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Kim Zolciak admits she used daughter's modeling earnings to pay bills out of desperation

Kim Zolciak admits she used daughter's modeling earnings to pay bills out of desperation

Daily Mail​5 days ago
Kim Zolciak admitted to stealing her daughter Ariana Biermann's money on Thursday — and the model watched her mom's confession from the front row of a live audience.
The 47-year-old appeared on Watch What Happens Live, where she told host Andy Cohen that she spent all of her daughter's modeling income from her teen years - but she insisted that she only used it to pay bills out of desperation amid her home foreclosure drama and her ugly divorce from her estranged husband Kroy Biermann, 39.
Elsewhere in the interview, the former Real Housewives Of Atlanta star revealed that she had moved on with a new man after splitting from the ex-NFL player, though she kept his identity a secret.
While speaking of turning to her children for financial supporting, Kim claimed that 'the rug was pulled out from the Zolciaks.'
She said: 'I was left holding the bag for the family, and yeah. . . '
Zolciak also confirmed that it wasn't just 23-year-old Ariana's money that went to paying for necessities, as her daughter Brielle, 28, also pitched in money 'for the bills and stuff,' though it sounded as if she at least had the option to consent to giving up her money.
Ariana previously claimed on her reality series Next Gen NYC that her mother and stepfather didn't tell her that they had used all of the money she had earned from modeling gigs and influencer jobs.
However, Zolciak appeared to have worked things out with her daughter, as Ariana didn't look overly angry with her mother during the segment, and she beamed widely when Zolciak and Cohen talked about more upbeat topics.
The reality TV star added that she had already repaid Ariana's money that had gone toward bills, and she suggested that she had 'spreadsheets' of what her daughter had made over the years to balance further down the road.
But Cohen didn't buy that Zolciak had done full due diligence on her debts to her second-oldest daughter.
He quipped: 'I don't imagine you have any spreadsheets.'
Zolciak admitted: 'I don't have — I don't even know how to do it!'
She was more animated during her appearance when the reality star admitted she was seeing a new man after splitting from Biermann.
Kim said: 'He's just great. You know, I sat in the house and just worked and tried to take care of everything for 20 months, and then I finally met somebody great.'
She didn't reveal her new man's identity, but she did say that a mutual friend had introduced them.
Kim also indicated that things were tense with her estranged husband, though the pressure seemed to have gone down a bit after she had moved out of their mansion outside of Atlanta into her own home.
She said: 'I would definitely prefer to communicate more regarding the children, but it's just not there right now.'
The exes share four minor children: Kroy 'KJ' Jr., 14; Kash, 12; and fraternal twins Kane and Kaia, 11.
Kim's adult daughters, Brielle and Ariana, both come from previous relationships.
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Chris Cuomo trolled for falling for AOC deepfake video about Sydney Sweeney
Chris Cuomo trolled for falling for AOC deepfake video about Sydney Sweeney

