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K. Michelle’s Jesus & Whiskey is a convincing, tightly focused country debut that feels less like a celebrity pivot and more like a long-delayed homecoming.
Released October 16, 2026, via Real Outlawz Records/BBR Music Group, the nine-track, roughly 29-minute project is produced primarily by Kristian Bush (Sugarland). It leans hard into traditional country instrumentation—plenty of steel guitar (Justin Schipper is prominent), banjo, dobro, B3 organ, and live-room playing—while giving K. Michelle’s powerful, textured voice and Memphis-bred storytelling room to operate. She co-wrote eight of the nine tracks and has been clear that country was her first love (The Judds, Lee Ann Womack, etc.), that labels steered her toward R&B for “other reasons,” and that she even earned a college scholarship partly through yodeling. That history shows.
K. Michelle’s Jesus & Whiskey Music ReviewThe spoken-word “Intro” sets a defiant, growth-over-revenge tone over pedal steel and piano before the record proper begins. “Yodel” is a cheeky, galloping highlight that actually deploys real yodeling (chest-to-head voice transitions) amid banjo rolls and outlaw-cowboy imagery; it’s playful without feeling novelty. “Blame Tennessee” is a strong identity statement—Daddy’s daughter, 100-proof, rough around the edges, getting drunk on Friday instead of dreaming of picket fences—with steel-swelled choruses and specific Memphis references (Beale Street, I-40). The title track is the conceptual center: Saturday night and Sunday morning held in equal regard. “I ain’t perfect / I still drink some when I’m hurting… I don’t fall down on my knees, but I still believe” and the John 8 “he without sin” closer land with conviction rather than sermonizing.
“Jack Daniel’s” treats the bottle as the most reliable man in her life with bar-ready energy and blue-note guitar; “Damn Good Friend” builds from acoustic/gospel-tinged reflection into a churchy bridge; “Handle On It” is front-porch medicine via whiskey and dobro. “Anything” (feat. Blush) edges more toward the soulful ballad side of her range, while the closer “If It Ain’t Broke” stays sultry. Early reviews have landed in the strong-to-excellent range (one 8/10, another 4/5), noting the live feel, the steel-heavy arrangements, and how comfortably her voice sits in the material.
From an Atlanta vantage—where many of us first encountered her via Love & Hip Hop and later RHOA—it’s easy to frame this as reality-TV adjacency or a calculated genre hop. That undersells it. The Memphis-to-Nashville throughline, the yodeling skill she has long possessed, the co-writing, and the absence of watered-down “crossover” production all point to someone claiming space she was previously denied rather than borrowing it. Country has long had a complicated relationship with Black artists; records like this (rooted, specific, unapologetic about faith and vice) matter more than broad statements about inclusion.
The short runtime keeps it from overstaying, though a couple of tracks lean on familiar barroom tropes and the writing occasionally gets knotted. It is not a reinvention of the form, nor does it need to be. It is a well-executed, personally grounded country album from a singer who has always had the instrument and the Southern perspective. Fans of her R&B catalog who can meet her halfway on the twang and steel should find plenty here; traditional country listeners open to a Black woman from Memphis doing the work without novelty framing will too. Stream it, especially the title track, “Blame Tennessee,” “Yodel,” and “Jack Daniel’s.”
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Buffie “The Body” Lewis, the Georgia-born model who became one of the most recognizable video vixens of the mid-2000s Atlanta and Southern hip-hop scene, recently sat down on The Tamron Hall Show to discuss her unexpected rise, her exit from the industry, and the quiet, hands-on life she lives today.
Born Buffie Carruth on January 7, 1977, in Athens, Georgia, she was the third of seven children. As a teenager she was slender—around 119 pounds and a size 3—before gaining weight into her signature curvy frame in the early 2000s. She graduated from Clarke Central High School in 1996.
Buffie ‘The Body’ Was an Atlanta Video Girl
Public biographies have long listed this timeline, though on Tamron Hall she stated she was already in her early forties during her video-vixen peak (around 2005), a claim that has sparked online discussion because it conflicts with the widely reported 1977 birth year and high-school graduation date.
Her modeling career began almost by accident. While in Baltimore around 2004–2005, she hired a photographer for swimsuit photos intended as a private gift for her boyfriend at the time.
