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The 2019 Met Gala: Lena Waithe and Kerby Jean-Raymond Slay for The Culture

NNPA NEWSWIRE — Waithe is literally the present and future of film and television with her Emmy award for Master of None. Jean-Raymond is the present and future of fashion with his 2018 CFDA (The Council of Fashion Designers of America) nomination for Emerging Talent and 2019 CFDA nomination for Menswear Designer of the Year (Pyer Moss).

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By Nsenga K. Burton, Ph.D., NNPA Newswire Contributor

Actress, showrunner and writer Lena Waithe “came to slay” at the 2019 Met Gala strutting on the pink carpet wearing a pinstripe Carolina blue suit with the statement “Black Drag Queens Invented Camp” written in script across her back. With Haitian-American fashion designer Kerby Jean-Raymond at her side and wearing the same suit in a different color, the it-duo donned Pyre Moss’ (Jean-Raymond’s fashion label) very 80s styled suit which enveloped the words to music legend Diana Ross’ classic hit song “I’m Coming Out,” in the pin stripes. Jewelry Designer Johnny Nelson collaborated with Pyre Moss and created 16 custom iconic portrait buttons and black power fist cuff links to adorn their suits. Kerby chose 8 of his favorite rappers for his buttons: Nipsey Hussle, Nas, J. Cole, Kendrick Lamar, Drake, Jay-Z, Meek Mill and Tupac. Waithe chose LGBTQ icons for hers: RuPaul, Octavia St. Laurent, Dorian Corey, Freddie Pendavis, Pepper La Beija, Paris DuPree, Venus Xtravaganza and Willie Ninja.

The outspoken artists confronted the controversy brewing since the Met’s announcement that the 2019 theme of the costume exhibition would be “Camp: Notes on Fashion.” The Met exhibition would be an ode to Susan Sontag’s 1964 essay that defines camp as “love of the unnatural: of artifice and exaggeration.”

Susan Sontag is to camp what Norman Mailer is to cool. Sontag’s writing is revered and reviled with the same intensity by artists, intellectuals and the like. One of the reasons her work is reviled is because of the invisibility of the blackness that informs it. Sontag’s essay failed to mention one black person; the only person of color mentioned is Cuban pop singer La Lupe. Her essay posits camp in a binary construct of gender and class yet fails to mention race. For the out black queer queen of Hollywood to step onto the pink carpet proclaiming black culture as the foundation for the evening with Jean-Raymond who burst onto the fashion scene with his presentation at Pyer Moss’ 2015 Spring Menswear Collection which confronted policy brutality and referenced the Black Lives Matter movement and literally wearing the words and images of black and gay icons is in a word – gangsta.

Waithe is literally the present and future of film and television with her Emmy award for Master of None. Jean-Raymond is the present and future of fashion with his 2018 CFDA (The Council of Fashion Designers of America) nomination for Emerging Talent and 2019 CFDA nomination for Menswear Designer of the Year (Pyer Moss). Waithe and Jean-Raymond make major moves and statements in dominant cultural industries that have historically marginalized and “othered” black folks, while simultaneously appropriating black cultural symbols and practices. The duo’s unified emergence on the pink carpet demonstrates their awareness of the power play in progress and their commitment as “othered” artists, yet and again, to battle the cultural dismissal head on.

In the same vein that Waithe and Jean-Raymond, who has built a brand that tackles issues of social justice directly and centers Black American stories in his sure-to-be iconic fasion collections (American Also), their pairing is a fierce statement of the centrality of black culture, the shared global histories and struggles of black people of African descent and the mandate in this climate, which is in many ways a microcosm of a macro problem – to deconstruct and address the invisibility of black people in general and queer black people specifically.

Their privileging of queer black people and culture tells the story of an underappreciation of black and queer contributions to society despite the use and misuse of black and queer culture and in this case, black queer creative labor to build empires. Both are disrupting American industries (media and fashion) through their award-winning and highly acclaimed work (Master of None, Seven Mothers) while being themselves. They literally used their black and queer bodies and clothing to disrupt one of the most iconic and beloved events in the world.

Gotham got got last night by a black lesbian from the Southside of Chicago and a Haitian American from Brooklyn who has been toiling in the fashion industry since age 15. They know the industries they work in like the back of their hands, which is one of the reasons for their major successes while being very clear about who they are as people and artists and what they represent. They challenged Sontag’s limited definition of camp and inverted the power relationship if only for a moment. The wonder twins used their cultural capital to remind attendees that this “celebration” and “exhibition” would not be possible without the contributions of queer black folk. Waithe and Jean-Raymond physically “trolled” the theme of the 2019 Met Gala with their bodies, stories and fashion. One could say, they slayed for the culture and if that isn’t camp, then I don’t know what is.

