piercings, there would be concern about safety…Him doing flips and all of the action and quirkiness he does. We were free of that, and that’s when technology really came into play.”

GOAT’s filmmakers leaned into advanced tools across productions. Recent technical gains have made it possible to render “complex characters, with fur, hair, layered garments and accessories,” a challenge that required teams to carefully balance visual detail within each frame. 

For Dawson, those tools, enhanced the emotional impact. 

“There was a holographic effect put on the jerseys…it kind of entered this surreal space,” she explains. “Those moments really hit and had an impact.”

While her work happens largely behind the scenes, Dawson sees costume design as foundational to narrative. 

“The union that I’m part of has a whole running campaign called ‘Naked Without Us,’ and that really says it all. If there were no costume designers, it really would be a bunch of actors just walking around naked. We are a huge story component.”

As a graduate of the director’s program at NYU’s Tisch School of the Arts, Dawson approaches each project through a storytelling lens. 

“Every choice that we make for the screen needs to support and elevate the story and push it forward,” she says. “I always look to the text—the script—but I also look at it like painting. If there’s too much red over here…there’s a balance in looking at the energies of characters.”

After designing more than 160 episodes of television and collaborating with visionary filmmakers, Dawson remains motivated by creative risk.

“I love the weird. I love strange,” she says. “I’m very much into showing things that we don’t typically see. I’m not just like, ‘Oh, I want to do the standard commercial vibe.’ That’s not me at all.”

That spirit made GOAT a natural fit—a project she describes as grounded in empowerment.

“The main objective is really body positivity and embracing all sizes and empowerment of everyone,” Dawson says. “We really wanted the costumes to reflect that.”

Dawson sees more animation projects in her future. 

“Most definitely,” she says when asked about returning to the medium. “You’re on Zoom with illustrators in South Africa or Paris or Canada, and you’re getting to make magic over the computer from home. I love it.”

As animation continues to push the boundaries of technology, culture, and storytelling, designers like Dawson are shaping how audiences connect before a single line is spoken. And if GOAT is any indication, she’s only just getting started. 

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Jackson State,

Jackson State University Gets $14.5M To Extend Contract For Heart Study Training Center

The HBCU will continue providing research opportunities for its public health students.


Jackson State University (JSU) will have more time to train Black graduate students in heart health research after receiving $14.5 million from the National Institutes of Health to extend its contract another 10 years.

The money will support the university’s Jackson Heart Study Graduate Training and Education Center, according to a press release. Launched in 2013, the Training and Education Center has garnered $25 million as it reduces the gap in public health expertise.

The JSU-based Training Center will further its talent pipeline and research opportunities for the next cohort of public health professionals.

Graduate students at the center will engage in enrichment opportunities and specialized training, making them competitive candidates in public health careers.

“This investment reflects Jackson State’s continued leadership as a research institution and our ability to compete for major federal partnerships that deliver outcomes,” said Denise Jones Gregory, Ph.D., interim president of Jackson State. “It also reinforces our responsibility to develop talent and strengthen the evidence base that helps families live longer, healthier lives.”

The money is also a boon for the Jackson Heart Study, deemed the largest investigation of cardiovascular disease in Black Americans.

The Jackson Heart Study was launched in 1998, shaping modern prevention, treatment, and education toward cardiovascular health in Black communities. Over the past 25 years, it has accrued generations of data from over 5,300 participants to strengthen its research and preventative care strategy.

The study has also advanced research and holistic treatment efforts for heart-related illnesses, such as hypertension, obesity, and diabetes. Black people remain disproportionately impacted by these issues, making this study critical for addressing this systemic health problem.

“Because the Jackson Heart Study was built with and for our community, the knowledge it has generated over 25 years has saved lives and transformed our understanding of heart disease risk among African Americans,” said Marinelle Payton, M.D., Ph.D., principal investigator of the Jackson Heart Study Graduate Training and Education Center at Jackson State. “This renewed investment allows us to continue training the next generation of public health leaders to translate world-class cardiovascular data into effective prevention strategies, earlier care, and healthier futures.”

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shooting, Mississippi, HBCU

Man Sets Himself Ablaze During Domestic Dispute In NYC

The unidentified man suffered serious burns and is currently in the hospital.


An unidentified 27-year-old man was hospitalized after suffering extensive burns across his body when, according to police, he set himself on fire while arguing with a woman on a Manhattan street.

According to The New York Daily News, the incident took place in the Washington Heights section of New York City at around 12:30 a.m. on Feb. 17. Officials have yet to identify the man.

The woman who was with him tried to put out the flames with her hands, which caused her to burn her hands.

The two were arguing near his car, located on Cabrini Blvd. near W. 177th St. The man poured the gasoline on his body mid-argument and then set himself on fire.