Buffie ‘The Body’ Tamron Hall interview
The photographer posted some images online without her full consent; they spread rapidly on message boards and Yahoo Groups. “I never ever wanted to be a model. Never,” she told Tamron Hall. “I knew about Black Men magazines, I knew about XXL, I knew about eye candy, but it’s not something I was trying to do.”
The photos led to casting in Tony Yayo and 50 Cent’s “So Seductive” video, followed by appearances in videos for artists including Juelz Santana and Jim Jones, covers and pictorials in King, XXL, Black Men, Smooth, Vibe, and The Source, and a role as Big Booty Judy in the 2006 Atlanta-set film ATL.
She also hosted events and was linked in the press to figures in the Atlanta and broader hip-hop scene. She has described that era simply: “Just a video girl… half nude, you know, swimwear and stuff like that.” The money allowed her to buy a home and pay off bills.
By roughly 2007–2008 she stepped away from music videos and magazine modeling, later explaining she preferred not to be defined solely as the woman standing next to a rapper. She shifted into fitness, launching the Bodynomics platform, becoming a National Academy of Sports Medicine-certified personal trainer in 2012, and speaking about body transformation and healthy living.
Personal losses—her younger sister in 2005 and her mother in 2012, both to cancer—also shaped her priorities. In 2015 she married John Lewis; the couple co-founded the Brick Built apparel brand and live in South Carolina.
On Tamron Hall (which aired October 9, 2026), she reflected on leaving the glamorous chapter behind. “The being in front of a bunch of people and hosting events and just all that wasn’t me,” she said. When people ask what she’s doing now, her reply is often: “Nothing. I’m not doing nothing. Like it’s okay to not be doing anything.” She finds ease in yard work, carpentry, home projects, fitness, skating, tennis, and dancing—activities she shares on social media. In her own words from a related post, she accepted the Tamron Hall invitation because the show was interested in “what they saw me doing on social media TODAY… who I am NOW,” not only the Buffie the Body era of 15–20 years ago. Fans who still expect swimsuit shoots or video sets are often surprised by the contrast; she has noted she hasn’t done that work in well over a decade.31
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Lewis also addressed the age perception that surrounded her in the industry. “I was in my early forties but a lot of people didn’t even know that I was that old. Most of the girls who was in the industry with me, all the video girls, they was in their twenties… honey, I was already in forties.” She said the industry “chose” her rather than the other way around, and that saying no to later invitations came easily once she decided the lifestyle no longer fit.
Today she continues creating lifestyle, fitness, and DIY content, runs Brick Built with her husband, and emphasizes an ordinary, hands-on existence over the spotlight. Her Tamron Hall appearance highlighted the sharp contrast between the iconic mid-2000s video vixen image and the woman who now finds satisfaction cutting trees, building projects, and living simply in South Carolina.
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Rick Ross followed through on the most quoted line of his post-release remarks this weekend, turning a viral pasta order into an actual meal in Paris. He shared the footage this weekend in a post that quickly circulated the clip of the Maybach Music Group founder seated in a red-velvet booth as a server lifted a silver cloche to reveal a bowl of pasta.
Rick Ross Eats Rigatoni in Paris, Like He Said
The moment traces back to October 1, when Ross, whose legal name is William Leonard Roberts II, walked out of Miami’s Turner Guilford Knight Correctional Center after posting bond.
He had turned himself in that morning on a felony battery-by-strangulation charge and a misdemeanor battery charge stemming from an August 28 incident reported by his former girlfriend, model and content creator Jazzma Kendrick.
According to charging documents and contemporaneous reporting, she alleged he woke her enraged over an Instagram tag, slapped her, tightened a hoodie around her neck, and slammed her against a wall; she later posted photos she said showed a swollen lip.
Ross entered a not-guilty plea. Bail was set at $5,000 total, a stay-away order was imposed, and an arraignment was scheduled for October 22. His attorneys called the accusations fabricated and noted the police report came roughly a month after the alleged date.
Read up on the domestic abuse charges against Rick Ross.
Outside the jail, Ross first demanded silence, then declared himself “totally innocent of these fabricated allegations.” He pivoted almost immediately to his itinerary: Dubai the next day, Paris on Saturday, and, on Sunday, “a bowl of rigatoni with heavy marinara.” He repeated the order for emphasis—“I repeat: Rigatoni, heavy marinara”—then declined further questions. The specificity turned the clip into a meme within hours.