The Independent

time28 minutes ago

  • The Independent

Chris Cuomo trolled for falling for AOC deepfake video about Sydney Sweeney

NewsNation host Chris Cuomo is being trolled on social media after falling for a deepfake video purporting to show New York Democratic Rep. Alexandria Ocasio-Cortez discussing the Sydney Sweeney jeans furore on the House floor. Cuomo posted an Instagram video on his X account on Wednesday – believing it to be real, having apparently not noticed its watermark admitting that the clip was 'parody 100% made with AI ' – that showed 'AOC' arguing that Sweeney's new American Eagle commercial, in which she declares that she has 'great jeans', a pun on 'genes,' is racist. Accompanying the post, the anchor wrote in a fever of righteous indignation: 'Nothing about hamas or people burning jews cars. But sweeney jeans ad? Deserved time on floor of congress? What happd to this party? Fight for small business …not for small culture wars.' In addition to the watermark and the fact that Congress is not in session, Cuomo was also not skeptical of the language used by 'AOC' in the video. 'Sydney Sweeney looks like an Aryan goddess, and the American Eagle jeans campaign is blatant Nazi propaganda,' the AI Ocasio-Cortez tells Congress. 'I mean, f***. Watching that sultry little temptress squeeze into a Canadian tuxedo three sizes too small with her bouncy little funbags on the screen staring at you, piercing through the core of your soul with those ocean-blue eyes that could resurrect the Fuhrer from his grave in Argentina, is something that should alarm every American citizen because in America, beauty is not defined by whiteness. 'Oh no, it is defined by the number of victim groups of which you are a member, skinny, attractive, blonde-haired, blue-eyed cisgender women descended from the slave daddy oppressors of this nation. And any man who [masturbates] while thinking about a woman like this probably hates Black people, probably hates gay people, and they certainly hate the diversity of our great nation.' The fake representative concludes her rousing address by declaring: 'So I say, instead of simping for the Sidneys, we should be celebrating the Shaniquas. Instead of worshipping the hot, straight blonde, what about the obese alpha? People with blue hair. They need love too. And to all the haters who say companies that go woke go broke, I'd rather be poor than a f*****g Nazi.' One of the first to call out the credulous Cuomo over the blunder was the real Ocasio-Cortez, who told him: 'This is a deepfake dude. Please use your critical thinking skills. At this point, you're just reposting Facebook memes and calling it journalism.' The journalist took down the post in question and responded: 'You are correct… that was a deepfake (but it really does sound like you). Thank you for correcting. But now to the central claim: show me you calling on hamas to surrender or addressing the bombing of a car in st louis belonging to the idf american soldier?…dude?' Ocasio-Cortez replied in withering style: 'You seem to struggle with knowing how to write an apology. Do you need help? Maybe you should call someone.' The anchor later addressed the controversy on his show, admitting his mistake while also doubling down on his attack on the congresswoman for supposedly ignoring issues in the Middle East and underachieving as a legislator. The attempted pivot did not shield him from further criticism, with Piers Morgan posting: 'Oh dear Chris Cuomo – perhaps spend less time bitching about me and more time trying to spot obvious fakes.' Tim Miller of The Bulwark commented: 'It doesn't augur well for our societal AI future if a professional news anchor gets tricked by a video that has a '100% parody' watermark.' Mike Isaacs, tech reporter for The New York Times, said the incident provided an ample demonstration of why he is 'increasingly convinced we need to administer the equivalent of drivers license tests for access to the internet every five years, forever.' Cuomo was not the only person taken in by the deepfake. Some commentators responding to the original video likewise assumed it was real and accused Ocasio-Cortez of being 'jealous' of Sweeney's beauty.

From the Stones to Cardi B, this college haunt has attracted big acts for 50 years
From the Stones to Cardi B, this college haunt has attracted big acts for 50 years

The Independent

time28 minutes ago

  • The Independent

From the Stones to Cardi B, this college haunt has attracted big acts for 50 years

