Tinashe, a Grammy-nominated singer-songwriter, is about to set the music landscape ablaze once more with her latest single, ‘Nasty,’ which will be released on Friday, April 12. The announcement comes as a welcome surprise to fans eagerly expecting new content from the multi-talented artist.

Tinashe, known for her captivating beats and soulful vocals, has continuously wowed fans with her dynamic range and adaptability. With ‘Nasty,’ she aims to offer another electrifying track showcasing her signature flair and innovative sound.

Following the success of her previous singles, including ‘Bouncin’ and ‘Pasadena,’ Tinashe continues to solidify her status as a force to be reckoned with in the music industry. Her unwavering dedication to pushing boundaries and experimenting with different genres has earned her widespread acclaim and a loyal fanbase worldwide.

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Critics are blasting Senator Tim Scott, R- S.C., and four other Black Republicans in Congress after unveiling a new video series aimed at persuading Black voters to support embattled former President Donald Trump in the 2024 presidential election.

Scott, a former Republican presidential candidate and potential vice presidential running mate to Trump, joined U.S. Reps. Byron Donalds, R-Fla., Wesley Hunt, R-Texas, Burgess Owens, R-Utah, and John James, R-Mich., in the debut series, “America’s Starting Five,” on Friday. In the first installment, the five Black Republicans criticized President Joe Biden for his past controversial remarks.

Democratic strategist Ameshia Cross believes the five Black male Republican lawmakers coming together for the series is a “very concerted effort to make it appear that Black males are moving more toward conservatism and towards Trumpism, even though that’s not the case.”

Cross told theGrio, “It wasn’t the case in 2020, it wasn’t the case in 2016, and it will not be the case in 2024.”

Markus Batchelor, national political director at People For the American Way, said that while Black voters are not a monolith, “It’s insulting having it come from a panel of Black elected leaders who have spent their entire political careers aligning with the far-right.”

Batchelor told theGrio that the Republican members of Congress have spent their time in office undermining critical issues like “voting rights, fair courts, racial equity, reproductive freedom, public schools, and fair housing.”

During the series, the “Starting Five” aired a snippet of the viral exchange between “The Breakfast Club” host Charlamagne tha God and then-presidential candidate Biden. During the 2020 interview, Biden said, “If you have a problem figuring out whether you’re for me or Trump, then you ain’t Black.”

“Non-Black, Black people … we ain’t Black enough for Joe Biden,” Senator Scott said in response. 

The South Carolina politician said he found it “frustrating” that Democrats and Biden “get away with saying the darndest things and are never held accountable by anyone.”

Cross admitted that Biden’s nearly four-year-old remark was “very unfortunate” but argued the president’s agenda since entering the White House has demonstrated that he is an advocate for “civil rights and equality” and has worked “side by side with our legacy civil rights leaders.”

“Those comments did not dissuade Black voters at the polls,” and it “won’t in 2024,” she contended.  

Batchelor highlighted that President Biden has a track record of advocating for Black communities. He added that Biden helped to elect Kamala Harris as the first Black vice president and nominated Ketanji Brown Jackson to become the first Black U.S. Supreme Court justice.

“He has a real record of investment in economic relief for working families, closing the wealth gap and providing every American with a community where they can breathe fresh air,” said Batchelor.

During the “America’s Starting Five” series, Scott, Donalds, Owens, Hunt, and James also revisited a clip of President Biden giving a speech at the Asian and Latino Coalition PAC in 2019, where he said, “We have this notion that somehow if you’re poor, you cannot do it.”

The president added, “Poor kids are just as bright and just as talented as white kids, wealthy kids, Black kids, Asian kids … they can do anything anybody else can do given a shot.”

Rep. James said Biden’s statements were not just “gaffes” but “arrogant” and “condescending.” He said they not only harmed Black people but poor kids as well.

“He’s talking about elites against working-class and poor people,” the congressman said. “This can explain why a lot of [Democratic] policies are beginning to move things away from where they’re most needed.”

Cross said President Biden’s gaffes are widely known and have been a “cornerstone of his entire public life and career.”

But she added, “The proof is in the pudding when it comes to Joe Biden’s [true intentions].”

Batchelor said Black voters know who President Biden is. He continued, “And from the Central Park Five to Charlottesville, on the campaign trail and in the Oval Office, we know Donald Trump.” He concluded, “The choice is clear in November.”

Later in the pilot episode of “America’s Starting Five,” the Black Republicans discussed representing majority-white districts. That, they argued, proves they are not affirmative action hires.