The Paris video shows the payoff, or a version of it. Split-screen footage pairs Ross’s earlier statement with scenes from the restaurant: he sits in a pale yellow outfit and chains against diamond-patterned red upholstery while a server in a dark suit removes the cloche and portions of orange-sauced pasta penne in an Alfredo-style sauce rather than the promised rigatoni in heavy marinara).
A green bottle and water glasses sit on the table; Ross gestures as the plate is presented. Online commenters immediately debated the sauce—some calling it light on marinara, others identifying it as vodka sauce—while the broader reaction mixed jokes about “Rick Rigatoni” with criticism that the celebration landed poorly against the unresolved domestic-violence allegations.
Either way, Ross made good on his word, enjoying the meal even as critics saw it as being in bad taste.
The case itself remains pending. Ross has maintained his innocence, his legal team has asked the public not to prejudge the matter, and no trial date has been set beyond the October 22 arraignment. The Paris footage, whatever the exact noodle and sauce, simply confirmed that the line he chose to leave reporters with was one he intended to keep.
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Ciara, the Grammy-winning singer from the Atlanta area, arrived at the BoF 500 gala in Paris on Saturday night looking radiant, her baby bump front and center in a sheer black lace look that fans quickly circulated online.
Footage shared online shows the “Goodies” and “1, 2 Step” star outside the event, smiling as she cradles her stomach in an oversized black blazer draped open over a form-fitting lace dress layered atop black undergarments.
Ciara Stuns At Paris Fashion Show
A large diamond cross pendant sits at her collarbone, and she wears pointed black heels. In closer shots she gestures toward the camera, her long highlighted waves framing a polished makeup look, before the clip ends on the nighttime street outside the venue. The post simply captioned her as “glowing.”
The appearance capped a full day in Paris. Earlier on October 3, Ciara made a surprise runway walk for Junya Watanabe’s Spring/Summer 2027 show during Paris Fashion Week, working three athleisure looks—purple and pink sets finished with red patent boots—including one topped by a crystal chandelier headpiece. By evening she had changed into the lace gala ensemble, consistent with coverage noting the sheer dress and diamond cross necklace.
The Business of Fashion’s annual BoF 500 gala, held at the Shangri-La Hotel Paris, honors people shaping the global fashion industry and drew a wide celebrity turnout this year. Ciara’s presence fits a season in which she has stayed highly visible while pregnant with her fifth child, a pregnancy she and husband Russell Wilson announced in early September. She already shares three children with Wilson—Sienna, Win, and Amora—and has a 12-year-old son, Future Zahir Wilburn, from a previous relationship.
Atlanta remains central to her story. Though born in Austin, Texas, to a military family, she spent her teenage years in the Atlanta area, graduating from Riverdale High School in Riverdale, Georgia, and building her early career in the city’s R&B and crunk scene before her 2004 breakthrough. City officials have previously marked a Ciara Day in Atlanta, and she has returned for community projects there, including a renovated dance studio for local youth.
The gala clip adds another chapter to a Paris Fashion Week that has already put her maternity style in the spotlight, blending the high-fashion runway with the more intimate red-carpet moment fans are sharing.
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“Out of all the Atlanta rappers, I love Lil Baby the most,” says Shanda Wims of East Atlanta. “She’s a super fan who never misses a Lil Baby performance locally. She’s looking. Forward to some new music.
Lil Baby’s next album is being billed as Fresh Prince of Atlanta, with a November 6, 2026 release date circulating widely after a viral post from the fan account Lil Baby Snippets.
Lil Baby Drops Fresh Prince of Atlanta
On October 2, the account @lilbabythegreat—which states in its bio that it is not affiliated with the rapper or his team—posted a roughly 30-second video clip under the caption “NEW LIL BABY ALBUM / November 6th / FRESH PRINCE OF ATLANTA.”
The clip shows Dominique Armani Jones (Lil Baby) in heavy jewelry, white frames, and casual luxury fits, intercut with street and studio-style visuals. The post quickly drew thousands of likes, hundreds of reposts, and widespread quote-tweets as fans and aggregator accounts amplified the date and title.
Music sites picked up the chatter the same day. HotNewHipHop reported that Lil Baby had reportedly locked in a November 6 release for a new project—his first major solo statement since WHAM in January 2025—while noting that an official title and tracklist had not yet been confirmed through his channels. Genius later listed Fresh Prince of Atlanta as an upcoming album, attaching the July 2026 single “Dead Fresh” to it.