This post was written by Nsenga K Burton, Ph.D., founder & editor-in-chief of The Burton Wire. An expert in intersectionality and media industries, Dr. Burton is also a professor of film and television at Emory University and co-editor of the book, Black Women’s Mental Health: Balancing Strength and Vulnerability. Follow her on Twitter @Ntellectual or @TheBurtonWire

Fashion Designer Kerby Raymond-Jean and Actress/Showrunner Lena Waithe arrive at the 2019 Met Gala. (Instagram: Lena Waithe)

Fashion Designer Kerby Raymond-Jean and Actress/Showrunner Lena Waithe arrive at the 2019 Met Gala. (Instagram: Lena Waithe)

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2026 Lucid Air Grand Touring Review — Is This $136K EV Sedan Worth It?

AUTONETWORK ON BLACKPRESSUSA — Finished in Stellar White Metallic with the Tahoe Grand Touring interior, this Lucid makes a strong first impression. The shape is sleek and low, but it still feels elegant instead of trying too hard. Features like soft-close doors, powered illuminated door handles, 20-inch Aero Lite wheels, and the Glass Canopy Roof help the car feel expensive before you even start it.

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The 2026 Lucid Air Grand Touring is the kind of luxury EV that makes people stop and ask a simple question: Is this really better than a Tesla Model S, Mercedes EQS, or BMW i7? At $136,150, it has to do more than look futuristic. It has to feel special every time you get in it.

Finished in Stellar White Metallic with the Tahoe Grand Touring interior, this Lucid makes a strong first impression. The shape is sleek and low, yet it still feels elegant rather than trying too hard. Features like soft-close doors, powered illuminated door handles, 20-inch Aero Lite wheels, and the Glass Canopy Roof help the car feel expensive before you even start it.

Inside is where the Air Grand Touring really makes its case. The 34-inch Glass Cockpit Display and retractable Pilot Panel screen give the cabin a clean, modern look that still feels different from other EVs. The Tahoe Extended Leather and Lucid Black Alcantara headliner lifts the sense of occasion, and the front seats are a highlight. They are 20-way power-adjustable, heated, ventilated, and include massage. That matters because luxury buyers at this price expect comfort first.

Rear passengers are not ignored either. You get 5-zone heated rear seating, a rear center console display, and power rear and rear side window sunshades. Add in the Surreal Sound Pro system with 21 speakers, and the Air feels like a true long-distance luxury sedan.

Lucid also gives this car serious EV hardware. The dual-motor all-wheel-drive system, 900V+ charging architecture, and Wunderbox onboard charger are big talking points. Buyers in this segment care about range, charging speed, and everyday ease, not just raw performance. That is where the Lucid continues to stand out.

On the technology side, the Air Grand Touring includes DreamDrive Premium, with 3D Surround View Monitoring, Blind Spot Warning, Automatic Park In and Out, Automatic Emergency Braking, and a Driver Monitoring System with distracted and drowsy driver alerts. This one also has DreamDrive Pro, which adds future-capable ADAS hardware.

There are still some real-world annoyances. Based on your notes, the windshield wiper control is hard to find and use, and that matters more than people think in a high-tech car. When controls become less intuitive, even a beautiful interior can feel frustrating.

Still, the 2026 Lucid Air Grand Touring succeeds where it matters most. It feels luxurious, advanced, comfortable, and thoughtfully engineered. For buyers who want an EV sedan that feels truly premium and less common than the usual choices, this Lucid makes a very strong case.


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Snoop Dogg Celebrates 10 Til’ Midnight at the Compound

LOS ANGELES SENTINEL — The album is paired with a film that stars Snoop Dogg, Hitta J3, G Perico, and Ray Vaughn, and one of the strongest elements of the whole project is that the production stayed rooted right here in Los Angeles.

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Snoop Dogg celebrated the premiere of 10 Til’ Midnight at his Inglewood recording studio & multipurpose facility, The Compound, but the night felt like much more than an album release. It felt like Los Angeles. It felt like legacy. And it felt like another major move from one of the city’s greatest cultural architects as he continues to prove that he is not just dropping music — he is building moments, shaping narratives, and pushing the culture forward in real time.

What made the event so powerful was the clarity behind the vision. During a panel conversation with DJ Hed, Snoop opened up about the heart behind 10 Til’ Midnight, explaining that the project was created to help bridge older and younger generations while also speaking to the long-standing divisions between Bloods and Crips in a unique way through film. That alone gave the project a different kind of weight. This was not just about songs. This was about using creativity as a tool for connection. This was about taking a story rooted in Los Angeles and telling it in a way that could bring people together.

Snoop Congratulated By Rapper & Fellow 10 Til Midnight Cast Member G Perico (CreativeLB/KreativeKapturez)

Snoop Congratulated By Rapper & Fellow 10 Til Midnight Cast Member G Perico (CreativeLB/KreativeKapturez)

The album is paired with a film that stars Snoop Dogg, Hitta J3, G Perico, and Ray Vaughn, and one of the strongest elements of the whole project is that the production stayed rooted right here in Los Angeles. The film was shot in the city, including at WePlay Studios in Inglewood, which gave the entire project an even deeper hometown feel. It was not just a West Coast story in content — it was a Los Angeles-made production from the ground up.

