President Obama Blasts Trump’s Racist AI Video Depicting He And Michelle As Apes
The former president said Trump's attack on his wife and children in a racially charged AI-generated content crossed a line of common decency and respect
Barack Obama Responds To Donald Trump’s Racist Video
Former President Barack Obama recently condemned the infamous AI-generated video that President Donald Trump shared earlier this year, portraying him and his wife, former first lady Michelle Obama, as apes.
“I don’t take it personally,” Obama said. “I’m always offended when my wife and kids get dragged into things, because they didn’t choose this. That’s a line that even people whose politics I deeply reject, I would expect them to care about.”
The controversy stems from a post Trump shared on Truth Social on Feb. 5 featuring an AI-generated video promoting conspiracy theories about the 2020 election. The video later cuts to edited footage of the Obamas’ heads placed on the bodies of dancing apes, with “The Lion Sleeps Tonight” playing in the background. The post was later deleted from Trump’s account following widespread backlash.
Civil rights advocates and political commentators criticized the clip for invoking racist imagery historically used to demean Black people. When asked aboard Air Force One whether he planned to apologize for sharing the video, Trump declined, saying posting it was not “a mistake.”
Obama Believes The Use Of AI On Social Media Is Unserious
During his interview with The New Yorker, Obama also expressed concern over the normalization of AI-generated political content that trivializes violence and public discourse.
“There’s this sort of clown show that’s happening in social media and on television,” Obama said, adding that Americans are losing “decorum,” “propriety,” and “respect for the office.”
The former president previously addressed the video publicly during a February interview with progressive podcast host Brian Tyler Cohen, in which he emphasized that many Americans still value “decency, courtesy, and kindness.”
Jenifer Lewis Questions Celebrity Support Of Jeff Bezos-Linked Met Gala
"They showed up anyway," Lewis said in the now-viral clip. She then asked, "How much fame do we need?"
Actress Jenifer Lewis is joining the rising criticism of the 2026 Met Gala. She has called out celebrities who attended the high-profile event despite the controversy surrounding billionaire Jeff Bezos and widespread layoffs at major companies.
In a video shared on social media this week, Lewis asked why entertainers continue to take part in this extravagant fashion fundraiser while many Americans are struggling financially. She criticized attendees for prioritizing celebrity culture over issues that affect working families.
“OK, so I hadn’t seen any of it,” Lewis said as she opened the now viral clip. “I had been running around all day, and my girlfriend called and said, ‘Jenifer, they showed up anyway.’”
The annual Met Gala, held at the Metropolitan Museum of Art, is one of fashion’s most exclusive nights, attracting actors, musicians, and athletes from around the globe. However, this year, the event’s glamour was overshadowed by growing public discussion about wealth, corporate influence, and celebrity responsibility.
The backlash grew stronger after Bezos and his wife Lauren Sánchez were announced as honorary figures. Critics highlighted recent layoffs linked to Amazon and raised concerns about Bezos’ impact on media outlets like The Washington Post.
Lewis pointed out cuts to children’s programs and the broader economic challenges in her remarks.
The Blackish actress was not alone in her criticism. Actress Taraji P. Henson also publicly questioned the celebrity attendance at the gala. She commented online that she was “confused” by those who chose to participate, given the increasing political and economic issues.
The conversation quickly spread across social media. Supporters praised Lewis for addressing wealth inequality and celebrity perceptions during a time of financial strain for many Americans, while others felt the criticism unfairly targeted entertainers attending an established fashion and fundraising event.
Effortless Gifting: Chic Picks Mom Will Actually Use And They’re All By Black-Owned Brands
This Black Enterprise gift guide highlights thoughtful products from Black-owned brands.
Mother’s Day is the perfect time to celebrate the moms, grandmothers, caregivers, and mother figures who pour so much into the people they love. This BLACK ENTERPRISE gift guide highlights thoughtful products from Black-owned brands, featuring everything from skincare and haircare to self-care essentials to fashion, and meaningful keepsakes. Whether you’re shopping for a first-time mom or someone who deserves a little extra appreciation, these picks make it easy to support Black-owned businesses while finding a gift she’ll truly enjoy.