That Pharrell Williams-produced track, first previewed at Louis Vuitton’s Spring-Summer 2027 menswear show in Paris, debuted at No. 18 on the Billboard Hot 100 and No. 3 on Hot R&B/Hip-Hop Songs. Its lyrics lean into the same “dead fresh” luxury imagery (Bottega, Chanel, Maybachs) that the album title now echoes.
The rollout sits against a busy but uneven stretch for the Atlanta rapper. WHAM opened at No. 1 on the Billboard 200 with 140,000 equivalent units and featured Young Thug, Future, 21 Savage, Travis Scott, and others.
A planned companion project titled Dominique was later shelved; instead, The Leaks arrived in December 2025. Through 2026 he has stayed visible via features—including “Ball My Love” on Quavo’s QRÖMELIFE and earlier cuts with DJ Khaled, Future, and Hotboii—while “Dead Fresh” marked his highest-profile solo single of the year.
Fan reaction to the November 6 date has split along familiar lines. Some longtime listeners treat the title and Pharrell link as a reset after WHAM’s mixed reception. Others, in replies to the original post, argued the sound still feels continuous with recent work. No full tracklist or confirmed features have surfaced beyond the Genius placeholder that includes “Dead Fresh” and an unfinished “Extra*” entry listing Playboi Carti and Young Thug.
As of early October, the November 6 date and Fresh Prince of Atlanta title remain tied most directly to the snippets account and secondary reports rather than a formal label or artist statement. If the date holds, the project would land just over a month after the initial wave of posts, giving little time for a traditional single rollout beyond the already-released “Dead Fresh.”
Final Word
Fortunately, there are other ways and venues to enjoy live music in Atlanta. Our Atlanta Live Music Guide lets you know every week and each fun-filled weekend who’s playing and where.
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Judge Judy told people unhappy with America to “go somewhere else.” Fellow TV judge Ms. Pat called the remarks out of touch, privileged, and something Sheindlin should be ashamed of.
The clash pits two blunt courtroom personalities against each other at a moment when Judith Sheindlin is winding down her on-camera career and Patricia “Ms. Pat” Williams is building her own unfiltered version of the same format.
Ms. Pat Responds To Judge Judy’s Comments
The exchange has become a shorthand for a larger argument: whether criticizing the country and demanding change is compatible with patriotism, or whether people who dislike the system should simply leave it.
What Judge Judy said
In a wide-ranging USA Today interview tied to the 30th anniversary of Judge Judy, Sheindlin, 83, described America as her home and “the greatest country in the world.” She praised its capitalist system, entrepreneurship, and culture of excellence, citing examples from the polio vaccine to Apple, Amazon, and AI. Then she drew a hard line.
“If you don’t like this country, go somewhere else,” she said. “Don’t come to the greatest country in the world, the most successful country in the world and say, ‘I want to change it.’ There are other countries that have the something else that you want. Go there.”
Sheindlin has used a house metaphor in related remarks: America is her home, and people should not walk in and announce they intend to redecorate it. She also rejected the idea that “everybody should be equal,” saying people differ in talent, height, and ability.
The comments came as CBS aired a primetime special looking back at her career and as she prepared to step back from regular on-camera work after Judy Justice wraps. The original Judge Judy ran 25 seasons from 1996 to 2021.
The remarks quickly drew criticism. On The View, Ana Navarro and Sunny Hostin accused Sheindlin of selfishness and failing to distinguish love of country from criticism of a particular government. Other cohosts defended her emphasis on excellence and free enterprise.
Ms. Pat’s response
Ms. Pat did not hold back when TMZ caught up with her on a rainy New York City street. The comedian and host of BET’s Ms. Pat Settles It and her own self-titled show, which films in Atlanta, said Sheindlin was “out of her mind” and spewing “stupid s***” that ignores the daily struggles of ordinary people.
She argued it is easy for Sheindlin to take that position because she is wealthy and white. For many Americans—especially minorities—leaving is not a realistic option, and the country’s problems land differently depending on who you are.
Ms. Pat said Sheindlin is out of touch with “the struggle of real people” and ought to be ashamed of herself. She added that when those same issues eventually hit Sheindlin personally, her reaction will not be polite.
The TMZ clip, posted September 29, captured her speaking directly to camera under an umbrella, delivering the kind of raw, profane dressing-down that has become her brand. TheGrio summarized her position as a challenge rooted in differing life circumstances: Sheindlin’s wealth and status give her a perspective many Americans simply do not share.