That matters because, in a city like this, authenticity still carries weight. Snoop understands how to make sure that what he creates does not just represent Los Angeles on the surface, but actually comes from it.

What also makes 10 Til’ Midnight significant is that it represents another major step in Snoop’s evolution as both an artist and executive. Public reporting around the project identifies it as his 22nd studio album, but the bigger story is what it represents in this season of his life. This is one of several consecutive moves he has made in his 50s that show he is still building, still expanding, and still finding new ways to reinvent what the next chapter looks like.

Snoop Dogg at the Premiere of 10 Til Midnight (CreativeLB/KreativeKapturez)

Snoop Dogg at the Premiere of 10 Til Midnight (CreativeLB/KreativeKapturez)

Now, as the head of Death Row Records and the newly aligned leader of Death Row Pictures, he is taking the brand into a new dimension. That is what made this moment feel bigger than music. Snoop is not just protecting the legacy of Death Row — he is stretching it. He is expanding it beyond records and into film, visual storytelling, and larger creative worlds that can continue carrying the label’s impact forward. Public reporting has noted that this project arrives as part of that broader cinematic push.

That is a major Los Angeles move because the city has always been built on the intersection of music, film, neighborhood identity, and cultural storytelling. With 10 Til’ Midnight, Snoop is leaning all the way into that intersection.

The room at The Compound reflected that. It felt like a private premiere, but it also felt like a statement — a reminder that Snoop Dogg’s staying power has never been based only on nostalgia. It comes from his ability to remain connected, remain visionary, and remain in tune with how to move the culture without losing the essence of who he is.

That is why this premiere mattered. It was not just about celebrating another album. It was about witnessing a Los Angeles legend continue to evolve, continue to unify, and continue to use art to tell stories that hit deeper than entertainment alone.

In that sense, 10 Til’ Midnight became more than a project launch. It became another example of how Snoop Dogg is still taking Los Angeles to the next level — using music, film, and legacy together to build something bigger than a moment.

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OP-ED: Small Businesses Need Minnesota to Act on Pass-Through Tax Policy

MINNESOTA SPOKESMAN RECORDER — A Twin Cities immigrant entrepreneur who built several businesses including grocery stores in underserved neighborhoods is calling on Minnesota lawmakers to extend the Pass-Through Entity tax option before it expires, warning that its loss would hit small businesses already recovering from Operation Metro Surge with higher federal tax bills.

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A Twin Cities Small Business Owner Is Urging Minnesota to Extend a Tax Policy That Could Save Thousands of Businesses

By Daniel Hernandez | Minnesota Spokesman Recorder

I came to the United States as a teenager with a clear goal: to build something meaningful through hard work. I put in long days in construction, restaurants, and landscaping; doing whatever it took to learn, save, and eventually start my own business.

Over time, I built and ran several successful ventures, including an event photography company, a magazine, a tax and accounting firm, and now grocery stores serving neighborhoods across the Twin Cities where other retailers chose not to invest. I’ve created jobs, supported families, and committed to communities that deserve stability and opportunity.

That’s why I’m speaking out now.

Small business owners in Minneapolis and the communities we serve are recovering from serious disruptions, including the impacts of Operation Metro Surge. That event hit immigrant communities especially hard. In my own case, I lost nearly half of my 60 employees and saw revenue drop by about 85%. While I worked to provide competitive wages, health benefits, and paid time off, the real hardship fell on the people who lost their jobs and income.

Even as we rebuild, small businesses are facing another challenge. The Minnesota Legislature is considering letting an important tax policy expire: the Pass-Through Entity tax option.

Here’s what that means in plain terms.

Many small businesses, including mine, are pass-through businesses. That means the business itself doesn’t pay income tax. Instead, the owners report the income on their personal tax returns. But under current federal rules, there’s a limit on how much state tax we can deduct. That often leads to higher federal tax bills.

The Pass-Through Entity option fixes that. It allows the business to pay the state tax directly, which means the business can fully deduct those taxes on its federal return and lower the total amount of income taxed federally. The result is straightforward: small business owners pay less in federal taxes, without reducing what the state collects.

This policy is not new or controversial. Thirty-six states already offer it. It doesn’t cost Minnesota anything, it’s revenue neutral. And it benefits more than 66,000 businesses across the state.

In a state where the cost of doing business is already high, it’s hard to understand why we wouldn’t offer the same basic tax treatment as states like California and Illinois.

Small businesses have carried a heavy load in recent years, through a pandemic, rising costs and public safety disruptions. We’ve adapted, reinvested and stayed committed to our communities. What we need now are practical policies that support that work, not make it harder.

If the Minnesota House does not act soon, many businesses will face significantly higher federal tax bills. That’s money that could otherwise be used to hire workers, raise wages or reinvest in local neighborhoods.

I urge Gov. Tim Walz and members of the House Tax Committee to pass House File 3127 and extend the Pass-Through Entity election.

Small businesses are the backbone of our communities. We’ve proven our resilience. Now we need our state leaders to show the same commitment to us.

Daniel Hernandez is the owner of Colonial Market located at 2100 E. Lake St.

 

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