While the woman tried to put out the fire, the flames spread to the man’s car, igniting it.

Firefighters responded quickly. The man was taken downtown to Harlem Hospital; the woman was taken to nearby New York-Presbyterian Hospital Columbia. The man and the woman, listed in stable condition, are expected to survive.

There were no reports of any arrests or charges filed.

PIX 11 reported that on February 9,two other people caught in a fire were injured the same neighborhood. One person was listed in critical condition, while the second victim had serious injuries and in stable condition.

This fire took place just before 12 a.m. on W 162 Street between Broadway and St. Nicholas Ave.

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Keke Palmer, webby, awards, Tyler Perry,

Keke Palmer Gets Real On How To Avoid Hollywood Burnout As A Multihyphenate Mother

Palmer spoke about how she juggles motherhood with her expansive career.


Keke Palmer has found the key to avoiding burnout, which is crucial to her success across Hollywood.

While Palmer secures her lane on television, film, and even podcast hosting, the multihyphenate producer makes sure she can keep up with all her ventures. She spoke to People about how she manages her career on top of motherhood, joking that she becomes multiple people to complete her to-do list.

“There actually are three of me,” Palmer told the tabloid.

The “Nope” actress did acknowledge that her work is a lot to juggle. However, she remains intentional about staying present for the day-to-day.

“It’s a lot,” the 32-year-old continued. “I feel like after [having] my son, I’ve become even more intentional with what I choose to do. And how I choose to spare my time. I love everything that I do, but I think I’m always conscious to have a good team, to make sure that I can handle it all. And be able to organize it. Because it is a lot, but I do love it.”

Alongside her founding of KeyTV, Palmer recently added another item to her packed roster. Her new show on Peacock, “The Burbs,” has the media personality back on the small screen. As the show makes its own waves, Palmer has become a growing force in Hollywood.

The show is a remake of the 1989 film starring Tom Hanks. In the reimagined version, Palmer plays Samira, a new mother who moves into a mysterious neighborhood, where chaos rightfully ensues.

“It was actually kind of cathartic, because, well, the things that Samira was going through,” she shared.” Even with her relationship and how that was impacted by having a child. And then postpartum and how, you know, you’re trying to process things [while also being] so porous because you just [had] this human,” Palmer said. “I really related to a lot of that — and the horror behind it.”

However, Palmer prioritizes her job as a mother the most, as the experience also prepared her for the role. She makes sure to spend quality time with her son, 2-year-old Leodis, whom she lovingly calls Leo.

“The process of seeing him grow from being a little baby that didn’t speak to having words, opinions, and a personality is incredible,” said Palmer. “He’s teaching me, most importantly, how to relax and how to live. You know what I mean?”

While still reaching new heights in Hollywood, Palmer remains committed to all her roles as she dodges career burnout.

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affordable housing, Washington State, Program, Historical Housing Discrimination, housing discrimination, property taxes, South Fulton, foreclosure

Three States Lead In U.S. Foreclosure Listings As They Spike By 32%

Foreclosures are known for putting communities in a rut, especially those in majority Black neighborhoods.


Data shows that foreclosure listings, including default notices, scheduled auctions, and bank repossessions, have increased by 32% across the United States, but a few states, including popular tourist spots, lead the way. 

Realtor reports that data from real estate data firm ATTOM reveals a total of 40,534 U.S. properties were listed as foreclosures in January 2026, a 32% increase from 2025, with one in every 3,547 housing units having a foreclosure filing. But among the 50 states, three lead in listings, two of which are popular with tourists.  

Delaware had the highest foreclosure rate, at one in every 1,612 housing units. Real estate agent Carol Quattrociochi, who specializes in foreclosed properties, explains several reasons why. “The reasons I have heard for people foreclosing on their properties mainly are due to the increase in property taxes combined with the costs going up for your everyday things needed for a person to survive,” she said.  

Fellow realtor Don Ash puts the blame on the First State’s skyrocketing property taxes, saying since an assessment has been conducted in the last 40 years, “a lot of people’s property taxes have now increased, some by 50%, and they’re just not able to afford those payments.”

Nevada and Florida rank second and third, with one in every 1,983 and one in every 2,067, respectively. Realtor.com Senior Economist Joel Berner says states with close ties to tourism are often heavily impacted. 

With median listings on a house in Nevada starting at $479,000 and $425,000 in the Sunshine State, it’s common for consumer spending to dial back during bouts of uncertainty. “This leads to job loss and struggles with paying mortgages. Also, both of these states have high rates of condo ownership, and as our recent research has shown, condos are experiencing more expensive monthly fees that could hinder owners’ ability to make mortgage payments,” Berner continues. 

