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In a show of solidarity, artist Shaboozey, who collaborated with Beyoncé on her groundbreaking album Cowboy Carter, has voiced his support after the superstar was shockingly snubbed by the Country Music Association (CMA) Awards. Despite the album’s critical acclaim and influence on the genre, Beyoncé did not receive any nominations, sparking outrage and disappointment among fans and industry insiders alike.

Shaboozey, who received two nominations at this year’s CMAs, took to social media to express his admiration and gratitude for Beyoncé’s work. “That goes without saying. Thank you [Beyoncé] for opening a door for us, starting a conversation, and giving us one of the most innovative country albums of all time!” he wrote, acknowledging the boldness and creativity Beyoncé brought to Cowboy Carter.

The album, praised for blending traditional country sounds with modern influences, has been hailed as a transformative piece in the genre. However, the CMAs’ apparent dismissal of the project has reignited debates about diversity and inclusion within country music.

Fans and fellow artists have echoed Shaboozey’s sentiments, with many calling for a reevaluation of the CMA’s decision-making processes. Beyoncé’s Cowboy Carter has not only broken boundaries but also introduced new audiences to country music, making its absence from the nominations even more perplexing.

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Noted for his iconic deep, resonant baritone, James Earl Jones was a giant on stage and on screen. 

Jones’ career spanned more than six decades; he was described as “one of America’s most distinguished and versatile” actors. He was among a small group of performers to have an Emmy, Grammy, Oscar and Tony (EGOT). Among his award-winning performances included a role in Howard Sackler’s play “The Great White Hope,” which was loosely based on the life of the first Black American boxing heavyweight, Jack Johnson.   

Yet, it was his distinctive voice — described in the Washington Post as “a stirring basso profundo that has lent gravel and gravitas” —  that set him apart. Younger generations will recognize his voice as that of Darth Vader in the “Star Wars” franchise and Mufasa in “The Lion King.”   

The celebrated star died at age 93 on Monday, Sept. 9 at his home in Dutchess County, New York, Deadline reports.

But Jones’ voice will live on for all the world to hear. Every day, his baritone carries the words, “This is … CNN.”

Overcoming the odds

Jones was born on Jan. 17, 1931, in Arkabutla, Mississippi. His father Robert Earl Jones was a boxer, butler and chauffeur, while his mother Ruth was a teacher and maid. The couple separated just before his birth. Robert left to pursue his own acting career, performing both on stage and in film. (Father and son would not meet and reconcile until the 1950s.)

From the age of 5, Jones’ grandparents raised him on a farm in rural Michigan, which had been in the family since Reconstruction. The move to Michigan proved to be traumatic and he developed an incapacitating stutter. At a young age, he chose not to speak and once said in an interview, “my first year of school was my first mute year, and then those mute years continued until I got to high school.” 

Jones’ English teacher, Donald Crouch, helped him overcome his challenges and end his years of silence through poetry. Crouch encouraged Jones to read poems aloud to his class. Soon, Jones was competing in high school debates and oratorical contests, winning a public speaking contest during his senior year. 

Jones also earned a scholarship to the University of Michigan, where he hoped to pursue medicine. Yet drama and theater had grabbed his attention and he soon changed his focus. He graduated in 1953 with a degree in drama and served two years as a U.S. Army Ranger during the Korean War. 

Following his military stint, Jones moved to New York to pursue acting, studying at the American Theater Wing with famed theater director and actor Lee Strasberg. To make ends meet he worked as a janitor, polishing floors. 

Broadway debut

Jones made his Broadway debut in two small roles. The first was as an understudy in the 1957 Lloyd Richards-directed play, “The Egghead” and the following year he had a featured role in Dore Schary’s “Sunrise at Campobello.” He would subsequently perform in several Shakespearean plays, including “Othello,” “Hamlet,” “Coriolanus” and “King Lear.” 

In the 1960s, Jones caught the attention of critics and audiences, earning critical praise and awards for his work in numerous off-Broadway plays. In 1961, he joined an ensemble of unknowns to perform in outspoken French playwright Jean Genet’s “The Blacks.” The provocative play also starred Cicely Tyson, Maya Angelou, Louis Gossett Jr., Roscoe Lee-Browne, Godfrey Cambridge, Raymond St. Jacques and Charles Gordone. The following year, he performed in the “Moon on a Rainbow Shawl” for which he won several awards. He won the Obie for best actor for his performance in “Clandestine on the Morning Line.” In 1965, he earned two Obies for his work in “Othello” and for Bertolt Brecht’s “Baal.” 

