Blog

The soul music community lost one of its brightest stars last week. Wayne Lewis, the visionary founding member of Atlantic Starr who helped sculpt the soundtrack of countless romance stories, died on June 5, 2025. He was 68.

News of his passing rippled through social media after Atlantic Starr’s touching Facebook announcement. “It’s with great sadness we have to post the passing of Wayne Lewis,” the band wrote, requesting privacy for the grieving family. The post triggered an outpouring of memories from fans whose lives were touched by Lewis’s musical genius.

Back in White Plains, New York — where it all began — Wayne and his brothers David and Jonathan couldn’t have imagined the legacy they’d create. Their musical journey started like many family bands: practicing in basements, dreaming big, and crafting a sound that would eventually captivate millions. Wayne’s dual role as lead vocalist and keyboardist proved essential in shaping Atlantic Starr’s distinctive sonic signature.

The late ’70s saw the group’s self-titled debut album hit the shelves, with “Stand Up” climbing to No. 16 on the R&B charts. Not bad for newcomers — but the best was yet to come.

It wasn’t until the mid-’80s that Atlantic Starr truly hit their stride. “Secret Lovers” became their breakthrough moment, a masterclass in crossover appeal that peaked at No. 3 on the Billboard Hot 100 while dominating the Adult Contemporary chart. The track showcased Wayne and David’s uncanny ability to write songs that felt both intimately personal and universally relatable.

Then came “Always” in 1987 — and everything changed. The ballad didn’t just top both pop and R&B charts; it became woven into the fabric of American romance. Even now, nearly four decades later, you’d be hard-pressed to attend a wedding reception without hearing those familiar opening notes.

Social media has been flooded with tributes since the news broke. “His band gave my generation so much listening pleasure,” one fan reminisced. Another called him “a great songwriter” and “an icon of soulful love songs” — descriptions that barely scratch the surface of his impact.

Through lineup changes and shifting musical trends, Wayne remained Atlantic Starr’s creative compass. Their 2017 album “Metamorphosis” proved they could evolve while keeping their soul intact — no small feat in today’s ever-changing music landscape.

As streaming numbers surge following his passing (a bittersweet reminder of his enduring influence), it’s clear that Wayne Lewis’s musical legacy will continue shaping R&B for generations to come. His gift wasn’t just writing hits; it was creating moments — those precious minutes when a song becomes more than music, transforming into a memory that lasts a lifetime.

Nashville’s evolving entertainment scene just got a whole lot more interesting. While the city’s twangy heartbeat remains strong, something unexpected is brewing in Tennessee’s capital — and it’s not just another batch of hot chicken.

The timing couldn’t be more perfect. Just as CMA Fest kicked into high gear, ABC dropped a bombshell that had music city buzzing: “9-1-1: Nashville” is heading to the small screen. Set to debut in September 2025, this latest addition to the emergency response franchise promises to serve up equal parts adrenaline and acoustic guitar — because hey, even first responders need a soundtrack.

Speaking of perfect harmony, the show’s promotional launch during CMA Fest feels less like coincidence and more like destiny. The festival, which has drawn close to a million boot-scootin’ enthusiasts over the past decade, provided the ideal backdrop for introducing the series’ impressive ensemble. Chris O’Donnell and Jessica Capshaw bring the star power, while LeAnn Rimes adds that authentic Nashville flavor that can’t be faked.

The 52nd CMA Fest itself? Pure magic. Saturday’s lineup reads like a masterclass in musical evolution. Take Tanner Adell, for instance. Fresh off her mind-bending collaboration with Beyoncé on “Blackbiird,” the 24-year-old firecracker is rewriting the country music rulebook with every performance. Her latest single “Going Blonde” had the Chevy Riverfront Stage crowd forgetting everything they thought they knew about genre boundaries.

Then there’s The War and Treaty. Michael and Tanya Trotter bring something special to the table — a soul-stirring blend that makes you question why anyone ever tried to put music in boxes. Their recent track “Feels Like Home” captures that ineffable Nashville spirit that’s been drawing dreamers and artists since before anyone can remember.

Don’t sleep on Laci Kaye Booth, either. The “American Idol” alum has come into her own, and her 2024 album “The Loneliest Girl in the World” proves it. Her latest release, cheekily titled “George F****** Strait,” showcases exactly the kind of bold creativity that’s becoming Music City’s calling card.