Two judges, two styles
The contrast is personal as well as political. Sheindlin built an empire on no-nonsense rulings, personal responsibility, and a courtroom style that brooks no excuses. Ms. Pat has openly described herself as “what Judge Judy would be if they weren’t holding her back.” A convicted felon who once sold cocaine, she now hosts a court-arbitration show that leans into comedy, family drama, and language that would never air on network daytime television. She has joked about wanting a crossover episode.
Their disagreement is not really about whether America has problems. It is about what people who live here are allowed to do about them. Sheindlin frames the country as a successful house that outsiders (or dissatisfied residents) should not try to gut and rebuild. Ms. Pat frames that view as the luxury of someone who has already won the game and no longer feels the cost of the rules.
The video and the original interview have circulated as two competing versions of blunt talk: one that says love it or leave it, and one that says that advice is easier to give from the top. Both women have made careers out of saying the quiet part out loud. This time they said it about each other.
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Atlanta area rapper Boosie Badazz is pushing back hard against fans who say he violated the street code by taking his fight public.
On September 14, 2026, he posted a roughly three-minute video from a pink-walled room, diamond chain on, speaking directly into the camera. The clip was his response to people calling him a snitch after he appeared on 60 Minutes to talk about two lobbyists he says took $600,000 from him for a presidential pardon that never arrived.
His message was blunt: this is not street business. It is a contract dispute.
Boosie’s Controversial 60 Minutes Segment
The day before, CBS’s 60 Minutes aired an investigation into “pardon brokers” — consultants who charge large fees while claiming they can get cases in front of President Donald Trump. Boosie was one of the people featured.
He told correspondent Lesley Stahl he paid Jack Burkman and Jacob Wohl of JM Burkman & Associates $600,000 upfront. “This is what I was led to believe: if you come with this money, you will get a pardon,” he said. The pardon never came. He says their agreement required them to return half the money if it failed. They refused. “They were just so cocky,” Boosie said.
Read: Boosie says he’s owed $600K in pardon deal.
The pair has a documented history of legal trouble, including a large FCC fine tied to robocall activity. They have disputed Boosie’s account, denied a refund was owed, and said they performed work on his behalf. Burkman has said they “tried very, very hard.”
Boosie later posted that he sat for about an hour and that only fragments made the broadcast. He said he also described meeting the White House pardon czar, being told the president had signed a pardon, and having a dismissed case later revived with an added claim that he was an “addict” around a firearm — something he called unfair given he had never been offered rehab despite a prior marijuana sentence. He said he wants far more than a partial refund and hopes the interview helps him in civil court.
Boosie Responds To 60 Minutes Interview
After the segment, social media did what social media does with Boosie: it reached for his own past comments about snitching. Replies to his video included lines like “That’s not snitching?” and “I thought you didn’t like snitches? Now you snitching.” Others accused him of talking tough about “his own people” while taking white lobbyists to court and television.
In the video, Boosie argued that people were mixing two different worlds. Taking someone to court after they sign a contract, take hundreds of thousands of dollars, fail to deliver, and refuse to return the money is not the same as cooperating with police on a street case. “This is business, bro. This ain’t no street sh*t,” he said, according to recaps of the clip. He asked what critics expected him to do instead — “keep it in the street” with government lobbyists?
That distinction is the heart of the argument. Boosie has spent years publicly condemning informants. Going on national television to name the men he says scammed him, describe the deal, and pursue money in a legal process looks, to some fans, like the opposite of that stance. To him, suing two political operatives over a written (if sloppy) business arrangement is simply collecting what he is owed.
The Larger Picture
Boosie, born Torrence Hatch Jr., was dealing with a federal gun case tied to being a felon in possession of a firearm. Travel limits and the threat of more prison time made a pardon attractive. The lobbyists approached his lawyers in 2025, sold access and influence, and collected a large upfront fee. A contract reportedly included a $300,000 refund clause if no pardon arrived by a deadline; the document also contained errors, including a date that had already passed.
60 Minutes presented his story as part of a wider market in which people charge hundreds of thousands — and in some pitches, millions — while dropping names of activists, members of Congress, and White House staff. Boosie was not the only client described. He has called the arrangement a scam and said the men preyed on him while he was under pressure.