Created by two first-time moms, this EADEM skincare set is a thoughtful gift for a loved one celebrating her first Mother’s Day. Safe to use during pregnancy and while nursing, the trio helps reduce dark spots, uneven skin texture, dullness, and hormone-related breakouts throughout every trimester.
Brown Sugar Babe- “Rich Aunty” Fragranced Glow Oil
“Rich Aunties don’t just walk in a room, they arrive.” This fragrance serves maturity, luxury, and confidence, with a scent that lingers long after you’ve left.
Centered around rich hydration, this shea butter–infused set is designed to leave skin soft and radiant. It’s a great option for moms who prioritize body care in their wellness routine.
San Diego Padres Set To Make History With Sale To Kwanza Jones And José E. Feliciano
The deal could make Kwanza Jones the first Black woman majority owner in MLB history.
The San Diego Padres are entering a new era. The franchise announced that the Seidler family has agreed to transfer control of the team to an ownership group led by investor and philanthropist Kwanza Jones and private equity executive José E. Feliciano, pending approval from Major League Baseball, according to MLB.com.
The reported sale price is approximately $3.9 billion, a figure that would shatter the previous record for an MLB franchise sale, NBC 7 San Diego reports.
In a joint statement, Jones and Feliciano said the acquisition is about more than baseball.
“The Padres are more than a baseball team; they are a unifying force in San Diego,” the duo said, adding that they are committed to “bringing a World Series championship to San Diego.”
The historic deal arrives nearly three years after the death of former Padres owner Peter Seidler, who helped transform the franchise into a National League contender through aggressive spending and high-profile player acquisitions. His brother, John Seidler, has served as chairman and control person since 2025.
Jones’ potential ownership stake carries major cultural significance across professional sports. According to Andscape, the deal would, if approved, make her the first Black woman in MLB history to hold a majority ownership stake in a franchise.
Meanwhile, Feliciano — co-founder of Clearlake Capital — would become one of the few Latino majority owners in Major League Baseball. The billionaire investor already has ties to global sports ownership through Chelsea Football Club.
The Padres were purchased by the Seidler-led ownership group in 2012 for $800 million. Since then, the franchise has grown into one of baseball’s most valuable organizations while building a passionate fan base in San Diego.
Fine Art Collector Charlotte Newman Wants To Expand Access For Black People In The Exclusive Industry
Newman sees fine art as a “way to create and transfer wealth
By Curtis Bunn
As a young girl growing up in Atlanta, Charlotte Newman was exposed to the transformative power of art through her parents and godmother, the renowned painter and mixed-media artist Tina Dunkley.
That passion stayed with her as she earned a degree in Art History at Wellesley College, an MBA at Harvard, and a working career that spanned multiple roles in the House of Representatives and U.S. Senate, entrepreneurship, and serving as a global technology company executive.
Now, Newman, 43, has parlayed her educational and professional experiences with her passion to emerge in a $59.6 billion industry as one of the foremost collectors of fine art by Black artists and talent from the diaspora.
And while she has spent plenty on historic, original, and commissioned pieces, she said a commitment to expanding access to Black fine art to working-class Black people ranks at the forefront of her ambition.
“To me, art exists on a continuum; it is culture,” Newman said. “We put fine art on a pedestal, but I think that is almost to its detriment. We begin engaging art not through acquisition, but through seeing.”
Like her other endeavors, Newman finds herself a unicorn of sorts: a Black woman in a fine art industry dominated by white men, who represent 87% of collectors compared to 4% of Black collectors, according to a study conducted by the Public Library of Science. Also, only 2.2% of acquisitions by 31 U.S. museums between 2008 and 2020 were works by Black artists.
There is an important distinction between art and fine art. Art encompasses numerous practices and techniques. Fine art is visual art created primarily for aesthetic, intellectual, or emotional value rather than functional, commercial, or decorative use.