Rep. Hunt, who represents Texas’ 38th Congressional District, told the group, “We have come a long way as a country … we’re being judged by the content of our character and not by the color of our skin.”

Cross took issue with that phrasing, saying, “Republicans love to choose that one line from Martin Luther King Jr.’s ‘I Have a Dream’ speech … to dismantle any fight toward equity.”

Despite the Republican lawmakers’ efforts to help Trump win the 2024 presidential election, she said it is unlikely they will succeed in reaching their target audience.

Cross argued the video series will likely be peddled by “conservative whites” who like to “say racist things about Black people,” and those who were already projected to vote for Trump in November.’

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NEW ORLEANS (AP) — Clarence “Frogman” Henry, who was one of New Orleans’ best known old-time R&B singers and scored a hit at age 19 with “Ain’t Got No Home,” has died. He was 87.

Henry died Sunday night, the New Orleans Jazz and Heritage Foundation said on social media. It didn’t give the cause of death.

Henry, who had been scheduled to perform at the New Orleans Jazz & Heritage Festival later this month, imitated the voice of a frog in “Ain’t Got No Home.” It was a hit in 1956 and later brought Henry renewed fame when it was featured on the “Forrest Gump” and “Mickey Blue Eyes” soundtracks.

He credited disc jockey Poppa Stoppa, whose real name was Clarence Hayman, as coming up with the nickname the “Frogman,” which mimicked Fats Domino’s moniker the “Fatman.”

By 1958, Henry’s popularity waned and he took to playing nightclubs on Bourbon Street.

“I thought the sun would shine. I thought my record would always stay out there and stay on the top, but in 1958, the rain came and bring me back to New Orleans,” Henry told The Associated Press in 2003.

But in 1960, a new song, “I Don’t Know Why But I Do” by Cajun songwriter Bobby Charles and arranged by Allen Toussaint, brought Henry renewed success.

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With the Bill Black Combo and the Jive Five he opened for the Beatles for 18 dates in 1964 during their first U.S. trip and toured extensively, from Scotland to New Zealand.

In Louisiana, Henry remained popular. He also was one of the few black New Orleans musicians to cross over into Cajun musical circles.

Henry, who was born in New Orleans on March 19, 1937, started playing the piano at 8, taking up lessons his sister had disliked. He worked for his father until he was 15, often for no money.

He played the trombone and piano in his high school band and later joined The Toppers, traveling around southern Louisiana before making it big.

“When I was going to school, I wanted to be Fats Domino, Professor Longhair, and I would wear a wig with two plaits and call myself Professor Longhair,” Henry told the AP. “I like the Fats Domino rhythm, but I play my own chords and my own style.”

Henry’s national fame faded but he remained popular in Louisiana. He was a Bourbon Street fixture until 1981, when he retired from the grueling club circuit. But he never gave up music, and continued to be an annual crowd pleaser at the Jazz & Heritage Festival.

Funeral arrangements are pending at the Murray Henderson Funeral Home.

Scarlett Johansson and Channing Tatum are prepared to take fans on a cosmic voyage in the upcoming film “FLY ME TO THE MOON.” The teaser and first-look photographs have been released, promising a bright and stylish adventure set against the historical backdrop of NASA’s Apollo 11 moon landing.

“FLY ME TO THE MOON,” directed by Greg Berlanti and written by Rose Gilroy, tells the story of Kelly Jones (Johansson), a clever marketing professional called in to rehabilitate NASA’s tattered public image. With tensions high and the moon landing approaching, Jones finds herself at odds with launch director Cole Davis (Tatum). Jones disturbs Davis’ painstakingly planned mission, sparking a fight of egos and methods.

The stakes rise dramatically when the White House intervenes, judging the mission too important to fail. With the clock ticking, Jones is tasked with a risky backup plan: stage a false lunar landing. As the countdown to launch day begins, the borders between reality and deception blur, laying the groundwork for a thrilling and amusing adventure.

The stellar cast also includes Nick Dillenburg, Anna Garcia, Jim Rash, Noah Robbins, Colin Woodell, Christian Zuber, and Donald Elise Watkins. Additionally, the film boasts an ensemble of seasoned actors, including Ray Romano and Woody Harrelson, adding depth and charm to the cosmic narrative.

“FLY ME TO THE MOON,” produced by Scarlett Johansson, Jonathan Lia, Keenan Flynn, and Sarah Schechter, with executive producer Robert J. Dohrmann, promises a compelling blend of comedy, emotion, and adventure. With its one-of-a-kind idea and superb ensemble, the film is set to take spectators on an extraordinary cinematic experience.

