"You don't golf, you play video games" - Gilbert Arenas thinks LeBron was trying to send a message playing golf in Cleveland
LeBron James refuted rumors that he is plotting another comeback in Cleveland after he was seen golfing in Ohio with a "Welcome home" cap and visiting the Cavaliers' practice facility.
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However, one person who is not convinced about LeBron's denial is Gilbert Arenas, who said it's fishy that James hasn't said anything since the start of free agency, and then he shows up in Cleveland playing golf with a "Welcome Home" cap.
"Hmm… It's been very, very quiet on these free agent streets, and you wanna show up, pop out in Ohio at a golf course with the 'Welcome Home' hat on," wondered Gil.
"One, nobody golfs in Ohio, okay? Yeah, you only got one golf course in the top two hundred. Ain't nobody going there, okay? Two, we seen your swing. Ni—a, you don't golf, okay? That's not what you do. You play video games. Yeah, you Madden. Yeah, you like Madden and Call of Duty. So, you don't need to be on the golf course right about now in Ohio talking about Welcome Home," he added. "What's the plan, ni—a? Yeah. Huh? I got the checks. I don't got the plan. Yeah, yeah, yeah. If you think you're about to just leave us with the team we got, ni—a, you fool, okay?"
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LeBron could be the veteran star who takes the Cavs to the next level
James recently opted in to his $52.6 million player option to return to the Los Angeles Lakers next season. Still, shortly after that, his super agent, Rich Paul, talked to the media about his client wanting to compete for another NBA title and being unsure whether the Purple & Gold can build a championship-caliber roster this summer.
The Klutch Sports founder's statement fueled speculations that LeBron might be trying to force his way out of Los Angeles. Among the teams immediately linked to him was, of course, his hometown Cavaliers, who were the second-best regular-season team in the NBA last season but could not advance past the second round of the playoffs.
It's unclear whether Dan Gilbert and the Cavs are interested in the 40-year-old star. However, some experts believe that if the Cavaliers can pull off a Bron trade, he would be the veteran presence who could take them to the next level.
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Related: "I literally have nothing to offer" - Kukoc admits he told the Bulls not to re-sign him before they even offered a new contract
Gil issued LeBron a warning
As James said, there is no truth to that rumor, and he goes to his hometown every summer and trains at the Cavs' facility while there. Arenas seemed unconvinced, although he sounded half-joking. Agent Zero threatened to kidnap Bronny if Bron doesn't return to L.A.
"We got your son. Yeah, Bronny James ain't going nowhere, huh? Yeah, you ain't leaving your family, huh? You think you're the only one that got a plan around here, nigga? I got my mask on, boy. Hey, I'm showing up to Vegas right now. Huh? Operation: Hold Barney hostage until that ni—a come home," Arenas continued.
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LeBron Jr. is expected to play in the Las Vegas Summer League, which begins on July 10th. The Purple & Gold are currently in San Francisco for the California Classic, but Bronny did not play in the Lakers' Saturday game against the Golden State Warriors. He could, however, suit up for their Sunday matchup against the Miami Heat.
Related: "You're trying to make LeBron quit" - Bomani Jones rips the Lakers for believing they can win with Deandre Ayton
This story was originally reported by Basketball Network on Jul 6, 2025, where it first appeared.
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Forbes
31 minutes ago
- Forbes
Relive Johnny Cash At Folsom And San Quentin In Photographs
"The Prison Concerts: Folsom And San Quentin (Jim Marshall's Photographs of Johnny Cash)," installation view at the Momentary in Bentonville, AR. Jared Sorrells for the Momentary Johnny Cash was a protest singer. The genre was country, but the message was protest. America's mistreatment of Native Americans, veterans, working people, poor people. Most famously, America's mistreatment of incarcerated people. Songs including 'Folsom Prison Blues,' 'I Got Stripes,' 'Jacob Green,' 'Man in Black,' 'The Wall,' 'Starkville City Jail,' and 'San Quentin' all showed empathy for inmates in a country that has almost none. Cash spent a couple nights in jail, but never did prison time. As an artist, as an empath, he didn't need to to understand how barbaric caging people was. 'San Quentin, what good do you think you do? Do you think I'll be different when you're through? You bent my heart and mind and you warp my soul And your stone walls turn my blood a little cold.' 