Newman sees fine art as a “way to create and transfer wealth. But it also transfers something less quantifiable: culture, memory, taste, and a way of seeing the world. That’s why I think collecting can be both an economic act and a legacy-building practice.”
To that end, she founded the Scott Newman Collection to support artists of African descent, continuing a family tradition that focuses on arts appreciation and stewardship. The collection embraces figurative and abstract work that draws on literary narratives, science, and mythology. Her artists explore politics, race, gender, and sexuality.
“It is intended to be a vehicle for legacy,” she said, “a way to preserve cultural value, contribute to generational wealth and steward the work of artists we believe should endure.”
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Newman said she has not sold any of the more than 50 works of paintings, photographs, works on paper, and mixed media. Her collection, she said, is “rooted in a specific thesis: that the market has historically undervalued work by artists of the African diaspora and that intentional capital can serve as a corrective instrument.”
But fine art, in general, is pricey, leaving many in the working-class Black community feeling priced out. Newman said the initial step of increasing access is vital to growing exposure to the industry.
“It’s not just about affordability,” she said. “It is also about information, proximity and confidence. The art world can feel closed because people do not always know where to begin, what questions to ask, or whether to trust their own perspective.”
Newman, however, believes access to audiences who feel left out is evolving through online viewing rooms, which began during COVID, fine art fairs, and the Clubhouse app—convenient ways to learn basic art history and gain an appreciation for the work. Also, Newman provides insight into the art world through her Substack column, Crown and Capital.
“It’s absolutely essential to have Black collectors and patrons be continuous stewards and support both living and historical Black artists,” said Lindsay Adams, a Washington, D.C.-area artist based in Chicago. Newman purchased Adams’ piece, The Source of Self Regard, named after Toni Morrison’s book of essays. “It helps to further ground our cultural legacy and voice. . . and the role that we play in the art historical canon.”
A prized piece in the Scott Newman Collection includes an 1880s work by the celebrated Edward Mitchell Bannister, who, in 1876, became the first Black artist to win a national art award—a bronze medal for his painting “Under The Oaks” at the Philadelphia Centennial Exposition.
She also had a “full circle” moment in 2025 when she won a Gordon Parks photograph at auction during the foundation gala named after the famed photographer, filmmaker, and writer who documented social injustice and the civil rights movement. When working on Capitol Hill, Newman helped write the Congressional Resolution commemorating Gordon’s life and legacy.
In 2019, artist Alteronce Gumby of New York said Newman “slid into my DMs” on Instagram to inquire about his work. “We had a great conversation about art, my background, her background, and language around color and its relationship to astrophysics and astronomy,” Gumby added. “We shared some of the same cultural signifiers. I can get really deep into my interests and the ideas that matter to my work, and Charlotte truly seemed willing to go along for the ride.”
That ride continues with Newman serving as an executive producer on Gumby’s upcoming film, “Color In Nature,” a documentary that explores color as an elemental force, tracing it through climate, chemistry, and light across environments spanning Icelandic glaciers to Nigerian dye post pits.
This type of beyond-the-art connection is a part of Newman’s process. She seeks to unite with the talent—and then support the art and the artist. “I’m very often intrigued by what they are reading and how they are pulling ideas and literature together,” she said. “And that’s not the whole list.”
There are not many art collectors with Newman’s heterogeneous background. The influence of Dunkley, who preserved and developed the art collection at Clark Atlanta University, is palpable. “Charlotte tells me about these details that she remembers from her youth about conversations she heard about art between me and her parents and others, and it’s amazing,” Dunkley said. “She’s a shooting star with great sensitivity.”
Said Newman: “My godmother helped shape how I see art. Through her eyes and her practice, I learned how to appreciate art, how to live with it and how to understand its value.”
