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Amber Rose Rejects Traditional Advice on Race for Her Kids

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A public conversation on the realities of Black parenting has opened up after a prominent celebrity shared her perspective. During an appearance on the Truth After Dark podcast, hosted by Paul Pierce and Azar Farideh, Amber Rose openly shared why she rejects traditional advice on race when it comes to raising her children. The media personality, known for her candid and often polarizing stances, explained that she intends to shield her children from what she views as a restrictive mindset, sparking intense discussion about how Black children are prepared for the world today.

In her discussion, Amber Rose elaborated on her parenting philosophy, explaining that she will not instruct her kids to overcompensate due to their skin color. She declared that she refuses to tell her children they must work ten times harder than their peers simply because of their racial identity. For generations, the idea of having to perform twice as well to get half as far has been a foundational talk in many households, passed down as a shield against systemic hurdles. By stating she rejects traditional advice on race, she is actively steering away from a playbook that she believes instills an early sense of defeat before a child even begins to chase their dreams.

Her comments focused heavily on personal agency and self-belief. She noted that while hard work is necessary for greatness, she believes everyone faces that same requirement. She cited professional basketball as an example, stating that if you want to reach the level of an all-star player, intense labor is non-negotiable. She argued that skin color in America will not prevent her children from achieving greatness, emphasizing her desire for them to focus on tangible goals. She expressed a firm belief that children should be raised to see themselves as equals in a free nation, capable of pursuing any career path they choose without feeling inherently disadvantaged.

This perspective has naturally met with significant pushback. Critics suggest that ignoring the structural barriers that persist in corporate spaces, the justice system, and daily life does her children a disservice. Many commentators, including figures on Joe Budden TV, have raised questions about whether her stance ignores the lived experiences of millions who have faced bias despite their qualifications. Preparing children with both confidence and a realistic awareness of historical hurdles is viewed by many parents as essential survival training. Her critics argue that skipping these conversations leaves young people unprepared for the subtle and overt forms of discrimination they might face.

This dialogue is not new for the mother of two, who shares her eldest son with rapper Wiz Khalifa. She has previously made headlines for her unconventional parenting methods, such as teaching her son about consent at a very early age and allowing him to express himself freely. Her latest statements point to a growing generational divergence in how mothers approach the preparation of their children. While some parents view the traditional warnings as essential protection, others are beginning to question whether those very warnings inadvertently impose psychological boundaries on young minds.

By centering self-determination over systemic limitations, the conversation highlights a deeper philosophical debate. Is it better to equip children with the hard truths of racial bias to prevent shock, or is it healthier to foster an unrestricted sense of possibility? As the debate continues, it becomes clear that there is no single consensus on the matter. The choices made by individual families remain deeply personal, reflecting the complex task of raising children in a society that continues to grapple with its own historical inequities.

The conversation also touches on class privilege and how it shapes one’s view of opportunity. Having achieved substantial financial security and social status, her children will grow up in environments that differ vastly from those of working-class families. This distinction is crucial, as wealth can often act as a buffer against some of the more immediate effects of institutional bias. For a child with access to elite networks and resources, the path to greatness is inevitably different from that of an ordinary kid from Philadelphia or Chicago. Recognizing how wealth intersects with race is a key piece of the puzzle that many observers feel was missing from her podcast remarks.

Kai Cenat Restricts Saucy Santana From Streamers University

The digital ecosystem thrives on direct boundaries and respect for the spaces creators build from the ground up. This reality became highly apparent at the second annual Streamers University when Saucy Santana was kicked out by Kai Cenat after a serious breakdown in communication. The incident occurred on the campus of the highly anticipated creator camp, where Lizzo, who serves as a guest faculty member this semester, brought the Florida rapper along as an uninvited guest. What was supposed to be a collaborative weekend of networking and content creation turned into a tense standoff with security, revealing the strict rules governing these modern creative hubs.

For those watching from the outside, the clash reveals the growing pains of a maturing creator economy. Lizzo, whose presence as an instructor was meant to elevate the curriculum, arrived on campus with Saucy Santana in tow. But Streamers University operates on strict protocols, and unauthorized visitors are quickly flagged. Security personnel intercepted Santana, requesting his departure, which led to an immediate verbal disagreement. Lizzo interceded, and the conversation turned tense when an officer made an unsolicited remark regarding her age. Visibly displeased, she demanded the guard keep his hands off her. While the situation escalated rapidly on-site, the core issue came down to basic administrative clearance.