“In Florida, rising insurance costs could be preventing successful payments as well.”

Foreclosures are known for putting communities in a rut, especially those in majority-Black neighborhoods. In Cook County, Illinois, several Black residents were stripped of the title of “homeowner” and given the title of “felon” after many lost their homes over unpaid property taxes, according to Injustice Watch

As of 2025, more than 1,000 homes, including more than 125 owned by senior citizens, have been captured through property tax foreclosure. While homes lost to tax foreclosure accounted for only a small share of Cook County’s 1.5 million residential properties, data from the Investigative Project on Race and Equity highlighted predominantly Black communities such as Roseland, Englewood, and Chicago Heights.

Some of the outstanding debt totaled $1,600 or less, with a dozen starting at under $200.

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Barack Obama Presidential Center, basketball court

Barack Obama Presidential Center Will Include Full Basketball Court

"Everybody’s welcome at Home Court when we open the Obama Presidential Center this June."


President Barack Obama, who was recently seen at the NBA All-Star Weekend in Los Angeles, said that his presidential center in Jackson Park, Chicago, will include a full hardwood basketball court when it opens this June.

It’s a fitting development for the president who brought pick-up hoops to the White House.

According to CBS News, Obama confirmed this development with NBA Hall of Famer and NBC Sports NBA analyst Reggie Miller. The 44th president added that the venue will include a library, a recording studio, and a garden for visitors.

“One thing that it will have is a full-court basketball court, and we intend to have all kinds of activities,” Obama told Miller, “because sports is an entryway for kids to participate, to build community, to create some joy.”

A camera caught the president catching a basketball during Sunday’s All-Star game. He used the video clip on his Instagram account to issue an invitation.

“About the extent of my game these days,” Obama joked. “But everybody’s welcome at Home Court when we open the Obama Presidential Center this June.”

The campus of the Obama Presidential Center spans 20 acres and is just blocks from the lake and south of the Griffin Museum of Science and Industry.

On the grounds are several buildings, playgrounds, and a 225-foot museum tower. Although renowned architects designed the buildings and spaces, it was equally important to incorporate community input during construction. 

Team members from the Obama Center visited the 77 Chicago community areas. Consulting different people, while providing updates, answering questions, and responding to concerns for the project. 

Though the center is slated to open in June, an exact date has not been announced.

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Trump, dei, federal contracts

Trump Called Out After Saying New White House Ballroom Will Be Used For Future Inaugurations

Donald Trump is drawing backlash after suggesting his proposed White House ballroom could host future presidential inaugurations.


Donald Trump is facing backlash after touting his controversial White House ballroom and claiming it could host future inaugurations, a decision critics note isn’t his alone to make.

In a Feb. 10 post on Truth Social, Donald Trump shared renderings of the proposed grand ballroom, claiming it was “on budget and ahead of schedule,” even as the East Wing renovation remains tied up in court and far from approved to proceed.

“When completed, it will be the finest Ballroom ever built anywhere in the World, one that has been sought by Presidents for over 150 years — and now they are getting THE BEST!” he wrote. “Because of its unprecedented structural, safety, and security features, it will also be used for future Presidential Inaugurations.”

It didn’t take long for Trump’s boasting to reach Threads, where one Instagram user accused him of having no real understanding of how inaugurations work.

“Additional proof that Trump doesn’t understand separation of powers OR the symbolism of the US Capitol as the location of inaugurations,” the user wrote.

According to the Library of Congress, presidential inaugurations have been held at the U.S. Capitol since 1829, most often on its west front, a tradition that began with Ronald Reagan and has continued ever since. Earlier ceremonies were held on the east steps, and while the U.S. Constitution outlines the presidential oath, it does not specify where inaugurations must take place.

Now that Trump has suggested future inaugurations could take place in a proposed White House grand ballroom, critics online are pushing back against the claim.

“Who is he to say future presidents want to be inaugurated there?” one Threads user asked. “Probably in his mind, the matter of crowd size on the Mall would be eliminated! Plus, how is a pile of rubble ‘on target’? Dementia grasping tightly.”

“Presidential inaugurations will be at the Capitol, so the general public can view should they choose. Not just corporate donors bribing the incoming administration,” another user exclaimed.

The fate of the ballroom project remains uncertain after the National Trust for Historic Preservation filed a lawsuit in December against Donald Trump’s proposed East Wing demolition, arguing the move violated preservation laws. The group is asking a federal court to halt construction until the required legal reviews, including a public comment period, are completed.

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Boston, Boston Freedom Trail, slavery, King Chapel

Slavery Exhibits Restored After Trump’s Failed Attempt To Hate On Black History

Philadelphia City Council President and avid Trump critic Kenyatta Johnson issued a statement saying “we cannot let President Donald Trump whitewash African American history. Black history is American history.”