With that vantage point, she sacrificed and saved money post-college and began collecting. Her degrees from two of America’s most renowned universities helped Newman earn high-profile and high-income careers with a perspective of “the world in terms of gains and losses, assets and liabilities,” she said. “But they have also helped me understand that value is not only financial. Culture, relationships, reputation, access, trust, and ownership are all part of value.”
She’s a financial whiz who worked on Capitol Hill advising New Jersey Sen. Corey Booker, among other politicians, on economic policy. She also led Amazon’s multibillion-dollar international entrepreneurship division.
Newman, who lives in Washington, D.C., said her home looks like a gallery, with artwork adorning much of her wall space. She also learned in college how to exhibit art to magnify its beauty.
The most recent piece she purchased was “Wade In The Water” by Candice Tavares, a young talent based in Baltimore. “It’s really quite gorgeous,” she said. “I was drawn to the way she combines stained glass and woodcut techniques. There’s an intricacy to the work that makes it feel both delicate and deeply constructed.”
Tavares said support from a Black woman collector “gave her extra confidence. It’s really important to have my work live in spaces with people who value the story behind the work.”
That value increases over time, like art.
“The industry is underwhelmingly Black,” Gumby said, “which is why this kind of presence matters so much. It shows how important and special Charlotte’s role is. Knowing my work is in the collections owned by Black women and Black collectors more broadly signals that my work is being cared for by my community.”
Ghanaian Millionaire Gives $2M As First Payment In World Cup Pledge
The donation, made through Mahama's firm Engineers & Planners (E&P), was formally presented April 30.
Ghanaian industrialist and multimillionaire Ibrahim Mahama has solidified his role as a leading benefactor for the national football team, contributing the first $2 million of a pledged $5 million to support the Black Stars’ 2026 World Cup campaign.
The donation, made through Mahama’s firm, Engineers & Planners (E&P), was formally presented to the Black Stars Fundraising Committee Chairman and Deputy Finance Minister Thomas Nyarko Ampem on April 30. While the symbolic check was handed over this week, officials confirmed the funds had already been deposited into a dedicated World Cup account at the Bank of Ghana to ensure transparency and immediate use for the team’s preparations, Business Insider Africa reported.
The contribution is the largest individual or corporate donation to date in a broader $30 million fundraising drive launched by President John Dramani Mahama.
The funds are earmarked for critical needs as Ghana prepares for the expanded 48-team tournament in the United States, Mexico, and Canada, including Logistics and Training: Support for high-performance training camps and international travel, and enhancements to the national team’s training facilities.
Ghana has drawn Group L, where they will face formidable opponents in England, Croatia, and Panama. The urgency of the fundraising drive reflects the high costs of competing on the world stage and the desire to maximize the “Black Stars” presence in North America.
Mahama’s $2 million installment has set a high bar for “Corporate Ghana,” sparking a wave of additional pledges from across the private sector and entertainment industry, the Pulse reported.
Major Pledges: Gold Fields Ghana has committed $2 million, while Christian Salamony Game Technology has also pledged $2 million.
Financial Institutions: GT Bank, First Atlantic Bank, and First National Bank have contributed a combined total exceeding GH₵3.8 million.
Celebrity Support: Musicians Shatta Wale and Stonebwoy have contributed a combined $200,000, emphasizing the cultural importance of the team’s success.
Mahama described the donation as part of his company’s social responsibility, noting that the Black Stars’ success fosters “national unity and pride.”
Florida State University Celebrates Youngest Nursing Graduate Demetria Coley
Her achievement is a major milestone not just for the university but also for young Black students following accelerated academic paths.
Demetria Coley, 18, has made history as the youngest graduate of Florida State University’s College of Nursing. She earned her Bachelor of Science in Nursing on May 1, 2026. Her achievement is a major milestone not just for the university but also for young Black students following accelerated academic paths.
Coley’s journey to this moment moved quickly but thoughtfully. She was homeschooled by her father, a science teacher, and rapidly advanced in her studies. By age 15, she had already earned an associate degree from Tallahassee Community College, becoming that school’s youngest graduate as well.