The Rules of the Campus

Kai Cenat was quick to address the situation directly on his broadcast to prevent rumors from distorting the facts. He clarified that the issue was not a personal grievance against either artist but a matter of structural boundaries. Cenat explained that he had previously informed Lizzo’s team about the event’s restricted nature, emphasizing that even high-profile guests must follow protocol. He stated that he saw Santana on campus and realized the message had not been conveyed properly. Cenat stated that the breakdown lay entirely with Lizzo’s management team, which failed to inform her that unapproved guests were prohibited. He explicitly defended the singer, stating she was innocent in the matter.

The incident points to a broader shift in how online creative spaces operate. Streamers University is no longer just an informal gathering of internet personalities. It has grown into a highly structured training ground with substantial backing, brand partnerships, and safety liabilities. When an unapproved visitor enters the premises, it compromises the security framework established for the students and faculty. In this context, the decision where Saucy Santana was kicked out by Kai Cenat is less about celebrity friction and more about standard operational procedure. Running a large-scale event requires uniform enforcement of rules, regardless of the guest’s social standing.

Navigating Celebrity and Security

The physical confrontation with security guards introduced an uncomfortable element to the evening. Accounts from the scene show that as guards escorted Santana away, the dialogue between Lizzo and the security staff deteriorated. The age-related comment directed at her was unprofessional and shifted the focus from a simple policy enforcement to a personal dispute. When public figures participate in community-driven events, clear communication between their respective management teams remains essential to prevent these uncomfortable public spectacles.

Cenat’s reaction to the event showed a level of professional maturity. Rather than allowing the narrative to spin out of control, he took immediate accountability for his team’s actions while standing firm on his event’s regulations. He made it clear that while he respects Lizzo and her career, the boundaries of Streamers University must be honored. This approach protects the integrity of the project, which aims to provide genuine mentorship to emerging creators without the distractions of unmanaged celebrity entourages.

Building a Professional Creator Space

The evolution of creator-led events requires a new standard of professionalism from everyone involved. High-profile artists are accustomed to a certain level of deference and access in traditional Hollywood spaces. But in the creator economy, the hosts are often young entrepreneurs who have built their platforms independently. They set the rules, control the access, and demand the same respect that traditional media executives receive. Lizzo’s participation as faculty is a distinct cultural alignment. In this space, she does not adjust to the format; she defines her role within it, while creators like Kai Cenat establish the boundaries of the environment. The brief conflict at Streamers University serves as a case study in this cultural alignment, showing that the power balance has shifted. Celebrities entering these spaces must operate within the guidelines defined by the creators themselves.

As Streamers University continues its curriculum, the focus returns to the students and the craft of content creation. The administrative error that led to the confrontation has been resolved, with Cenat publicly clearing Lizzo of any intentional wrongdoing. The incident will likely serve as a reminder for management teams to thoroughly vet event guidelines before arrival. For the culture, it remains a clear demonstration that independent platforms have the authority to enforce their own boundaries, ensuring that respect for the platform remains paramount.

Nicki Minaj Was Right: Hip-Hop’s Market Share Is Plummeting

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The midyear music numbers are in, and the reality check is stark. For years, Nicki Minaj sounded the alarm about the corporate dilution of hip-hop, urging creators to guard the gate of real lyricism. People laughed, dismissed her warnings as typical industry friction, and kept streaming the same assembly-line formulas. But Luminate’s newly released 2026 Midyear Report offers cold, hard data that vindicates her stance. R&B and hip-hop have experienced a historic retreat, registering the sharpest decline in equivalent market share on the Billboard 200 since 2023.

This drop is not a minor wobble. It is a steady bleeding of influence. The category has watched its equivalent market share on the Billboard 200 slip from over 40 percent in the first half of 2023 to roughly 30 percent at the midpoint of 2026. While Nicki Minaj spent years shouting into the wind about how signing artists based on quick trends rather than foundational skill would erode the commercial value of the music, label executives chased short-term viral moments. Now, pop, country, rock, and Latin music are aggressively claiming the space that Black genres once held with an iron grip.