Here’s the thing about Nashville in 2025 — it’s not just preserving its musical heritage; it’s expanding its horizons while keeping that signature twang intact. The arrival of “9-1-1: Nashville” feels less like a departure and more like a natural progression. After all, in a city where every barista might be the next big thing, why shouldn’t emergency sirens harmonize with pedal steel?

The future? Well, it’s looking mighty interesting down on Broadway. As Nashville continues its careful dance between tradition and innovation, one thing’s becoming crystal clear — this ain’t your grandma’s Music City anymore. Though something suggests she’d probably dig it anyway.

Mindy Kaling’s conspicuous absence from our screens lately might seem puzzling — especially given her scene-stealing charm as Kelly Kapoor on “The Office.” But here’s the kicker: she’s deliberately staying behind the camera, and not for the reasons you’d expect.

The powerhouse producer (who turns 45 this year) recently spilled the beans at a Paley Media Council Series appearance, revealing that good old-fashioned superstition keeps her from stepping in front of the lens. “These shows seem to have gone well and I’m not in them, so maybe I’ll wait,” she admitted with characteristic self-deprecating humor. Even “Never Have I Ever” — a show practically mirroring her own Southern California Indian American upbringing — couldn’t tempt her into a cameo appearance.

Strange? Perhaps. But you can’t argue with results.

Her latest creation, “Running Point” (dropping on streaming platforms in early 2025), showcases just how far she’s come as a showrunner. Kate Hudson, the show’s lead, couldn’t contain her enthusiasm about working with Kaling. “She’s just not only so brilliant, but so trusting,” Hudson gushed, noting that Kaling was firing off notes mere hours after welcoming her third child. Talk about dedication.

Speaking of which — Kaling’s been quietly orchestrating her own production at home. The arrival of daughter Anne rounds out her family trio, joining Katherine Swati and Spencer Avu. In an era where every celebrity breakfast choice becomes Instagram fodder, her steadfast protection of her children’s privacy feels downright refreshing.

But don’t write off Kaling’s on-screen career just yet. During that same Paley appearance, she let slip that the acting bug hasn’t completely lost its bite. “I miss it,” she confessed, hinting at plans to create a vehicle for herself. The prospect of pulling double duty as actor-director particularly intrigues her — “unbelievably fun and so efficient,” in her words.

The entertainment landscape of 2025 barely resembles the one Kaling first navigated on “The Office.” Streaming wars have intensified, AI-generated content floods platforms, and audiences demand authenticity more than ever. Through it all, Kaling’s production company has emerged as a reliable source of fresh voices and diverse storytelling. Sometimes, it seems, stepping back from the spotlight amplifies impact more than standing in it.

For now, though, she’s letting that peculiar superstition guide her career choices. And honestly? With a track record like hers, who’s gonna question it? As industry veteran Ike Barinholtz once noted, “When Mindy Kaling vouches for you, people listen.” These days, they’re listening more intently than ever — whether she’s on camera or not.

Violence knows no borders — a truth that’s become painfully clear as we witness a string of events that read more like a dystopian screenplay than headlines from early 2025. From the sun-baked streets of Los Angeles to the bustling avenues of Bogota, a disturbing pattern of upheaval has emerged, challenging our collective sense of security.

The scenes in Los Angeles feel almost surreal. Two thousand National Guard troops — enough to fill a small town — now patrol streets where just days ago, federal ICE officers found themselves trapped in a two-hour standoff with protesters. The White House’s description of “criminal behavior and violence” barely captures the chaos that unfolded.

Tensions between federal and state authorities have reached a boiling point. White House Press Secretary Karoline Leavitt didn’t mince words when she declared California’s Democratic leadership had “completely abdicated their responsibility.” Governor Gavin Newsom fired back — and honestly, who can blame him? — creating yet another political powder keg in an already explosive situation.

But America’s struggles pale in comparison to the shocking violence that erupted in Colombia. Senator Miguel Uribe Turbay, just 39 and full of presidential ambitions, now fights for his life after being shot at a campaign rally in Bogota’s Fontibon neighborhood. His wife’s heart-wrenching social media update — “Miguel is fighting for his life” — serves as a brutal reminder that political violence remains an ever-present specter in Latin American politics.