Nestled on a narrow, one-way street among Yale University buildings, a pizza joint and an ice cream shop, Toad's Place looks like a typical haunt for college kids. But inside the modest, two-story building is a veritable museum of paintings and signed photos depicting the head-turning array of artists who've played the nightclub over the years: The Rolling Stones. Bob Dylan. Billy Joel. Bruce Springsteen. U2. The Ramones and Johnny Cash. Rap stars Kendrick Lamar, Drake, Kanye West, Cardi B, Run-D.M.C., Snoop Dogg and Public Enemy. Blues legends B.B. King, Bo Diddley, Muddy Waters, Willie Dixon and John Lee Hooker. And jazz greats Count Basie, Dizzy Gillespie and Herbie Hancock. This year, the New Haven institution is celebrating 50 years in business. And the people who made it happen are reflecting on Toad's success in attracting so many top acts to a venue with a standing-only capacity of about 1,000. 'You know, I thought it would be good for a few years and then I'd be out doing something else,' said owner Brian Phelps, 71, who started as the club's manager in 1976. 'And then the thing started to happen when some of the big bands started to come here.' Music and cheap beer fuel success Original owner Mike Spoerndle initially opened Toad's Place in January 1975 as a French restaurant with two friends he later bought out. Before that, the building had been a burger and sandwich joint. But when the restaurant got off to a slow start, Spoerndle had an idea for bringing in more customers, especially students: music, dancing and beer. A Tuesday night promotion with bands and 25-cent brews helped turn the tide. Among the acts who performed was New Haven-born Michael Bolotin, who would change his name to Michael Bolton and go on to become a Grammy-winning ballad writer and singer. The gregarious and charismatic Spoerndle, who died in 2011, endeared himself to bands and customers. A local musician he tapped as Toad's booking agent used his connections to bring in area bands and, later, major blues acts. Then, in 1977, came a crucial moment. Spoerndle met and befriended concert promoter Jim Koplik, who would bring in many big names to Toad's over the years, and still does today. 'Mike knew how to make a really great room and Brian knew how to really run a great room,' said Koplik, now president of Live Nation for Connecticut and upstate New York. A year later, Springsteen stopped by Toad's to play with the Rhode Island band Beaver Brown after he finished a three-hour show at the nearby New Haven Coliseum. In 1980, Billy Joel stunned Toad's by picking it — and several other venues — to record songs for his first live album, 'Songs in the Attic.' That same year, a little-known band from Ireland would play at Toad's as an opening act. It was among the first shows U2 played in North America. The band played the club two more times in 1981 before hitting it big. An unforgettable show for $3.01 On a Saturday night in August 1989, Toad's advertised a performance by a local band, The Sons of Bob, and a celebration of Koplik's 40th birthday, followed by a dance party. The admission price: $3.01. After The Sons of Bob did a half-hour set, Spoerndle and Koplik took the stage. 'Ladies and gentlemen,' Spoerndle said. Koplik followed with, 'Please welcome the Rolling Stones!' The stunned crowd of around 700 erupted as the Stones kicked off an hourlong show with 'Start Me Up.' 'Thank you. Good, good, good. We've been playing for ourselves the last six weeks,' Mick Jagger told the crowd. The Stones had been practicing at a former school in Washington, Connecticut, for their upcoming 'Steel Wheels' tour — their first in seven years — and had wanted to play a small club as a warmup. The band's promoter called Koplik, who recommended Toad's. The band agreed, but insisted on secrecy. Those at Toad's kept a lid on it for the most part, but swirling rumors helped pack the club. Doug Steinschneider, a local musician, was one of those at the venue that night after a friend told him the Stones would be playing. He wasn't able to get in, but managed to get near a side door where he could see Jagger singing. 'It was amazing!' said Steinschneider. 'For being a place where major bands show up, it's a tiny venue. So you get to see the band in their real element. In other words, you're not watching a screen.' A few months later, Bob Dylan's manager reached out looking for a club where he could warm up for an upcoming tour. Dylan's 1990 show at Toad's sold out in 18 minutes. He played four-plus hours — believed to be his longest performance — beginning with a cover of Joe South's 1970 song 'Walk a Mile in My Shoes' and ending with his own 'All Along the Watchtower.' 'That was a good one,' Phelps recalled. Variety is the key to longevity Phelps — who bought out Spoerndle's stake in Toad's in 1998 — believes the secret to the venue's longevity has been bringing in acts from different genres, along with events such as dance nights and 'battle of the bands'. Rap shows especially draw big crowds, he said. Naughty by Nature and Public Enemy played Toad's in 1992. After releasing his first album, Kanye West played there in 2004 with John Legend on keyboards. Drake played Toad's in 2009, early in his music career. And Snoop Dogg stopped by to perform in 2012 and 2014. 'When you have all these things, all ages, all different styles of music, and you have some dance parties to fill in where you need them, especially during a slow year, it brings enough capital in so that you can stay in business and keep moving forward,' Phelps said. On a recent night, as local groups took the stage for a battle of the bands contest, many were in awe of playing in the same space where so many legends have performed. Rook Bazinet, the 22-year-old singer of the Hartford-based emo group Nor Fork, said the band members' parents told them of all the big acts they'd seen at the New Haven hot spot over the years. Bazinet's mom had seen Phish there in the '90s. 'Me, the Stones and Bob Dylan,' Bazinet added. 'I'm glad to be on that list.'

Why did Ghislaine Maxwell do what she did?
Why did Ghislaine Maxwell do what she did?

The Guardian

time29 minutes ago

  • The Guardian

Why did Ghislaine Maxwell do what she did?