In 1968, he won his first Tony Award for his critically acclaimed performance in “The Great White Hope.” He reprised the role in the 1970 film version, earning an Oscar nomination for best actor. 

Making his mark in film and TV

Over the next few decades, Jones would not only make his mark in theater but also in film and television. His film debut was in 1964 as Lt. Lothar Zogg in “Dr. Strangelove.” 

Overall, he appeared in more than 70 movies and television series combined. Among his most memorable were his portrayal of Alex Haley in the television series, “Roots II,” and his role as a South African Anglican priest in the film, “Cry, the Beloved Country.” He also had the recurring role of Admiral Greer in film series based on Tom Clancy novels, “The Hunt for Red October” (1990), “Patriot Games” (1992) and “Clear and Present Danger” (1994). 

In 1991, he became the first actor to win two acting Emmys in the same year:  best actor in a drama series for his role in “Gabriel’s Fire” and best supporting actor for the television film, “Heat Wave.”   

Jones received the National Medal of Arts for his service to American culture in 1992. His Screen Actors Guild (SAG) peers honored him in 2009 with the Lifetime Achievement Award. Two years later, he received an Oscar for Lifetime Achievement from the Academy of Motion Picture Arts and Sciences, technically making him one of the few EGOT recipients. 

In 2017, Jones was given a Special Tony Award for lifetime achievement in the theater.

He is survived by his son Flynn, whom he shared with wife and actress Cecilia Hart. Hart passed away from ovarian cancer in 2016.

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On Monday (Sept. 9), the Country Music Association (CMA) announced the nominations for this year’s awards ceremony, which will be held in November. Beyoncé, who dropped her first country album “Cowboy Carter” in March, was snubbed in every category…and you already know why.

With “Cowboy Carter,” Bey made history as the first Black woman to top the country music charts and have a number one song (“Texas Hold ‘Em”). The CMA has been accused of racism for decades — most recently when Lil Nas X’s “Old Town Road” was shut out from the country charts for allegedly not having enough country elements back in 2019.

That decision that was so controversial that country singer Billy Ray Cyrus immediately hopped on the remix to prove that the song was, in fact, country as well as show support for Lil Nas X.

Meanwhile, Morgan Wallen, who received several nominations for the CMAs this year, has a history of using racist slurs that hasn’t stopped the association from embracing him. On X, Black folks are chiming in to express their disbelief and disgust at the CMAs and their apparent disdain of Black artists.

One user, @xoraveen, pointed out: “No one in the history of having a #1 album AND song has been completely snubbed at an award show. IN ANY CATEGORY. The CMAs can kiss the blackest part of my a**. Beyonce deserved better.”

Another X personality, @AngryBlackLady, chimed in to say: “The CMAs need to quit playing in Beyonce’s face.” There were Black artists nominated for this year’s CMAs, like Shaboozey and The War and Treaty. However, the CMAs still have a long way to go.

One X user, @GFX101, stated that this blatant exclusion is on par for the CMAs. “I think we are generally not surprised Beyoncé wasn’t nominated at the CMAs. If anything it brings more clarity to what she was speaking about in her music,” they wrote.

“This makes me love Beyoncé in even more, she’s so inspiring & gifted.”

One person, @yourthickbigsis, said it best when she wrote: “You really thought the #CMAs were going to allow @Beyonce to follow up her 2016 @thechicks performance with a historic Country Album reclaiming country music’s Black origin and nominate her for any of their 2024 awards?! They can’t hide their thinly veiled racism.”

“Cowboy Carter” will rightfully receive its accolades in due time but it’s a shame the CMAs refused to give Bey her flowers in real time.

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Georgetown University volleyball standout Vaughan Anoa’i has turned heads in the world of professional wrestling. The talented athlete, who is a cousin to WWE Superstars Solo Sikoa and Jacob Fatu, was recently spotted backstage at a recent episode of SmackDown.