The Real Data Behind the Slide

Let us look at the actual numbers. The industry overall is experiencing massive growth. Luminate reports that global on-demand audio streams reached 2.8 trillion in the first six months of 2026, up from 2.5 trillion during the same period in 2025. In the United States, song streams grew to 732.7 billion. Music is being consumed at an unprecedented rate. Yet, the genre that traditionally carried the weight of the streaming ecosystem is losing its grip. R&B and hip-hop still account for nearly one in four audio streams in the country, maintaining a superficial lead in daily play counts. But when it comes to album-equivalent consumption, the metric that tracks actual fan dedication and commercial longevity on the charts, the fall is steep.

A Shift in Consumer Attention

In 2023, hip-hop and R&B commanded over 40 percent of equivalent album units. By the middle of 2026, that number has evaporated to roughly 30 percent. This represents a massive redistribution of consumer attention. Pop acts like Olivia Rodrigo, country stars like Chris Stapleton and Ella Langley, and Latin heavyweights like Bad Bunny are drawing audiences away. These competing genres are building sustained album campaigns. They are moving physical product, selling out stadium tours, and keeping their listeners engaged for years rather than weeks. Meanwhile, the rap industry has relied heavily on fleeting digital moments that disappear from the charts as fast as they arrive.

The Prophet in the Storm

This exact scenario is what Nicki Minaj warned about when she spoke on the systematic diluting of the genre. She pointed out that label heads were eager to sign artists who looked the part or possessed a temporary online footprint, bypassing those with genuine lyrical ability. She argued that the industry was actively trying to replace established, self-sufficient artists with cheaper, more pliable acts. The goal was to flood the market with easily disposable music, stripping rap of its prestige and bargaining power. When she voiced these frustrations during her livestreams and interviews, she was labeled defensive. Some accused her of gatekeeping. But the current industry data validates her critique. When you replace artist development with short-form video algorithms, the entire genre suffers.

The Generation Gap and Catalog Music

The lack of investment in artist development has created a massive quality crisis. Listeners are noticing. According to Luminate, a staggering 60 percent of Gen Z listeners now report that they listen to music from the 1990s or earlier more than modern releases. That is a massive jump from just 18 percent in 2021. People are retreating to the past because the current offerings feel hollow. Rock music, which sits as the second most-streamed genre in the country, remains heavily dominated by older catalog music. Listeners would rather stream thirty-year-old songs than engage with new releases that feel manufactured. The rapid decline in equivalent market share on the Billboard 200 proves that audiences are tired of superficial singles that offer no replay value.

Missing the Physical Music Wave

Physical sales are also telling a clear story. CD sales surged by 16 percent in the first half of 2026, reaching 16.3 million units. Vinyl sales also saw a steady rise. Fans are willing to pay for physical media as a badge of aesthetic ownership and direct financial support for artists they respect. K-pop groups like BTS and ATEEZ are dominating this space, along with pop and country acts. Hip-hop, on the other hand, has almost completely abandoned the physical format, leaving itself entirely at the mercy of streaming algorithms. Without physical collectibles or cohesive album packages, rap artists have failed to build the deep, dedicated fanbases that sustain other genres through dry spells.

The Road Back to Basics

This decline is a necessary wake-up call for hip-hop and R&B. The era of easy streaming dominance is over. For the genre to reclaim its position, labels must return to the fundamentals of music-making. This means investing in artists who can write, perform, and construct albums that stand the test of time. It means moving away from the lazy reliance on short-form video hooks. Nicki Minaj knew that treating rap like a cheap, disposable commodity would eventually destroy its market value. The Luminate data proves she was right. The numbers do not lie, and the culture must adjust before the slide becomes permanent.

Black Celebrity Icons Living in Alpine, NJ

In New Jersey, there’s a small town where some of the most iconic Black stars have built their own version of paradise. Alpine, New Jersey has become a secluded sanctuary for names like Jay-Z, Mary J. Blige, Chris Rock, and Stevie Wonder—a place where the median net worth hovers around $200,000 and the lifestyle is deliberately removed from the entertainment industry’s relentless spotlight. The area has earned the nickname “Hollywood East,” and for good reason. What started as a rural Dutch settlement with logging mills transformed into a luxury summer escape for wealthy New Yorkers in the late 1800s. Today, Alpine, New Jersey stands as one of America’s most exclusive neighborhoods, where privacy, proximity to Manhattan, and generational wealth converge.