Prepare for liftoff as “FLY ME TO THE MOON” is set to arrive in theaters soon, urging fans to strap in for a cosmic voyage unlike any other.

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A Chinese-American family has gifted $5 million to a California college in honor of two Black homeowners who rented to their parents 85 years ago during the racially restrictive housing practices in the early 1900s.

According to the Los Angeles Times, Gus and Emma Thompson — a Black couple who succeeded in acquiring properties in Coronado, California, before its racial restrictions on renting and purchasing homes — bravely rented one of their homes to Lloyd Dong Sr. and his wife. The Dongs eventually came to own it. 

Ron Dong and Lloyd Dong Jr., the sons of Lloyd Dong Sr., are giving $5 million to the Black Resource Center at San Diego State University from their portion of the proceeds from the sale of the property.

Director Brandon Gamble said the gift will expand scholarships for Black students and fund future renovations at the center.

“I don’t know how to describe the feeling in my chest, but there’s a feeling that racism gives that folks are familiar with; you may not be able to describe it all the time,” said Gamble. “This is the complete opposite, and we don’t get to access it enough.”

Gus Thompson was born into slavery in Kentucky in 1859, two years before the Civil War, and relocated to Coronado in his 20s in search of employment and a fresh start.

He quickly garnered respect in the San Diego area and established a Prince Hall Freemasonry lodge for Black middle-class men to gather and discuss civil rights. In 1893, he married Emma, who operated a coffee tent in Coronado’s Tent City, where locals and visitors would go to eat, shop and sleep.

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The Thompsons were among the few Black real estate investors in Coronado who purchased multiple properties before the National Association of Real Estate Boards formally implemented racially discriminatory procedures in the 1920s.

They used their influence as leaders of the Black community in greater San Diego to assist Asian-Americans in Coronado, who were also victims of racist acts in that era.

“It’s just something you do, because there was a lot of oppression so you help people that were under threat as well,” said the Thompsons’ great-grandson, Ballinger Gardner Kemp, 76. “To me, the beautiful part is that it wasn’t considered that big of a thing.”

In 1939, the Thompsons rented their house to Lloyd Dong Sr. and his wife under a rent-to-own agreement. They also rented a room in another one of their properties to Lloyd Dong Sr.’s younger brother, George, after he returned from serving in World War II.

Eight years after Gus Thompson’s death in 1947, Emma Thompson sold one property to George Dong and two to Lloyd Dong Sr., including a livery stable constructed in 1902 that was used as a boarding house for Black people.

Dong Sr. turned the livery stable into an apartment building in 1957, which, together with the home, is estimated to be worth over $7 million today.

The Dong children are too young to remember the Thompsons, but they have memories of growing up in Coronado that include experiencing discrimination because they were Asian-American. They knew they wanted to donate a share of the proceeds from the property sale to the community when they were contacted by an area historian in 2022 and learned of the Thompsons’ familial link.

“We have other assets, and my nieces and nephews are established,” said Lloyd Dong Jr., the Times reported, “so I just thought I’ll give it to someone who could benefit from it.”

Yung Miami, of City Girls, turned to Twitter to call out her bandmate JT, citing sneak disses and underlying problems between the two.

The drama unfolded as Miami fired off a series of tweets accusing JT of covertly throwing shade her way for the past few days. She vented her frustrations, declaring, “y’all don’t be knowing what go on behind close doors but always got my name in yall mouth with these fuck ass narratives that i let yall run with and NEVER say sh*t!!!!!!!! LEAVE ME TF ALONE!!!”

She continued her tirade, questioning JT’s motives and asking, “A b*tch been sneak dissing me for weeks and I ain’t say sh*t what a b*tch mad at me fa?????!!!!!!” Miami emphasized her track record of supporting others in the industry, insisting, “I ain’t jealous of a soul I’m always like go bitch go!!! I clap for everybody I show love to EVERYBODY‼️ it ain’t a bitch I haven’t shown love to!!!!!!”

JT swiftly responded, suggesting a sit-down to address the brewing conflict. However, she didn’t mince words, urging Miami to come alone this time, hinting at past complications involving another individual, likely referring to Young Miami’s partner, Southside, also known as Santana.

The Twitter spat escalated as both artists traded barbs, with JT denying any wrongdoing and challenging Miami to confront her directly instead of airing grievances online. Miami, however, stood her ground, accusing JT of releasing songs with veiled digs at her and playing the victim when confronted.