With her impressive athletic abilities and family legacy in the wrestling world, Anoa’i has caught the attention of WWE officials. According to reports, the company is showing significant interest in her potential to join the ranks of its roster.

Anoa’i, who has excelled on the volleyball court, brings a unique blend of athleticism and charisma to the table. Her family connection to the Anoa’i family, which has a rich history in professional wrestling, undoubtedly adds to her appeal.

While no official announcement has been made regarding Anoa’i’s future in WWE, her presence backstage at SmackDown suggests that discussions are underway. Fans of both volleyball and wrestling are eagerly awaiting to see if she will make the leap from the court to the ring.

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Meghan Markle and Oprah Winfrey gave the literary community of Summerland, California, a huge seal of approval over the weekend.

On Saturday, Sept. 7, the Duchess of Sussex, 43, and the media mogul, 70, were spotted attending the opening of Godmothers, a new independent bookstore just outside of Montecito — where Meghan and her husband, Prince Harry, relocated in 2020.

Author Laura Lynne Jackson shared a photo on her Instagram Stories of the Duchess of Sussex standing onstage at the bookstore speaking into a microphone, per People magazine. Jackson captioned the photo: “Most light-filled evening of speakers…”

In various footage from the event uploaded to social media, Meghan can be seen dressed in a navy sleeveless collared jumpsuit, while Winfrey wore a belted long-sleeved cotton dress for the occasion.

In addition to the Duchess and Winfrey, others in attendance included writer Shaka Senghor — who was seen in conversation with Winfrey during the event.

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According to People magazine, the bookstore featured a display of local authors among its titles, highlighting “Spare” by Prince Harry and Meghan’s New York Times bestselling children’s book “The Bench.” 

“We celebrate our hometown authors as if they were our hometown heroes because to us they are,” bookstore co-founder Jennifer Rudolph Walsh said in a video promoting the new store, per People. 

Not much has been reported about what either said while at the event; however, both Meghan and Winfrey were seen speaking to the crowd in the footage.

It’s not too hard to imagine that Meghan would make a surprise appearance at a local bookstore opening. The Duchess hasn’t been shy about her love of Montecito and its surrounding cities. Her forthcoming lifestyle brand, America Riveria Orchard, is named after the estate she and Prince Harry currently share with their two children.

Markle and Winfrey aren’t the only major names to give Godmothers their support; Gloria Steinem also gave an exclusive interview to their inaugural newsletter.

The Godmothers event took place on Sept. 8, 2022, a day before the second anniversary of Queen Elizabeth II’s death.

Times are getting tough for Hip-Hop mogul Sean “Diddy” Combs. In the latest of the ongoing Puff Daddy struggles, he just put his $61.5 million home up for sale, with sources close to him saying this “comes as no surprise.”

As the rapper continues to trudge through his record number of legal battles— including a sex trafficking battle which resulted in a two federal raids in March— it seems Diddy is having trouble trying to maintain his lifestyle. He owes $100 million in mortgages, according to the New York Post. In efforts to plateau his financial burdens, Combs is shaving off his Holmby Hills mansion, and we have the inside scoop!

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The world feels a little emptier today. James Earl Jones, the voice that resonated with gravity and warmth, has passed away at the age of 93. With his departure, the echoes of a seven-decade career that shaped and transcended stage and screen have fallen silent. Jones, who became a beacon of talent and perseverance, has left behind a legacy that is profound yet tinged with the sorrow of his absence.

James Earl Jones was born on January 17, 1931, in Arkabutla, Mississippi. His early years were marked by a struggle with a severe stutter, a challenge that he would overcome with the help of an English teacher who taught him the power of spoken words. This struggle, which could have silenced many, only amplified his resolve. In his quiet moments, Jones must have reflected on how his journey from a shy, stuttering child to a giant of American theater and film was nothing short of miraculous.

Jones’s career was a testament to resilience and dedication. Although he did not receive the same leading roles as some of his contemporaries like Sidney Poitier and Harry Belafonte, his impact on the industry was no less significant. His journey began in 1964 with “Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb,” a film that marked the start of his storied career. It was a modest beginning, but it set the stage for a career defined by its depth and diversity.