President Gustavo Petro’s response seemed almost too simple, yet profound: “Respect life, that’s the red line.” He canceled his trip to France, naturally. Some lines, once crossed, demand immediate attention.

Then there’s Ben Askren — remember him? The former UFC star whose wit often overshadowed his impressive grappling skills? Well, life throws curveballs, and his battle with severe pneumonia following a staph infection proves that even the toughest fighters sometimes face their greatest challenges outside the octagon. His wife Amy’s struggle to maintain normalcy for their three kids while asking for prayers… that hits different.

These events might seem disconnected at first glance. But look closer — there’s a thread connecting them all, a sobering reminder of how quickly our carefully constructed worlds can unravel. Whether it’s federal agents facing down protesters, a presidential hopeful dodging bullets, or a retired fighter battling infection, the message is clear: stability is more fragile than we’d like to believe.

U.S. Secretary of State Marco Rubio called the Colombian shooting “a direct threat to democracy.” He’s right, of course, but perhaps the threat runs deeper than any single incident. Chilean President Gabriel Boric’s words ring especially true: “there is no room or justification for violence in a democracy.” Yet here we are, watching democracy tested on multiple fronts.

As winter turns to spring in 2025, these stories serve as stark reminders of our shared vulnerability. Whether you’re a politician, an athlete, or just someone trying to do their job, circumstances can change in the blink of an eye. Maybe that’s why the responses — calls for unity, requests for prayer — sound so similar across borders and situations. In times of crisis, we all speak the same language of hope.

Hold onto your wands, darlings — the corridors of HBO are practically vibrating with the most delectable Potter-verse news since butterbeer went mainstream. And this particular piece of magical gossip? Well, it’s serving up the kind of full-circle moment that would make even Dumbledore’s time-turner jealous.

Tom Felton (yes, that platinum-haired prince of Slytherin himself) is trading his film robes for Broadway spotlights in “Cursed Child.” But here’s where it gets properly juicy — as HBO preps its hotly anticipated Potter remake for 2027, whispers suggest Felton might just follow in daddy dearest’s footsteps. Imagine: our former Draco stepping into Lucius Malfoy’s snakeskin boots. Divine, isn’t it?

The network’s already knocked it out of the quidditch pitch with some absolutely inspired casting choices. John Lithgow bringing gravitas to Dumbledore at 79? Perfection. Janet McTeer as McGonagall? *chef’s kiss* And whoever had the brilliant notion to cast Nick Frost as Hagrid deserves a raise and a round of firewhisky.

Speaking of unexpected delights — picture this scenario: Felton, caught completely off-guard during what he assumed was a standard press chat, nearly dropped his wand when family members surprised him with the news. “Wow, I had no idea,” he managed to stammer. (Honestly, same, darling. Same.)

But let’s dish about this fresh-faced cast that’s got everyone talking. Dominic McLaughlin’s taking on the chosen one himself, while Arabella Stanton and Alastair Stout are stepping into the considerably large shoes of Hermione and Ron. And — hold onto your sorting hats — Paapa Essiedu’s daring to follow the unfollowable Alan Rickman as Severus Snape.

The real genius? HBO’s giving each book a full season’s treatment. No more cramming complex plotlines into two-hour windows like trying to stuff a hippogriff into a handbag. Finally, those deliciously intricate subplots will have room to breathe.

Mind you, there’s something rather fabulous about mixing vintage with contemporary (any fashionista worth their salt knows this). Perhaps we’ll see Warwick Davis charm us once more, or Bonnie Wright transform from everyone’s favorite Weasley daughter to the matriarch herself. And really, who else but John Cleese could possibly lose their head as Nearly Headless Nick?

The possibilities are positively enchanting, darlings. And with production set to begin in early 2025, the anticipation is more electric than a freshly charged wand. Now, if you’ll excuse me — there’s a glass of Ogden’s Old Firewhisky with this columnist’s name on it.

Hollywood’s remake machine churns onward into 2025, serving up fresh takes on beloved properties with decidedly mixed results. The latest offerings? A surprisingly complex reimagining of “Lilo & Stitch” and a somewhat wobbly expansion of the John Wick universe with “Ballerina.”