After enrolling at Florida State University, Coley completed rigorous clinical training, including work at Tallahassee Memorial HealthCare and a preceptorship at Orlando Health Winnie Palmer Hospital for Women and Babies. There, she focused on neonatal care—the same specialty she now plans to pursue professionally.
Her motivation goes beyond academic success. Coley’s late mother, Elicia Coley, was a nurse who passed away from ovarian cancer in 2020. This loss influenced Coley’s career goals and strengthened her commitment to healthcare. She hopes to make her mother proud as she steps into the next chapter of her journey.
“I’m proud of the fact that I’m able to continue to make history and be able to make my mom proud,” Coley told the Tallahassee Democrat.
While she initially considered medical school, Coley changed her focus after hands-on clinical experiences revealed the impact nurses have through direct patient care. She realized that connection is where she felt most called to serve.
Her story illustrates a growing, though still uncommon, trend of students completing degrees at younger ages through nontraditional and accelerated education paths.
According to the National Center for Education Statistics, only a small fraction of nursing students complete their degrees at a significantly early age (before age 20), further proving that Demetria Coley is well ahead of her time.
Former Employee Accuses 50 Cent Of Yearslong Intimidation Campaign In Federal Lawsuit
The complaint, filed on April 29 in the U.S. District Court for the Northern District of Georgia, states that the artist, whose legal name is Curtis Jackson III, retaliated against her after she turned down requests regarding financial and legal matters related to his bankruptcy.
A former employee of rapper and entrepreneur 50 Cent has filed a federal lawsuit alleging she faced years of harassment and intimidation after refusing to engage in activities she believed were illegal, according to court documents.
The complaint, filed on April 29 in the U.S. District Court for the Northern District of Georgia, states that the artist, whose legal name is Curtis Jackson III, retaliated against her after she turned down requests regarding financial and legal matters related to his bankruptcy.
In the lawsuit, the plaintiff, Monique Mayers, says she felt pressured to put property in her name and file a false police report, actions she felt could expose her to legal trouble. She claims that after her termination in 2019, she became a target of a long campaign of harassment that included repeated phone calls, text messages, and threatening voicemails over several years.
The complaint also states that the alleged intimidation grew when she became a possible witness in a fraud case involving 50 Cent. In one instance, she reported receiving a voicemail that included violent lyrics — “bang bang, I shot you down” — which she saw as a threat.
The plaintiff seeks damages for emotional distress and invasion of privacy under Georgia law. A representative for Jackson did not respond immediately to requests for comment, according to HR Dive.
However, the legal team representing 50 Cent has publicly denied the allegations, calling them baseless and labeling the lawsuit as an attempt to damage his reputation while seeking financial gain.
The lawsuit portrays a broader picture of what the plaintiff describes as a toxic workplace culture, alleging that fear, loyalty tests, and retaliation were used to maintain control. She claims that employees who resisted orders risked becoming targets.
Legal experts say cases involving alleged misconduct by high-profile executives can pose unique challenges for workplace oversight. Human resources professionals may face retaliation or pressure when trying to investigate leadership behavior and may need to involve outside counsel or escalate concerns to corporate leadership or boards.
This case adds to a growing list of legal disputes involving influential figures in entertainment and digital media, where issues around workplace culture, power, and accountability continue to arise.
Women’s Flag Football Is Growing—And HBCUs Are Driving The Growth
HBCUs are building competitive programs and expanding access
Historically Black colleges and universities (HBCUs) are leading the way in the rapid rise of women’s flag football, transforming what was once considered a male-dominated sport into one of the fastest-growing opportunities for women athletes.
As more Black and brown women take the field, HBCUs are building competitive programs and expanding access at the collegiate level.
The Central Intercollegiate Athletic Association (CIAA), a Division II HBCU athletic conference, was the first to test the sport, according to HBCU Gameday.
“Schools that aren’t on board yet just don’t trust or believe in the program or in the sport itself,” Winston-Salem State University Women’s Flag Football Assistant Coach Chasity Holt told Andscape. “They don’t see the benefit of having the sport. But you can see the schools that have the sport are flourishing. They’re thriving.