'Jacob Green' offers an even fiercer indictment of the prison system. A young man busted for the simple offense of possession is humiliated and abused by his guards resulting suicide. America's worst-in-the-free-world prison system would become dramatically worse following the height of Cash's prison advocacy and chart popularity in the 1960s and 1970s. The nation's so-called 'war on drugs' and 'get tough on crime' hysteria fostered during the Nixon Administration and accelerated under Ronald Reagan did nothing to abate drug use or reduce crime, but prison populations exploded as petty criminals and drug users were locked away. Today, America imprisons more people than any other democracy on earth by a wide margin. A disproportionate percentage of these inmates were and are Black and poor. America's system of 'criminal justice' from policing to prosecution to punishment has always been rigged against poor people and minorities. Cash saw this 50-plus years ago. He was awake to the injustice. Woke. The singer testified before Congress and met with Nixon in 1972 to discuss prison reform. Still a patriot through and through, despite it all, Cash exposed the stupidity of the old right-wing saw, 'love it or leave it.' Cash loved it and wanted to use his songs to make it better. He knew America wasn't perfect. That obvious conclusion didn't mean he didn't love it. Johnny Cash At Folsom And San Quentin "The Prison Concerts: Folsom And San Quentin (Jim Marshall's Photographs of Johnny Cash)," installation view at the Momentary in Bentonville, AR. Jared Sorrells photography for the Momentary. Cash first played at Folsom in 1966. He wrote 'Folsom Prison Blues' way back in 1953, his first big hit. The song came to him after watching 'Inside the Walls of Folsom Prison' (1951) while serving in the Air Force in West Germany. In 1968, Johnny Cash was spiraling personally and professionally. An idea he pitched to his record label many years prior of performing live at the notorious state prison in Folsom, CA was finally approved after a leadership shakeup at Columbia Records. The company's hopes were not high. Conventional wisdom held that country music's ultra-conservative, Bible-thumping, 'law and order,' fan base wouldn't be interested in hearing Cash sing to and dignify criminals. On January 13, 1968, Johnny Cash showed up at Folsom for the show along with June Carter–the duo would marry two weeks later–his band, the Tennessee Three, and opening acts and background singers the Statler Brothers and Carl Perkins. Then history happened. Cash turned in a fully engaged performance for the ages. When the album was released later that spring, the public went wild. Number one album. Number one single. Grammy award. Cash actually played two separate shows that day, assuring the album would have enough quality recorded material to choose from. The first take was nearly perfect. Cash was back, off the strength of a live album recorded in a maximum-security prison to an audience most country music fans would recommend be executed, not entertained. Such is the power of music. The following year, he gave a similarly lauded in-person, in prison performance at San Quentin. He performed for inmates multiple times. Jim Marshall Johnny, June, and the band were joined by music photographer Jim Marshall at the Folsom and San Quentin concerts. Requested personally by Cash, Marshall was the only official photographer present at the concerts and granted unlimited access. Twenty-five photographs documenting the two concerts, including candid and performance images helping solidify Cash as an outlaw king can be seen through October 12, 2025, at The Momentary, an art exhibition and live music space, in Bentonville, AR, Cash's home state. 'The Prison Concerts: Folsom and San Quentin (Jim Marshall's Photographs of Johnny Cash)' showcases the powerful snapshots of a legendary musician by a legendary photographer. The presentation is free to the public. 'The godfather of music photography,' Marshall (1936–2010) maintained a 50-year career that resulted in more than 500 album covers, an abundance of magazine covers, and some of the most celebrated images in blues, jazz, country, and rock and roll, including those from Cash's Folsom and San Quentin prison concerts. Tall. Lean. Pompadour. Cash is dressed in his trademark black although 'the Man in Black' moniker wouldn't come formally until the early 70s, in part resulting from his stark outfits at the prison concerts. His 1971 hit 'Man in Black' explains 'why you never see bright colors on my back.' It was a wardrobe of protest from a protest singer. 'I wear the black for the poor and the beaten down Living in the hopeless, hungry side of town I wear it for the prisoner who has long paid for his crime But is there because he's a victim of the time.' Cash was in his late 30s when he gave the performances. He looks at least 10 years older. Growing up poor and hard living always made Cash appear much older than he actually was. Marshall's Folsom photos show the deep lines on the singer's face. The weight of the world seemingly on his shoulders. Cash is serious, resolute, commanding. He's going to work. Cash isn't nervous, certainly not afraid, but there's a hint of self-doubt in his countenance and posture. 'This might not work,' he seems to think to himself. The prison's stone façade looks positively medieval. A photo of Cash lighting a cigarette with a more hopeful looking June Carter in the foreground looks so much like Joaquin Phoenix, the actor who played him in the biopic, it forces a doubletake. Tragically, Folsom State Prison continues housing inmates today despite opening in 1880. Only San Quentin is older in California. More From Forbes Forbes Historic New Orleans Collection Explores Human Tragedy Of Mass Incarceration In Louisiana By Chadd Scott Forbes Sherrill Roland Correctional Identification Numbers Portraits Humanize The Wrongfully Incarcerated By Chadd Scott Forbes Exhibition Of Paño Arte Highlights Creativity Under Mass Incarceration By Chadd Scott
Yahoo
34 minutes ago
- Yahoo
Wimbledon 2025: Ben Shelton advances to first Wimbledon quarterfinal, defeating Lorenzo Sonego in 4 sets