Days after Ghislaine Maxwell met with the deputy attorney general Todd Blanche, the convicted child sex trafficker and longtime Jeffrey Epstein girlfriend and procurer was moved from a women's federal prison in Tallahassee, Florida, to a so-called 'prison camp' in Texas, a dramatically more comfortable minimum-security environment with dormitory-style housing and fewer guards, sometimes called 'Club Fed'. Maxwell's new camp primarily houses nonviolent offenders, and the inmates there are reportedly livid, and probably not a little bit frightened, to be imprisoned with one of the world's most notorious sex traffickers and alleged rapists. Maxwell, too, was not initially eligible for such a transfer, due to her sex offender status; connections at the Department of Justice had to waive a procedural requirement in order for the move to go through. The transfer appears to be a reward. As Donald Trump struggles to extract himself from the continuing fallout of the Epstein scandal, Maxwell finds herself, now, in the best position that she has been in since her one-time partner Epstein died in a jail cell in 2019. Suddenly, she has something that the president wants: the ability to say, truthfully or no, that Trump had nothing to do with Epstein's sex trafficking. The president, too, has something that Maxwell wants: the ability to issue a pardon. Maxwell has always formed the dark center of the Epstein saga, a woman who appears to have been exceptionally dedicated to arranging Epstein's life, facilitating his travel, luring new victims to his homes, and coordinating his sexual abuse over the course of decades. Alleged victims of Epstein recall being recruited by Maxwell in public places – including at Donald Trump's Mar-a-Lago club in Palm Beach – and through friends. They say that she inspected their bodies, brought them to Epstein's homes, talked incessantly about sex, and instructed them in Epstein's sexual preferences. They also say that Epstein and Maxwell sometimes made them available for sexual abuse by their friends. She is widely presumed to know more than she has yet been willing to tell about the extent to which Epstein's large network of powerful businessmen, politicians, and financiers knew about or participated in his rapes and trafficking of children. What is less clear, at least at first, is what motivated her to facilitate the abuse, and what kept her so loyal to Epstein over so many years. Maybe this kind of life – one spent attending to men's lesser desires – was always what Maxwell was destined for. The ninth and youngest child of a British media magnate, Maxwell was doted on by her father, the Hungarian-born Robert Maxwell, and raised in Oxford in a family as obscenely wealthy as it was darkly tragic: one of her older brothers was in a hideous car accident just days after Ghislaine's birth, and the boy lingered in a coma for years before dying before her 10th birthday. Her father financed her life as a high-class party girl – first in London, and then in New York – where she spent much of her time accompanying famous and wealthy men to the kind of rich people's social functions that have a pretext of raising money for charity. She does not seem to have had aims beyond that: despite her ample resources and encouragement, Ghislaine never showed much sign of intellectual ambition, or political interest, or business acumen, or general curiosity. (A short-lived 'ocean protection' charity that she founded accomplished little, and shut down after her arrest on sex trafficking charges.) It was not merely that Ghislaine was a product of an elite unburdened by principle, who often reduce their daughters to mere ornaments. It is that an ornament, it seems, is all that Ghislaine Maxwell ever aspired to be. It was not her charity, or her father's publishing, that were Maxwell's great passions. Her great passion appears to have been for the romantic attention of men – and specifically, her life's greatest animating goal seems to have been to achieve, and keep, the attention of Jeffrey Epstein. From those accounts we have of their relationship – and admittedly, these are not always reliable, given how intense, widespread, and prurient the attention on their activities has been – it appears that Maxwell's devotion to Epstein was intense. At her trial in 2021, prosecutors entered into evidence a photo of a cleavage-bearing Maxwell with Epstein, massaging his foot. This seems to have been her posture toward Epstein for the entire time she knew him: slavish, nearly worshipful. The pair met sometime in the late 1980s or early 1990s. Maxwell's father, Robert, died in an apparent suicide in the ocean off the coast of the Canary Islands – aboard his yacht, the Lady Ghislaine – in late 1991. Soon thereafter, it was discovered that millions of dollars were missing from pension funds that he managed; two of Maxwell's brothers were charged for their alleged role in the fraud. (They were later acquitted.) It was during this moment of rupture and imperiled status that Maxwell was romantically involved with Epstein. Her boyfriend would have served as a meal ticket as well as a source of validation: Maxwell is alleged to have received payments from Epstein totaling more than $30m; she told one of her victims that he bought her her New York City townhouse, just a few blocks from his own. By 1994, she was recruiting and grooming teenagers for his sexual abuse. Maybe Maxwell justified what she did for Epstein as kink – a kind of sexual libertinism that shrugged off the regressive, prurient mores of the lower classes. The 90s were the peak of a kind of reductive heterosexual sex-positivity: lots of women were telling themselves, and being told, that sexual submission was a mark of sophistication – that the more liberated they were, the more of men's desires they would grant. But this is all speculation: trying to provide a rationalization for Ghislaine Maxwell's actions evades the true terror of her, which is her seemingly profound and horrifying vacancy. To such a person, obedience does not require a justification. Unequal desire in love – particularly when the suffering lover is a woman – tends to elicit a kind of pity. Feminists, too, often depict women's outsized desire for men as a form of gendered victimization. Generally, it is not seen as serious – women's limerence, romantic obsession, and striving for men's attention is broadly relegated to the realm of the adolescent and the vulgar, the embarrassing and the silly. But Maxwell's case suggests such desire can breed not just frustrated vanity but also a kind of monstrousness. Untempered by principle or self-respect, it can contain in it the seed of the grotesque. In her efforts to please Epstein, and to make herself useful to him, Maxwell became something hideous and unforgivable. In her deficient, warped soul, it seems she lacked something that every woman must have: a morality that she valued more than male approval. Moira Donegan is a Guardian US columnist

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