The video did not settle the debate. Some viewers still see a rapper who built a brand on not cooperating now using courts and cameras when the other side is white political operatives. Others see a man who paid a fortune, got nothing, and is using the only tools that actually work against people like that.
Boosie is treating it as a business collection matter. A large part of his audience is treating it as a test of the code he has spent years preaching. That gap is why a three-minute phone video, posted hours after a 60 Minutes appearance, became the next round of the story.
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The Jennifer Hudson Show kicked off its fifth season in high spirits on September 14, 2026, and few guests could match the arrival of Tyler Perry. The prolific filmmaker, actor, and studio owner strode through the show’s hallway—often called the Spirit Tunnel—dancing, smiling, and soaking in the applause from staff lined along the walls.
Tyler Perry Dances Down Aisle 1 Week After Releasing ‘Why Did I Get Married Again?’
Just days earlier, Perry released his latest Netflix production, Why Did I Get Married Again?
Perry, dressed in a sharp white jacket over black, moves with easy charisma as the crowd cheers him toward the stage. The short video captures the lively, welcoming atmosphere Jennifer Hudson has built for her daytime talk show, which returned with a star-studded premiere week.
Perry’s appearance marked his first visit to the program, where he discussed his latest Netflix film, Why Did I Get Married Again?.
The moment feels characteristic of Perry’s public presence: larger-than-life yet approachable, blending showmanship with the work ethic that built Tyler Perry Studios in Atlanta into a major production hub.
A Powerhouse Partnership With Netflix
Perry’s visit comes amid continued success in his creative partnership with Netflix. After an initial multi-year first-look deal for feature films, the relationship expanded to include television series. He writes, directs, and produces under the arrangement, delivering both movies and scripted series at a rapid clip.
Among the standout series is Beauty in Black, an hour-long drama that follows two women from different worlds whose lives become intertwined. The show performed well enough to earn additional seasons, with later parts rolling out across 2025 and into 2026. Perry has also lined up Where There’s Smoke, a 16-episode firefighter drama announced in early 2026 that explores the high-stakes professional and personal lives of first responders. Other Netflix series work includes She the People.21
On the film side, the partnership has produced titles such as A Madea Homecoming, A Jazzman’s Blues, Mea Culpa, Six Triple Eight, and the new Why Did I Get Married Again? that Perry promoted on Hudson’s show. The volume and consistency of output have reinforced Perry’s reputation as one of Hollywood’s most prolific creators, particularly in stories centered on Black experiences, family, faith, and resilience.
Hudson’s show itself has grown into a reliable platform for these kinds of conversations, mixing celebrity interviews with music and community stories. Perry’s dancing entrance set a celebratory tone for a season that also features guests like Doja Cat, Tom Cruise, Jamie Foxx, and H.E.R.
The clip from the hallway quickly circulated because it felt unscripted and joyful—exactly the kind of moment daytime television does well. For Perry, it was another stop in a career that now spans plays, films, long-running BET and Paramount+ series, a massive Atlanta studio complex, and a deepening slate at Netflix. Viewers tuning in saw both the entertainer and the executive: the man who still knows how to work a room and the producer steadily expanding his footprint on one of the world’s largest streaming platforms.
Because of the steady flow of movie and TV productions, Atlanta has been called the Hollywood of the South and it’s not just a label.. If you want to be an actor, the city has classes you can take as well as places that provide headshots and more. You can also audition at numerous casting calls to build your movie and TV reel.
Coming 2 America is just one of many films filmed in Atlanta. See our Movies Page for more.
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With more than 900 movie and TV projects just in the last few years, the film industry has generated more than $9 billion for the state of Georgia.
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FAIRBURN, Ga. — The Atlanta Fashion & Polo Classic is back for its ninth year, mixing competitive polo, fashion and celebrity culture into a fundraiser for youth equestrian access.
The landmark event is scheduled for Saturday, Sept. 19, from noon to 6 p.m. at Bouckaert Farm, 10045 Cedar Grove Road in Fairburn.
Atlanta Fashion & Polo Classic returns Sept. 19 with Tyrese, luxury polo and a growing youth pipeline
Presented by the Miguel Wilson Collection and the Ride to the Olympics Foundation, it is sponsored by Bentley Atlanta, Ben Crump Law and Indigo Road Realty.
Organizers expect more than 2,000 guests. The weekend opens Friday, Sept. 18, with a ticket-holder welcome party sponsored by Ben Crump Law at The Westin Atlanta Airport Hotel.