Why Alpine Works

The appeal is straightforward: Alpine offers the escape every major celebrity needs. Despite sitting just 15 miles from Manhattan with only the Hudson River in between, the town feels deliberately disconnected. Enormous trees surround almost every property, creating natural buffers that make each mansion feel like its own isolated kingdom. Tall hedges and black iron gates wrap around driveways, ensuring complete visual privacy. There’s no downtown to speak of, no grocery stores, and no postal delivery—most residents use P.O. boxes. Former mayor Paul Tomasko told The Guardian in 2009 that the town only convenes once a year, which actually works in residents’ favor. It means no paparazzi hotspots, no celebrity sighting tourism, no manufactured scenes.

Screenshot: YouTube/Legendary Productions

The low tax rates don’t hurt either. Combined with homes that routinely feature marble floors, cinema rooms, massive pools, and enough square footage to house a small empire, Alpine has become where successful Black entertainers, athletes, and executives choose to invest.

The Numbers

The average home price sits around $3.2 million, though that’s just an average. Properties regularly breach $20 million, with 90 percent of residents owning their homes outright. For context, Beverly Hills—the gold standard for celebrity real estate—averages $3.6 million. Alpine is competitive, and in some cases, surpasses it in privacy and exclusivity.

Gated Alpine property entrance
Screenshot: YouTube/The Gangi Group

The Residents

Chris Rock has owned his Alpine estate since 2001. The 10,000-square-foot mansion features a black iron gate, substantial brick walls, oversized windows, and a pool anchoring the backyard. It’s the kind of property that makes a statement without needing to.

Chris Rock
Chris Rock speaks at the 2026 AFI Life Achievement Award: A Tribute to Eddie Murphy held at The Dolby Theatre on April 18, 2026 in Los Angeles, California. (Photo by Michael Buckner/Variety via Getty Images)

Rock once joked in a stand-up bit that he was one of only four Black people living in Alpine at the time, with his neighbors including Jay-Z, Mary J. Blige, and Eddie Murphy—but his actual next-door neighbor was a regular White dentist. That bit captured something real about the area’s isolation and its gradual transformation into what some call a Black mecca for entertainment’s elite.

Jay-Z owned property in Alpine during the 2000s, though specific details about his residence remain scarce. Mary J. Blige also lived there briefly before relocating to nearby Saddle River, another affluent New Jersey enclave, in 2008. She listed her mansion for sale in 2015.

Jay-Z
EAST RUTHERFORD, NEW JERSEY – JULY 05: Jay-Z attends the FIFA World Cup 2026 Round of 16 match between Brazil and Norway at New York New Jersey Stadium on July 05, 2026 in East Rutherford, New Jersey. (Photo by Al Bello/Getty Images)

Lil’ Kim purchased her Alpine mansion in 2002 for $2.3 million and stayed for 16 years before selling in 2018. The 6,000-square-foot home sat on two acres—enough space to feel genuinely removed from the world.

Lil Kim
NEW YORK, NEW YORK – OCTOBER 09: Rapper Lil Kim Visits “Extra” at The Levi’s Store Times Square on October 09, 2019 in New York City. (Photo by Roy Rochlin/Getty Images)

Tracy Morgan’s Alpine Palace

Tracy Morgan represents one of Alpine’s most visible success stories. In 2015, the comedian purchased a 22,000-square-foot mansion for $13.9 million and has called it home ever since. The property reads like a resort unto itself: bowling alley, 20,000-gallon shark tank, arcade. It’s excess, sure, but it’s the kind of excess that makes sense for someone who’s worked long enough to afford it and deserves the space to decompress.

Tracy Morgan Alpine home interior
Screenshot: YouTube/People

Musical Legacy

The Isley Brothers built their Alpine home back in the 1960s, designing it from scratch. The result was nothing short of architectural poetry: nine bedrooms, 11 bathrooms, marble floors throughout, with jade marble highlighting one bathroom and blue marble in the kitchen. It represented the kind of wealth and vision that defined an era of Black creative excellence.

The Isley Brothers
UNSPECIFIED – CIRCA 1970: Photo of Isley Brothers Photo by Michael Ochs Archives/Getty Images

Stevie Wonder lives in Alpine with a home so private that it’s barely visible from the street. According to the Bergen County Map of the Stars, his property sits tucked between tree canopies, set back far enough to maintain the kind of seclusion Wonder has earned over a lifetime of brilliance.