The theater was where Jones first showcased his remarkable talent. His performance as Othello in the 1964 production at Central Park was met with critical acclaim. The New York Times praised his ability to combine a resonant voice with an emotional authenticity that brought Shakespeare’s tragic hero to life. This was only the beginning of a career that would see him leave an indelible mark on the stage.

Jones’s voice, a deep, sonorous baritone, became his signature. While he won two Tony Awards, two Emmy Awards, a Grammy, and received an honorary Academy Award, it is perhaps his uncredited role as Darth Vader in “Star Wars” that remains his most iconic contribution. The voice of the dark lord, despite the mask and the absence of visual presence, became a symbol of cinematic power and gravitas. It was a role that would resonate through the annals of pop culture, a testament to Jones’s unique ability to convey profound emotion and presence through his voice alone.

Despite the acclaim, Jones faced the harsh reality of a limited number of roles available for Black actors in Hollywood during his early career. His roles were often supporting ones, overshadowed by the opportunities given to a few leading men of the era. Nonetheless, he built a career that was as impactful as it was long-lasting. His portrayal of the real-life boxer Jack Johnson in “The Great White Hope” not only earned him a Tony Award but also highlighted his ability to break through racial barriers in theater.

The 1977 miniseries “Roots” was another landmark in Jones’s career. The role of Alex Haley, a character deeply connected to the struggles and triumphs of African American history, showcased his capacity for bringing historical and emotional depth to his roles. Yet, even as he was celebrated for this role, it was the voice of Darth Vader that continued to define his public persona.

Throughout the 1980s and 1990s, Jones continued to build an impressive resume. He appeared in “Field of Dreams” and “The Hunt for Red October,” roles that cemented his status as a reliable and powerful character actor. His portrayal of Mufasa in Disney’s “The Lion King” remains one of his most beloved roles, demonstrating his ability to infuse warmth and authority into animated characters. The fact that he returned for the live-action version of “The Lion King” in 2019 is a testament to his enduring appeal and the respect he commanded across generations.

Despite his numerous accolades and an illustrious career, there was always a sense that Jones’s talents were not fully recognized. He never won an Academy Award for a specific role, a fact that seems almost incongruous given the magnitude of his contributions. It is a somber reminder of how even the most remarkable talents can be overlooked or underappreciated, a reflection of the broader struggles faced by many artists throughout history.

Jones’s personal life was as complex and rich as his professional one. His marriage to actress Celia Hart in 1982 was a significant chapter in his life, and together they had a son, Flynn. The death of Hart in 2016 was a profound loss for Jones, who continued to work diligently even as he navigated personal grief. His second marriage to Hart, despite its end, was a period of personal and professional fulfillment, and his continued work in film and theater was a tribute to his resilience and passion for his craft.

The impact of James Earl Jones’s passing extends far beyond the realms of cinema and theater. It is a reminder of the fragility of human life and the inevitability of loss, even for those whose voices have shaped our cultural landscape. His legacy is one of profound influence, marked by the way he broke barriers and set new standards in acting.

As we mourn his passing, we are left with the enduring echoes of his voice and the powerful performances that defined his career. James Earl Jones’s voice may have fallen silent, but the resonance of his work will continue to speak to us, echoing through the ages as a testament to his extraordinary talent and indomitable spirit. The world has lost a voice that was not only heard but deeply felt, a voice that will be remembered for its depth, warmth, and the undeniable mark it left on the world.

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Though Vice President Kamala Harris has faced incessant attacks from Donald Trump and Republicans on her race and gender since emerging as the Democratic Party’s presidential nominee, don’t expect her to lean too much into it during Tuesday night’s presidential debate.

According to the New York Times, the Harris campaign has “ditched” what she sees as an “unsuccessful strategy” to call out Trump’s racism and sexism.

The outlet reported, “The vice president’s aides believe it’s a waste of time to tell voters what a terrible person Mr. Trump is, given how hard it is to find a voter who does not already have a fixed view of his character — good or bad,” said the report.

Political experts who spoke with theGrio about the Harris team’s approach say it will likely be a delicate balance for the vice president as to whether she takes the high road to avoid Trump’s attacks on her identity as a historic Black and Asian female candidate. 