Let’s talk about that Hawaiian adventure first. Disney’s live-action “Lilo & Stitch” (hitting theaters next May) turns out to be quite the peculiar creature — rather like its alien protagonist. Most of the updates have fans more rattled than a tourist’s first encounter with spam musubi, but there’s an unexpected bright spot amid the controversy.

Billy Magnussen’s transformed take on Pleakley steals every scene faster than Stitch can snatch a surfboard. His expanded role elevates the formerly bumbling bureaucrat into something genuinely fascinating: a shrewd political operator who manages to declare Earth a wildlife preserve through some delightfully clever maneuvering. The physical comedy? Absolutely sublime.

The same can’t be said for poor Jumba. Zach Galifianakis — bless his heart — seems trapped in a watered-down version of the character that’s about as exciting as plain poi. Gone is the gleeful madness, replaced by… well, not much of anything. Such a shame.

Meanwhile, over in the neon-noir world of John Wick, “Ballerina” pirouettes onto screens with Ana de Armas as Eve, promising the kind of balletic violence that made the franchise famous. But something’s off in this particular dance.

The introduction of Eve’s sister Lena should’ve added emotional depth to this world of stylish assassins. Instead? The character lands with all the impact of a plastic knife at a gunfight. In an universe that’s given us such deliciously complex characters as The Director (remember Anjelica Huston’s magnificent turn?), this feels like a serious misstep.

“Fight like a girl,” Sharon Duncan-Brewster’s Nogi declares in what should be a powerful moment. But honestly? In 2025, when we’ve got female action heroes breaking bones and box office records left and right, this kind of dialogue lands about as gracefully as a rookie assassin in stilettos.

What these parallel reimaginings really highlight is Hollywood’s ongoing tango with nostalgia — sometimes elegant, sometimes stepping on its own feet. Sure, Pleakley’s glow-up shows it’s possible to polish a beloved character until they shine even brighter. But then there’s Lena, reminding us that even the most stylish franchise can trip over its own ambitions.

The lesson here? Maybe it’s that successful reinvention requires more than just a fresh coat of paint or a new pair of dancing shoes. It demands heart, vision, and — perhaps most importantly — a genuine reason for existing beyond the bottom line.

But hey, at least we’re not getting another Fast & Furious sequel.

Yet.

Mariah Carey’s latest single “Type Dangerous” dropped unexpectedly Thursday night, proving the legendary diva hasn’t lost her knack for making waves in the music industry. The track — her first new material since 2018’s “Caution” — serves up a delicious slice of nostalgia while keeping one stiletto firmly planted in 2025’s sonic landscape.

Drawing from her Long Island roots, Carey cleverly samples Eric B. and Rakim’s “Eric B. Is President,” bridging the gap between Huntington and Wyandanch in a way that feels both nostalgic and perfectly timed. The sample choice isn’t just smart — it’s downright inspired.

“Type Dangerous” opens with Carey’s butter-smooth vocals delivering a knowing wink to the original: “To show my appreciation for your support, thank you, DJs.” From there, the track evolves into something entirely its own. Between half-rapped verses and those signature whistle notes (yeah, she’s still got ’em), Carey proves she hasn’t lost a step.

The lyrics paint quite a picture. “I came in the door dripped in Balenci / Cropped leather coat and some nine-inch Fendis” — classic Mariah swagger, served with a side of designer name-drops. But it’s the subtle shade-throwing that really catches the ear.

There’s this particularly spicy verse where she croons, “Fresh outta Sing Sing, nah, I’m just playin’ / That was just a castle and an evil king” — and anyone who remembers the Tommy Mottola years knows exactly what she’s referencing. The Bedford estate never sounded so shady.

The accompanying lyric video landed early Friday morning. Think tight T-shirts, those infamous laced-up short-shorts, and enough wind-machine action to power a small city. Word has it Joseph Kahn (fresh off reimagining her “All I Want For Christmas Is You” video) is already cooking up something special for the full music video treatment.

“I’ve been locked up in the studio for quite some time working my behind off on new music,” Carey shared in a statement that somehow managed to sound both humble and fabulous — a specialty of hers. The timing couldn’t be better, what with her upcoming BET Ultimate Icon Award acceptance and that massive Wembley Stadium headlining spot at Capital’s Summertime Ball.

Speaking of timing — while fans are still buzzing about the 20th anniversary reissue of “The Emancipation of Mimi,” Carey’s been dropping hints about her sixteenth studio album. Those “MC 16” license plates popping up in her social media posts? Subtle as a rhinestone butterfly.