Stevie Wonder
LOS ANGELES, CALIFORNIA – NOVEMBER 08: Stevie Wonder performs onstage during the 2025 Rock & Roll Hall of Fame Induction Ceremony at Peacock Theater on November 08, 2025 in Los Angeles, California. (Photo by Kevin Mazur/Kevin Mazur/Getty Images for RRHOF)

Sports and Success

In 2009, baseball legend CC Sabathia settled in Alpine after signing with the New York Yankees. When he was elected to the Baseball Hall of Fame in January 2025, the world got a glimpse into his Alpine home during a phone call moment that was captured on camera. The art on the walls, the sculptures on display stands, the chandelier in the dining room—it all spoke to a life well-lived, aesthetically considered, and built on legitimate achievement.

CC Sabathia receives Hall of Fame call in Alpine
ALPINE, NJ – JANUARY 21: Former Major League Baseball player CC Sabathia receives a phone call from Baseball Writers Association of America secretary-treasurer Jack O’Connell informing him that he has been elected to the Baseball Hall of Fame on January 21, 2025, in Alpine, New Jersey. (Photo by New York Yankees/Getty Images)

The Real Appeal

Alpine isn’t about glitzy parties or red-carpet energy. It’s about normalcy wrapped in privacy. Residents can ride a bike, walk their dogs, and exist without constant scrutiny. The nearby Hudson River offers natural beauty. The proximity to Manhattan means work is accessible but feels distant once you’re home. It’s a specific kind of wealth that values peace over spectacle.

Hudson River overlook near Alpine
Man with binoculars looking at birds at State Line Lookout, a scenic overlook on the Palisades overlooking the Hudson River north of Alpine, Bergen County, New Jersey, USA. It is situated at the highest point on the Palisades Cliffs (elevation 520 ft.), about half a mile south of the New Jersey-New York state line.

That’s Alpine’s real value. It’s where Black excellence can breathe without performance, where a shark tank and a bowling alley aren’t about showing off—they’re about having what you want on your own terms. The town’s transformation from a rural Dutch settlement with logging mills to a late 19th-century luxury retreat for wealthy New Yorkers to today’s exclusive enclave mirrors a broader story of wealth, privacy, and the ways successful people carve out space for themselves. Alpine just happens to be where some of entertainment’s biggest names chose to do exactly that.


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R. Kelly Clemency: Cultural Reckoning Ahead


Disgraced R&B singer R. Kelly is back in the news with an official filing for presidential clemency, hoping to secure his release from prison. The move raises a question that extends far beyond the courtroom: what does cultural forgiveness look like for someone like Kelly, and should it even be possible?

The “Ignition” singer has been serving concurrent prison sentences since 2022 after his conviction on racketeering and multiple sex crimes from federal trials in New York and Chicago. His Supreme Court appeal was denied. Now he’s petitioned President Donald Trump directly for clemency, arguing prosecutorial overreach and targeting. Whether R. Kelly gets that relief remains unclear, but the filing forces an uncomfortable reckoning about how society processes harm, accountability, and second chances.

The groundwork for Kelly’s rehabilitation has quietly been laid for years. People still play his music at parties, weddings, cookouts, and clubs. Online debates about separating art from artist inevitably invoke his catalog. His supporters argue his music deserves space in our rotation despite his convictions. If that’s already happening in private spaces, scaling it to public acceptance isn’t a leap.

Consider the financial incentive. While his royalties face seizure for restitution and victim compensation, a memoir or comeback tour announcement would likely attract both longtime fans and curiosity seekers willing to spend. And when you factor in the appetite for controversial documentaries on major streaming platforms, Kelly could potentially monetize his story in ways that erase years of financial consequence.

That possibility forces a darker question: what does our willingness to let that happen say about us?

The discomfort isn’t really about whether Kelly could rebuild wealth and return to entertainment. It’s about what that scenario reveals regarding how quickly society forgets Black women survivors. Every stream, every sold-out show, every casual argument that “the music still hits” communicates a hierarchy of whose trauma matters. The public’s appetite to move past Kelly’s crimes measures how quickly Black women’s pain gets archived and forgotten.

Clemency or no clemency, this conversation demands we think seriously about what accountability actually means and what cultural redemption costs. Because if current patterns are any guide, forgiveness in the court of public opinion arrives far faster than most of us would admit. That gap between justice and acceptance is where the real reckoning lives.