Joel Payne, a Democratic strategist and former operative for Hillary Clinton’s 2016 presidential campaign, believes the Harris campaign is “going about it the right way” with its plan to avoid playing too much into Trump’s race-baiting. 

“No one is really going to be shocked,” Payne said of Trump’s frequent opines about Harris’ identity, including falsely suggesting in July that she decided to “turn Black” for political expediency.

“I think the campaign is saying the base understands how grotesque Donald Trump is,” explained Payne, who said the Harris campaign appears more focused on “bringing on new voters” instead of stating the obvious.

He maintained, “There are very few voters who would hear Donald Trump insult Kamala Harris and be shocked.”

However, Payne said not overly emphasizing Trump’s racism or sexism doesn’t mean the vice president should allow Trump to “disrespect” her. He added, “It’s not like she’s going to allow herself to be defamed.”

The strategist continued, “I think it’s just a matter of will she use that moment to focus on Trump and his grotesque kind of talking about people of color and talking about women, or will she use that to pivot to this is why you’re the wrong person to lead the country in 2025 and beyond.”

U.S. Rep. Ro Khanna, D-Calif., said Harris should focus on policies and what she will deliver as president for Americans, particularly Black and brown communities, like creating more “good paying” jobs, lowering costs, and “putting more money in their pockets.”

“Let Trump’s outrageous statements speak for themselves. I think people see that for what it is [and] see it as desperation,” Khanna told theGrio. “She’s smart to focus on her agenda.”

Reecie Colbert, a political commentator and frequent Harris defender, anticipates the debate’s moderators, ABC News’ David Muir and Linsey Davis, to ask Harris about Trump’s remarks about her race. She said it would be a “missed opportunity” if she avoided hitting Trump on his racism and sexism. 

“I think she has the ability to remind people of his racist record, but using that as a launching pad of saying this person, who doesn’t have the capacity to understand the Black experience in America, is not going to dictate how I talk about my Blackness,” said Colbert, who is the host of the Sirius XM radio show, “The Reecie Colbert Show.”

If it were her, Colbert said she would say, “I’m not going to let a person who called Mexicans rapists, who said that Black people were ‘living in hell,’ dictate the terms on how I talk about my Blackness.”

Taking Trump to task for the racist or sexist remarks he has made could also “galvanize” young voters and voters of color, Colbert noted.

Black voters, in particular, have indicated an increased enthusiasm for Harris over President Joe Biden. Since becoming the party’s nominee, Harris has polled better with Black voters. A recent survey conducted by the Washington Post and Ipsos found that 69% of Black voters are “absolutely certain to vote” for Harris in November. Eighty-two percent said they will “definitely” or “probably” vote for Harris.

Moreover, the share of Black Americans under 30 — a coveted share of young voters — who support her increased by 15 percentage points.

Compared to the surge for Harris, Black voters who back Trump have remained the same at 12%. 

Payne expects that much like then-Democratic candidate Barack Obama in 2008, Harris will see a greater surge of support from Black voters than current polls reflect. 

“Call me a skeptic in terms of Kamala Harris underperforming previous Democrats like Joe Biden and Hillary Clinton,” he told theGrio. 

But for any skeptical Black voter, Payne said Harris has offered up “pretty ambitious plans” to improve the economy and for minority communities and “boost the middle class.” 

Harris has proposed child tax credits up to $6,000, down payments for first-time homebuyers and massive tax deductions for small businesses.

Colbert said another policy issue that Harris could lean into is the cost of health care, telling theGrio, “That’s something that Republicans certainly don’t want to talk a lot about because they have no solutions.”

She also thinks Harris should lift up her work on drafting the George Floyd Justice in Policing Act, a comprehensive police reform bill that would establish more federal accountability. The Floyd bill has yet to be passed in the United States Congress.

“Donald Trump is talking about giving police more immunity,” said Colbert, adding, “Making that contrast would be something that I think could be good.”

However, Colbert said she isn’t exactly buying the suggestion that Harris needs to do more to cover ground with Black voters. 

“I don’t know if you’re going to win over the ‘migrants are getting free rent and Obama phones’ — I don’t know if you’re going to win over that crowd with this debate,” she explained. “I think it’s going to be more so about galvanizing Black voters, as opposed to converting a Black Trump voter to a Kamala voter.”

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