Let’s be real — in an era where pop stars come and go faster than TikTok trends, Mariah Carey’s staying power is nothing short of remarkable. “Type Dangerous” isn’t just a comeback single; it’s a reminder that the elusive chanteuse still knows exactly how to command attention while paying homage to her roots. And honestly? We wouldn’t want it any other way.

The Great American Divide: When The Boss Met The Donald

Remember when music was just… music? Those days feel increasingly distant as 2025 unfolds, with the latest cultural clash between Bruce Springsteen and Donald Trump forcing Americans to wrestle with an uncomfortable question: Must we really choose between our playlist and our politics?

The spark that lit this particular powder keg came during Springsteen’s European tour opener. The Boss — never one to mince words — declared Trump “unfit” for office. Trump’s response? Classic Trump: he dismissed Springsteen as a “dried out ‘prune’ of a rocker.” Social media exploded (naturally), but something unexpected happened next.

Republicans didn’t exactly rush to pick sides.

Take Chris Pack, for instance. His office wall tells an interesting story — Springsteen’s “Darkness on the Edge of Town” lyrics hang right next to photos of Republican heavyweights. “These amazing life lessons aren’t Democratic or Republican lessons,” Pack explains. “They’re just lessons.” It’s a sentiment that’s surprisingly common in Washington these days, where plenty of Republican staffers still blast “Born to Run” through their AirPods — they’re just a bit quieter about it now.

Chris Christie — who’s weathered his fair share of Trump’s verbal storms — stands out as Springsteen’s most vocal Republican defender. “The politics, if I take some hits — and I do take some hits — that’s fine,” Christie maintains. Coming from a former presidential candidate, that’s saying something.

But here’s where things get really interesting.

Country star Eric Church, who witnessed Springsteen’s controversial remarks in Manchester, offered perhaps the most clear-eyed take yet. “I respect the hell out of somebody having the balls to do something like that,” he told Rolling Stone. Church went further, suggesting the moment actually enhanced the show: “You could tell he wanted to get something off his chest… and the show was fantastic.”

Back in Springsteen’s hometown of Freehold, New Jersey, the story hits differently. Mike Marinella, speaking for the National Republican Congressional Committee (and proud Freehold native), puts it simply: “Freehold loves Bruce for the art, not the politics.” Though tellingly, New Jersey’s Republican congressional delegation has maintained radio silence on the whole affair — proving Governor Phil Murphy’s point that “if you want to win an election in this state, you don’t criticize The Boss.”

There’s a certain irony here that can’t be ignored. Many of the working-class heroes Springsteen immortalized in songs like “The River” and “My Hometown” have shifted their political allegiances toward Trump’s vision of the Republican Party. It’s a transformation that speaks volumes about the evolving American experience — and the growing disconnect between artistic inspiration and political reality.

As winter 2025 settles in, perhaps the most revealing aspect of this cultural moment isn’t the conflict itself, but what it says about American exhaustion with constant political litmus tests. Eric Church captures this perfectly: “Most Americans go back and forth. I change my mind all the damn time.” In an age of entrenched positions, such honesty feels almost revolutionary.

Sometimes a song is just a song. And sometimes — just maybe — it’s okay to let the music play without checking your voter registration first.

Wu-Tang Clan’s return to gaming isn’t just unexpected—it’s downright revolutionary. After a 25-year absence from the medium, hip-hop’s most mythological collective is about to flip the script on how music and gaming intersect. Their new project, Wu-Tang: Rise of the Deceiver, dropped like a bomb at Summer Game Fest 2025, and honestly? It’s about damn time.

Remember Wu-Tang: Shaolin Style from ’99? Yeah, that was back when we thought Y2K might end civilization and The Matrix had us all questioning reality. Fast forward to now, and the Clan isn’t just slapping their name on some half-baked tie-in. They’re cooking up something that feels more like a fever dream pulled straight from RZA’s personal kung-fu film vault.

Rise of the Deceiver throws three players into surreal dreamscapes that’d make Salvador Dalí do a double-take. Players channel mystical powers inherited from the Wu themselves—think supernatural thriller meets hip-hop mythology, with a healthy dose of straight-up weirdness thrown in for good measure.