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David Charged After Three Grand Juries Hear Evidence

The case against D4vd involved far more grand jury testimony than previously known, with three panels meeting on seven separate occasions before the singer was arrested in April. This D4vd case has kept people talking about the complexities of the legal system and how these proceedings unfold.

Newly unsealed court information shows that testimony was taken over 18 days, including five days in November, another five in December, and eight in February. A judge has now authorized a limited release of those transcripts. The scope of these investigations reveals just how deep the investigative process can go—something many don’t fully understand until they’re reading about it in cases like this one.

The documents will remain out of public reach, and only the attorneys prosecuting and defending the case will receive access to the testimony.

PARIS, FRANCE – JUNE 26: d4vd wears black Chanel sunglasses, diamond stud earrings, white gold diamond choker, silver Chrome hearts necklace, black silver floral beaded oversized Amiri blazer jacket, black baggy trouser pants, shiny black boots leather shoes, outside Amiri, during the Paris Fashion week Men’s Spring/Summer 2026 on June 26, 2025 in Paris, Franco (Photo by Edward Berthelot/Getty Images)

Although authorities had said grand juries were convened during the months leading up to D4vd’s arrest, the full scope of those proceedings had not been disclosed. Law enforcement sources previously referred to the process as an “investigative grand jury.” The secrecy surrounding these hearings is standard practice, but it also means the public rarely gets the full picture of what happens behind closed doors.

D4vd faces charges in the death of Celeste Rivas, whose body was discovered inside his Tesla last year. The allegations paint a troubling picture that has sparked widespread conversation about accountability and justice.

Prosecutors allege that Rivas was a minor and had threatened to reveal potentially damaging information about an alleged relationship with the musician. They claim he invited her to his home in April 2025, killed her, cut up her body and concealed the remains in bags. These are serious accusations that carry significant legal weight.

The singer has denied the accusations through his plea. He entered a “not guilty” plea and requested an immediate preliminary hearing, setting the stage for what’s sure to be a complex legal battle ahead.

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East St. Louis Family Shootings: Alleged Motive Revealed

Investigators are uncovering new details about the motive behind a deadly mass shooting that left five members of the same family dead and several others injured. Two teens have been charged with the killing spree, but now, relatives of the victims are saying the violence stemmed from a teenage relationship that family members repeatedly tried to stop.

Authorities said the shooting occurred after a 15-year-old girl and her 16-year-old boyfriend allegedly targeted members of the girl’s family. Officials have not publicly released a detailed motive, but relatives say the attack followed months of escalating conflict over the relationship.

“It’s all because y’all wanted to be together, so they wanted to eliminate everybody that had a problem with the situation,” Lamarion Smiley, a relative of the victims, told KSDK’s 5 On Your Side.

Smiley’s wife, Santosha Scott, and the teen girl’s mother, Tiffany Thompson, survived the attack. Scott was shot in the back, while Thompson suffered a gunshot wound to the neck, according to the outlet.

Illinois State Police charged 16-year-old Ja’ymier Davis as an adult with five counts of first-degree murder, two counts each of attempted murder and aggravated battery, aggravated vehicular hijacking, dismembering a human body and unlawful possession of a stolen firearm, according to ABC 7 Chicago. Prosecutors are also recommending that the 15-year-old girl be charged as an adult for the crimes. Her identity has not been released due to her juvenile status.

According to Smiley, family members had been concerned for some time about the relationship and believed the teens had discussed harming relatives.

“There was a list on Instagram that her and the boyfriend made. So we were aware, we just didn’t know when,” Smiley told KSDK.

Davis allegedly wrote his girlfriend about shooting, according to Fox 2 News. The girlfriend answered, “I can do that. I love blood.” In a separate message, she allegedly told him, “Babe, I’m finna lose my whole family for you.”

Smiley said the girl repeatedly ran away from home to be with the boy despite efforts to intervene. “Stayed in vacant houses with this boy, and every time we found her and brought her back home, we let her know, like, ‘You’re 15, you don’t know what love truly is yet,'” Smiley said.

The revelations offer new insight into what may have led to the shooting, though investigators have not confirmed the existence of the alleged Instagram list or publicly discussed whether social media played a role in planning the attack.

The victims — Patricia May, 74; Cherie May, 49; Shania Thompson, 25; Devin May, 24; and Quentin Thompson, 21 — were killed at three locations across East St. Louis.