Saturday’s main program features gourmet food, signature cocktails, live music, three party tents and polo matches involving the Atlanta B.E.S.T. Academy Polo Team, the Morehouse Polo Club and a visiting Nigerian polo team.
Singer, songwriter and actor Tyrese is slated to headline with a live performance. Other announced guests include radio host Frank Ski, radio personality Kenny Burns, producer-songwriter Bryan-Michael Cox, actors Clifton Powell and Rob Riley, rapper Pastor Troy and comedian Red Grant.
Past attendees have included Atlanta Mayor Andre Dickens, Maryland Gov. Wes Moore, Pastor Jamal Bryant, Young Jeezy, Nene Leakes, Cynthia Bailey, Sheree Whitfield, Egypt Sherrod and Mike Jackson, Q Parker, RL of Next, and Waka Flocka.
“When we launched this event nine years ago, we couldn’t have envisioned the incredible impact it would have,” founder Miguel Wilson said. “Nearly a decade later, the excitement is unmatched. We’ve been receiving calls since the start of the year, with guests flying in from across the country. I couldn’t be more thrilled to welcome everyone for an unforgettable ninth year.”
All proceeds support the Ride to the Olympics Foundation, a nonprofit that works to give young people in underrepresented communities access to equestrian sports. The Classic has been the foundation’s primary fundraiser for nine years.
The foundation backs the Morehouse Polo Club, which first appeared at the second Classic as the first HBCU polo team and earned U.S. Polo Association certification in 2020. It also supports the Atlanta B.E.S.T. Academy Polo Team, introduced last year as the nation’s first all-Black high school polo team registered with the USPA. That team grew out of a partnership among the foundation, Atlanta B.E.S.T. Academy and 100 Black Men of Atlanta.
“The heartbeat of this event will always be the impact that we are making with these young riders. They are at the center of all of this,” Wilson said. “Seeing the Morehouse Polo Club and the Atlanta B.E.S.T. Academy team take the field is proof of concept. We’re actively breaking down barriers in equestrian sports. This is about building a legacy and giving our youth access to a world they were previously shut out of.”
Atlanta has a lot of cool things to do and places to eat, including some of the top soul food joints and remarkable Thai food spots. Explore the city.
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Ciara and Russell Wilson are expanding their family again. On Sunday, September 6, 2026, the Grammy-winning singer announced that she is pregnant with her fifth child — and her fourth with Wilson.
The couple shared the news on Instagram with a mix of vintage-looking photos and videos. Ciara showed off a growing baby bump and captioned the post, “One more person to love.”
Ciara Pregnant With Fifth Child
The couple has not revealed the baby’s sex or due date.
A long-running family joke becomes real
For nearly three years, Wilson has been campaigning for “Cinco.”
Ciara has said the campaign started in the delivery room. Shortly after she gave birth to daughter Amora Princess in December 2023, Wilson asked about baby No. 5. She later recalled telling him, laughing, to “slow it down.”18
In interviews over the next two years, she never closed the door. She called motherhood her favorite job and said she could see “cinco” happening “one day… because why not?” In July 2026, she told Us Weekly that Wilson had been “the one to pick this thing off.”
Now the punchline has a due date.
The Wilson-Ciara household, soon to be seven
This will be Ciara’s fifth child and Wilson’s fourth. Their blended family already includes:
- Future Zahir, 11, Ciara’s son with rapper Future
- Sienna Princess, 9
- Win Harrison, 5
- Amora Princess, 2
Sienna, Win, and Amora are Ciara and Wilson’s children together. The couple married in 2016.
Their children have often arrived about three years apart. Amora was born in December 2023. A 2026 arrival would keep a similar rhythm, even if Ciara once said they were not bound to that pattern.
Why the announcement lands now
Ciara, 40, and Wilson, 37, have spent a decade treating family life as part of their public story: red carpets, football sidelines, fashion weeks, and candid talk about faith, parenting, and wanting more kids “when the time is right.”
Wilson’s “Cinco” comments became a running bit with fans. Ciara played along, asked for “a little love and sympathy” for her uterus, and still left the possibility open. Sunday’s post closes that chapter and starts another.
For now, the details that usually follow a celebrity pregnancy — names, a gender reveal, a due-month — are still private. What is public is the headline the couple chose themselves: one more person to love.
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