Here’s where things get interesting. Ghostface Killah recently spilled some tea about the game’s connection to his upcoming film, Angel of Dust. “This ain’t just some game,” he explained during the reveal. “We’re building a whole universe here.” The game serves as both companion piece and expansion to RZA’s upcoming directorial venture, weaving a tapestry of supernatural storytelling that’s uniquely Wu.

But let’s talk about that soundtrack system—because holy hell, Brass Lion Entertainment hasn’t just raised the bar; they’ve basically launched it into orbit. Gone are the days of static background tracks. Instead, we’re getting this wild dynamic system that morphs with your gameplay. Picture “C.R.E.A.M.” transforming into some epic orchestral piece while you’re laying down combos. That’s not just innovative; that’s next-level stuff.

The development team—53 strong and scattered across North America—has been quietly grinding since 2019. Their mantra? “Do it for the culture.” It shows in everything from the combat system to these things called “Jewels” that let players customize their fighting style and drip. Because let’s be real—if you’re repping Wu-Tang, you better come correct with the aesthetics.

Writer Evan Narcisse gets it. “The Wu Tang Clan are larger than life,” he says, and that’s exactly how the game treats them. This isn’t just some celebrity cash grab—it’s treating Wu-Tang’s mythology with the same reverence usually reserved for ancient legends or folklore. And in 2025’s gaming landscape, that kind of authentic cultural representation hits different.

Brass Lion’s approach feels like a breath of fresh air in an industry that sometimes struggles with cultural authenticity. Their motto—”Dope entertainment. All Culture. No Vulture.”—isn’t just clever marketing. It’s practically tattooed into the game’s DNA.

No firm release date yet, but PC and console players can already wishlist this beast on Steam and Epic. Meanwhile, might be worth dusting off that old PlayStation and copy of Shaolin Style—you know, for research purposes.

Some moments in sports transcend the game itself. Last night in Indianapolis, Tyrese Haliburton authored one of those moments.

Down to the wire, clock showing a mere 0.3 seconds, Haliburton launched what looked like an impossible prayer from deep. The shot — hanging in the air for what felt like an eternity — found nothing but net, giving the Pacers their first lead of the night and an improbable 111-110 victory over Oklahoma City in Game 1 of the NBA Finals.

Let that sink in for a second. These Pacers, who’d been trailing by nine with three minutes left (the kind of deficit that usually sends fans scrambling for their car keys), pulled off yet another miracle finish. At this point, maybe we shouldn’t even call them miracles anymore — they’re becoming something of a habit in Indianapolis.

Thunder coach Mark Daigneault’s postgame comments captured the bewilderment perfectly. “Credit them,” he managed, looking like a man who’d just seen a ghost. “They’ve had so many games like that… they just play with a great spirit and keep coming, they keep playing.” Yeah, they sure do.

The timing couldn’t be sweeter for Indianapolis basketball fans. While Haliburton’s creating magic on the NBA hardwood, the city’s newest basketball sensation — WNBA rookie Caitlin Clark — is getting ready to make her own mark. Their budding friendship has become something of a subplot in this wild season, with Haliburton gushing about Clark’s game and character whenever the topic comes up.

“Getting to actually spend time around her, be around her, get to know her personally — she’s just an amazing person and amazing player,” Haliburton shared recently, his enthusiasm genuine and unscripted.

The game itself? Pure chaos in the best possible way. Shai Gilgeous-Alexander went absolutely bonkers for OKC, dropping 38 points on 30 shots — the kind of performance that usually leads SportsCenter. But these aren’t your typical Pacers, are they?

(And yeah, Bill Simmons somehow managed to connect this to Nikola Jokic’s earlier playoff showing against the Thunder. Classic Bill, making connections where none exist — though Zach Lowe was quick to pump the brakes on that particular hot take.)

What’s happening in Indianapolis right now feels bigger than basketball. It’s about a city rediscovering its hoops identity through two young stars who represent everything that’s exciting about the sport’s future. Haliburton’s game-winner wasn’t just a shot — it was a statement about where basketball in the Circle City is headed.

Sunday’s Game 2 looms large, with the Thunder looking to even things up at home. But for now? Indianapolis can bask in this moment. Sometimes sports stories write themselves, and this one’s starting to feel like a bestseller in the making.