As the back-and-forth continued, fans and observers chimed in, with some expressing disappointment at the public airing of grievances. Despite attempts to de-escalate the situation, tensions remained palpable as both artists refused to back down.

In her final tweet of the exchange, Yung Miami lamented the strained relationship, highlighting her efforts to uplift JT despite the ongoing animosity. The Twitter feud concluded with unresolved tensions lingering between the City Girls members.

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Caitlin Clark. Caitlin Clark. Caitlin Clark. There. Got that out of the way. Can we talk about the champions now? Can we talk about how culture and THE culture combine to win for the South Carolina women’s basketball team?

Because that’s what’s going on here. Yes, Dawn Staley is a truly legendary figure in the sport. A wondrous basketball player who dominated in college. A gold-medal winner as an Olympian. And then she went on to become a six-time All-Star in the WNBA.

She could have hung up her sneakers and polished her trophies and medals til her dying day. But Staley, always a “coach on the floor” type of player, went on to become an actual coach.

After an eight-year stint at Temple University, Staley moved on to the University of South Carolina, a program I know well because I’m an alum.

The Gamecocks – the team was referred to as the Lady Gamecocks when I went there in the late 1980s, though that term has pretty much been officially retired – had brief periods of success before Staley’s arrival. Those periods, however, would be nothing in comparison to the juggernaut Staley would build.

First, though, she established a culture, one that prioritized team play and winning over individual excellence.

Success was not instant. Her first team won only 10 of 28 games. Her second squad won 14 of 29. By season three, her team was a winner, winning 18 of 33 games.

That third season is particularly notable. Her biggest recruit from the season before, a 6-4 center from Texas named Kelsey Bone, transferred back to her home state.

The thinking at the time was that she simply wanted to be back home. Recently, however, Bone has said she transferred because she wanted to be a top pick in the WNBA draft and feared that wouldn’t happen if she stayed at South Carolina.

She wanted to be a bigger part of the offense. She wanted to put up the kinds of numbers that generate notice and could lead to personal acclaim.

Bone committed no crime and went on to play five seasons in the W. In seeing Bone off and then actually improving the next season, Staley’s emphasis on team over the individual was validated.

Staley would get stars. A’ja Wilson, the reigning queen of the sport, grew up in the Columbia, South Carolina area near the university. She was the top player in the nation as a senior in high school.

When she got to South Carolina, she came off the bench – for her entire freshman season. Wilson would eventually prove that that top high school billing was no fluke.

She led her team to the program’s first national title in 2017 and was national player of the year.. It was Staley who led the push for a statue of Wilson to be erected not far from the arena where she starred in college.

The statue is of enormous racial significance in South Carolina, a state with a painful history of racism. In a tearful, moving speech commemorating the statue, Wilson noted that her grandmother could not walk in the area where her granddaughter is honored in bronze.

Wilson is now a two-time MVP and two-time WNBA champion with the Las Vegas Aces.

Other top recruits would follow in her footsteps to South Carolina – stars like Zia Cooke and Aliyah Boston. They’d win big, too.

But they all understood that they’d be in competition with other top players and the player that deserved to play – based on practice, based on the coaching staff’s evaluations – those players would see the court.

A team culture – team play over individuality – was set.

Along the way, Staley turned plugs for the culture – Black culture, Black girl power – into a recruiting weapon.

She hasn’t shied away from discussing race. She most definitely hasn’t shied away from demanding more resources and respect for her sport.

It was Staley who persistently kept Brittany Griner’s name on social media and on T-shirts when the former Baylor University and WNBA great was detained in Russia. Griner’s college coach, Kim Mulkey, said little during Griner’s imprisonment. The player wrote that her college experience under Mulkey was tainted by the fact that the coach wanted her to muzzle her homosexuality.

When the Russians jailed Griner, Staley didn’t let Griner’s sexual identity get in the way of the most salient facts – an American, a great basketball player, a Black woman – was being held hostage and needed to be brought home.

Staley’s teams are known for tough defense. But she’s pushed back hard when defeated coaches – up to and including University of Connecticut great Geno Auriemma – suggested her team was thuggish and hard or anything other than very, very good.

She understood the context of those criticisms, the not-so-subtle racism that would deny her players the respect they earned from great play on the court.

Players know and appreciate who Staley is and what she represents. High school recruits continue to flock to her program.

They want to buy what Staley is selling. They want it all – the sisterhood of a team, the freedom to be themselves, the winning. They want to do it for a coach who sees the world as it is, fantastic and flawed. They want to play for a woman who uses her status and her voice to lift them up as Black women and as players, carrying the sport along for the glorious ride.