Charging documents allege one victim, Patricia May, had her thumb severed after she was killed, which led to the dismemberment count against Davis, according to reports. Authorities said the thumb was discovered in the car the teens were driving during their arrest.

Police have not publicly disclosed a motive in court filings, and Illinois State Police say the investigation remains active. Officials have urged anyone with additional information to contact law enforcement.


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World Cup VIP Package: $1M Helicopter & Tickets


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Nikole Hannah-Jones Battles Book Bans

Books by writers of color have become targets in a sweeping campaign by conservative activists to remove titles from libraries and schools across the country. As the Trump administration rolls back diversity, equity, and inclusion initiatives, the removals are accelerating. Iowa now ranks second only to Florida in book challenges, with more than 3,000 titles stripped from shelves under SF 496, a 2023 state law that has removed works by Nikole Hannah-Jones, Maya Angelou, Toni Morrison, and Angie Thomas.

The Root spoke with Nikole Hannah-Jones, the Pulitzer Prize-winning investigative journalist behind “The 1619 Project,” about her efforts to ensure Iowa families and students still have access to books that center Black narratives and experiences.

Nikole Hannah-Jones

On July 18, Hannah-Jones will host the 1619 Freedom School Read-In alongside bestselling authors Jason Reynolds, Angie Thomas, and Renée Watson. The free event features panel discussions, author readings, and live conversation, with attendees leaving carrying free copies of the authors’ books. Now in its second year, the Read-In holds particular weight for Hannah-Jones, an Iowa native watching her home state retreat from its legacy as an education leader.

“I was born and raised in Iowa, and I’m a product of Iowa public schools,” she said. “But our state has made a rightward turn since the second election of Barack Obama. We have seen such a massive regression, both in terms of support for public education and the freedom to read.”

Hannah-Jones founded the 1619 Freedom School in 2021 as a free after-school program in her hometown of Waterloo to address literacy gaps and the racial achievement divide. She sees the wave of anti-DEI legislation and subsequent book removals as connected. The targeting is not random: most banned books are either written by writers of color or grapple directly with America’s history of racism. The Read-In offers a counter-movement, keeping local families connected to Black authors and stories being systematically pulled from schools.

Hannah-Jones deliberately recruited Reynolds, Thomas, and Watson, authors whose work resonates with young readers and whose books have faced particular scrutiny in Iowa. Despite Waterloo’s remote location, all three agreed to participate.

“I happen to be friends with lots of great writers. I also think people just want to feel that they can exercise resistance to these efforts to stop our children from being able to read whatever it is that interests them,” she explained.

On the long-term consequences of book bans, Hannah-Jones is direct: she believes lawmakers want to establish a narrative where only stories centered on straight white people deserve shelf space.

“We know that anytime you see a kind of burgeoning autocratic regime, one of the first things they do is target marginalized communities,” she said. “They target books because they help us gain empathy and understanding of people who are different. They also try to control the narrative to justify their power. So when we talk about book bans, it’s not accidental that the books most targeted are books about queer children and queer people and Black Americans. They want to be able to control how we understand our country. They really want to shrink our children’s collective imagination.”

Hannah-Jones views the Read-In as a direct counter to this erasure. She recalls her own childhood spent in Waterloo’s library, where reading opened pathways to worlds beyond her hometown—experiences that eventually sparked “The 1619 Project.”

“I often talk about a Black studies course I took at my Iowa public high school. My teacher gave me the book, ‘Before the Mayflower,'” she recalled. “Without ‘Before the Mayflower,’ ‘The 1619 Project’ wouldn’t exist. That is the book that introduced me to the year 1619 and all of this history that could be told. So I think when you look at me as an example, you understand why these book bans happen, right? It’s to take someone like me and limit what is possible.”

Hannah-Jones emphasizes that access to books should transcend political divides.

“It’s so important to understand that we don’t have to agree with every text. We don’t have to agree with every idea, but we should all be aligned on understanding that a free society does not ban books,” she said. “Whether I like the ideas or not, those ideas deserve to be exposed. I think that this is something that all of us, no matter what our politics are, should be aligned on.”

To register for The 1619 Freedom School Read-In, visit the event page. If you’re unable to attend but want to support the initiative, donations are also accepted.


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Beyoncé and Jay-Z’s East Hampton Home Gate Incident


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