“I just hope that leaders at these institutions that are hesitant see the value and see how much of a buzz [HBCUs] are creating and are able to sustain throughout the next couple of years.”
Winston-Salem State University has emerged as a dominant force, securing back-to-back CIAA championships. Seven teams competed in a two-day, single-elimination bracket held April 10-11 at the Irwin Belk Complex at Johnson C. Smith University.
In spring 2025, the conference launched women’s flag football at seven member institutions: Bluefield State University, Bowie State University, Claflin University, Fayetteville State University, Johnson C. Smith University, Virginia Union University, and Winston-Salem State.
Momentum for this emerging sport is catching on at other HBCUs.
In 2024, Alabama State University became the first NCAA Division I HBCU to offer women’s flag football. Wilberforce University and Edward Waters University are both set to launch programs for the 2026–2027 season.
For many student-athletes, these developments mark a significant shift in opportunities. Previous generations often had access to flag football only through intramural and club teams, where participation often required out-of-pocket costs. The expansion of varsity programs eliminates those barriers and legitimizes the sport at a higher level of competition.
The NCAA has also taken notice. In January, women’s flag football was designated as an emerging sport, a key step toward broader adoption and eventual championship status. The program is designed to increase opportunities for participation and give institutions more flexibility to sponsor the sport.
Since the Emerging Sports for Women program was created in 1994, eight sports have been added, including rowing (1996), beach volleyball (2015), and women’s wrestling (2025). Two additional emerging sports—acrobatics and tumbling and stunt—have also been approved as NCAA championship sports for the upcoming academic year.
Women’s flag football must reach at least 40 varsity teams to qualify for NCAA championship consideration. That milestone may be within reach, as up to 60 schools are expected to sponsor teams by spring 2026, according to HBCU Gameday.
The growth of women’s flag football is also expected to create a recruiting pipeline for Olympic-caliber athletes, as the sport makes its Olympic debut at the 2028 Summer Games in Los Angeles.
Ray Rice Returns To Rutgers, Completes Long-Delayed Degree
For Rice, this accomplishment is about fulfilling a personal commitment based on discipline, family values, and unfinished goals.
Former NFL player Ray Rice has finished his college degree at Rutgers University. This achievement marks the completion of a chapter he left open when he left school early to pursue a professional football career. For Rice, this accomplishment is not about seeking redemption or changing how people see him; it’s about fulfilling a personal commitment based on discipline, family values, and unfinished goals.
Rice first gained recognition as a standout player for the Rutgers Scarlet Knights football team, elevating the program’s national profile during his time there. His success led him to the NFL, where he became a Super Bowl champion and one of the league’s best running backs. Despite his professional success, completing his education remained an important goal for him.
His determination, according to reports, was partly motivated by a promise to his family, who viewed education as a foundation that goes beyond sports. Returning to Rutgers years later allowed Rice to honor that commitment, showing that his choice was deeply personal rather than a reaction to criticism.
Rice’s public story has long been influenced by the 2014 domestic violence incident that led to his dismissal from the NFL and effectively ended his playing career. He has acknowledged that moment as a significant failure but has clarified that earning his degree is separate from any attempt to reshape that history.
This milestone reflects a quieter type of accountability, one measured by actions rather than headlines. For Rice, finishing his degree signifies growth on his own terms, highlighting the importance of completing what one starts, even when life takes unexpected turns.
“Listen, I can’t hide. I’m in school, man!” Rice toldNJ.com. “When the teacher was on a break, I’d hear the guys say things like, ‘Yo, that’s the legend in here, man. That’s the OG!’ I’d be like, ‘You know I can hear y’all, right?’”
His journey also highlights a broader reality for many athletes who face interruptions in their education due to their careers. Professional success may come quickly, but the value of academic achievement often remains as unfinished work. By returning to the classroom, Rice reinforces the idea that it’s never too late to complete that journey.