The city of Philadelphia fought for Black History and won after a federal judge ordered the slavery exhibit inside the President’s House to be restored. 

The Philadelphia Tribune reports Federal District Judge Cynthia Rufe, a George W. Bush appointee, ruled in favor of the city after filing a Jan. 22 preliminary injunction – the same day the Trump Administration ordered 34 exhibits describing the stories of nine enslaved Africans to be removed from the President’s House, home of George Washington, inside Independence National Historical Park. 

She ruled for the exhibit to be restored in the same way they were on Jan. 21, in addition to keeping the grounds “in a clean and accessible manner.”

“Defendants are hereby ENJOINED from taking any action to damage any exhibits, panels, artwork, or other items from the President’s House Site, are ORDERED to take all necessary steps to ensure the safety, security, and preservation of any such items that had been removed from the President’s House Site on January 22, 2026, and are ENJOINED from making any and all further changes to the President’s House Site, including the installation of replacement materials, without mutual agreement of the City of Philadelphia during the pendency of this litigation or until further Order of the Court,” the ruling read. 

The exhibit removal, including the tale of Oney Judge, an enslaved woman who escaped to freedom and built a life in New Hampshire, was done at the demise of President Donald Trump’s executive order “Restoring Truth and Sanity to American History, according to The Washington Post. He and his administration called for all alleged “divisive narratives” to be scrubbed from national sites. 

Trump’s MAGA narrative has subjected several museums like the Smithsonian’s National Museum of African American History and Culture (NMAAHC) to be under audit in attempts to eliminate the story of slavery and its damaging challenges overcome by minorities and marginalized groups.

But just like the ancestors before, the exhibits weren’t going to be removed without a fight. 

Attorney and civil rights activist Michael Coard called the ruling a victory but also touched on reality after gathering dozens for the Avenging the Ancestors Coalition’s “Tell the Truth” rally. “It’s a great victory but we are not going to get too excited because procedurally, the government has a chance to appeal and ask for a stay of the judgment while they appeal,” he said.

“What we could possibly have gotten, we got it all.”

Philadelphia City Council President and avid Trump critic Kenyatta Johnson issued a statement saying, “We cannot let President Donald Trump whitewash African American history. Black history is American history.”

Rufe seemingly agreed. After criticizing the administration for asserting that “truth is no longer self-evident, but rather the property of the elected chief magistrate and his appointees and delegees…,” she wrote that “each person who visits the President’s House and does not learn of the realities of founding-era slavery, receives a false account of this country’s history.”

Stephen A. Smith, daughter

Stephen A. Smith Boasts, ‘We Wouldn’t Have A Border Crisis Under My Watch’

The ESPN star outlined part of his potential presidential agenda during an interview with journalist Robert Costa.


Stephen A. Smith is continuing to hint at a 2028 presidential bid, outlining positions that include stronger border security and increased funding for law enforcement.

The longtime sports commentator outlined his policy views for immigration, the economy, and crime in a Feb. 15 interview with CBS Sunday Morning.

“We wouldn’t have a border crisis under my watch. Hell no,” he said, in a clip shared online. “We wouldn’t have this crime that exists on the streets of New York—you wouldn’t hear about me saying ‘Defund the police.'”

“We ain’t defunding any police. I’m calling 911 when there is a problem, I know you’re calling 911 when there’s a problem,” he added. “I’ll be damned if I’m going to have less police officers out there. There’s going to be more—that’s me!”

Smith also said he would prioritize building a stronger economy, arguing that economic growth is key to reducing crime and instability across the United States.

“I believe when you have something to lose, you know how to behave,” he said. “If you have nothing, you have nothing to lose. As a result, you’re willing to tear down anything—even it’s America—because you feel betrayed by a country that’s supposed to be looking out for you and positioning you to thrive, instead of wallowing in misery and suffering.”

While Smith appears eager to present himself as a serious presidential contender, social media reactions to another celebrity entering politics have been mixed, with many expressing skepticism about his recent interview with Robert Costa.

“Democrats aren’t Republicans, Mr. Costa. We like our nominees to be qualified. No more entry-level presidents who’ve never served in public office,” one X user wrote.

“Will fatigued Americans have the stamina to go from a president who needs constant attention and will do anything to get it to another president who needs constant attention and will do anything to get it?” another user sarcastically asked.

President Donald Trump recently voiced support for Smith during a NewsNation town hall.

“I love watching him,: Trump said. “He’s got great entertainment skills, which is very important. People watch him. You know, a lot of these Democrats I watch, I say they have no chance. I’ve been pretty good at picking people and picking candidates. And I will tell you, I’d love to see him run.”

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