No. 10 seed Ben Shelton became the second American men's player to advance to the 2025 Wimbledon quarterfinals, defeating Lorenzo Sonego in four sets 3-6, 6-1, 7-6, 7-5. Shelton has made it to the tournament's quarterfinals for the first time in his career. With that, Shelton's sister, Emma, will get to continue her stay in England through at least Wednesday while taking a break from her job at Morgan Stanley. Emma was supposed to return to work in the United States on Monday. But she got the rest of the week after Ben publicly requested for his "lucky charm" to remain with her brother following his third-round win over Marton Fucsovics on Saturday. Advertisement Shelton will face the winner between No. 1 seed Jannik Sinner and No. 19 Gregor Dimitrov. Monday's match was the third time Shelton has defeated Sonego in a Grand Slam tournament, previously besting him at the Australian Open and French Open. Sonego frustrated Shelton early by handling his serve and preventing him from getting aces. More importantly, the Italian kept his opponent guessing throughout the first set, mixing together a variety of shots to keep Shelton off rhythm. Sonego seemed to use everything in his arsenal — drop shots at the net, slices down the line and cross-court lobs — to keep Shelton moving. Advertisement Additionally, Sonego controlled play with his serve which seemingly forced Shelton to take extra time to get set before receiving. At one point, the umpire warned him about that tactic. Yet Shelton argued that Sonego was taking 25 seconds or more to serve — something that was an issue in Sunday's fourth-round match between Cameron Norrie and Nicolás Jarry. "No matter what he will never start before it's down to 3, 2, 1," Shelton could be heard telling umpire Alison Hughes as the players changed sides, according to the Daily Express. Getting rattled and appearing to lose his focus resulted in Shelton losing the first set rather decisively, 6-3. Advertisement That changed in the second set, though Sonego still had an answer for Shelton's serve. The set turned when Shelton broke serve and won the fourth game on Sonego's double-fault. Whether intentional or not, Sonego continued to try and throw off Shelton's rhythm with longer serve times and bathroom breaks. By that point, Shelton channeled whatever frustration he may have felt into his play and quickly won the second set, 6-1. Both players went back and forth in the third set, neither gaining an advantage on their serve. Sonego fell hard behind the baseline while stretching for a return, resulting in Shelton going up 4-3. But a simliar play occurred on Shelton's end on the next point and Sonego evened it up. Ben Shelton's ability to cover the entire baseline late in his match with Lorenzo Sonego was the difference in a fourth-round victory at Wimbledon on July 7, 2025. (AP Photo/Kirsty Wigglesworth) (ASSOCIATED PRESS) The third set went to a tiebreaker when Shelton held serve and returned a forehand down the line as he got Sonego moving in the opposite direction. He finally overpowered Sonego a few times with his serve, and won the tie-breaking set extending himself to reach a backhand return for the point.


New York Times
34 minutes ago
- New York Times
Trade grades: Norman Powell bolsters Heat offense as Clippers take new path
Another summer of curious trades continues as we move through the first weeks of July. This time, it's the Utah Jazz, Los Angeles Clippers and Miami Heat teaming up to provide a head-scratcher. The Jazz are trading John Collins to the Clippers, with Los Angeles sending Norman Powell to the Heat, and Miami dealing Kevin Love and Kyle Anderson to Utah, which also receives a 2027 second-round pick. Advertisement League sources confirmed the deal to The Athletic. ESPN first reported the trade. Two of the involved teams makes sense, but I'm a little confused by a third squad being involved. So, let's bust out the red pen and throw some grades down to see if we can figure it out together: If the Heat are getting the Powell we saw for the Clippers last season, this is a massive addition. That version of Powell was a borderline All-Star, and I thought he should have received the nod for the Clippers over James Harden. He was a tremendous scorer, averaging a career-best 21.8 points on 48.4/41.8/80.4 shooting splits. That's with Powell tailing off in the second half of the season as he dealt with multiple injuries, including his hamstring. Prior to the All-Star break, Powell was even more destructive with his scoring. Through his first 45 games, he averaged 24.2 points with 49.6/42.8/81.9 splits. The 32-year-old Powell took his scoring to new heights, so injecting anything close to that production into Miami's 21st-ranked offense would be huge. Some of Miami's struggles on offense were due to the Jimmy Butler debacle that dominated the first half of the season. It improved a little bit to 19th once he was officially done playing for the team prior to the trade, but the Heat still struggled to generate good, easy buckets. That's Powell's sweet spot. He's so efficient scoring off the catch or attacking defenders on the move. You can isolate him, run him off screens, use him with dribble hand-off action and lean on him as a floor-spacing threat. The Heat can trust him to alleviate the scoring load for Tyler Herro and give Bam Adebayo a weapon to use in their two-man game. Powell just has to stay healthy, which is another key component. He's missed at least 22 games in three of the last four seasons. Powell is also headed into a contract season, so it's mutually beneficial for both parties that he replicates the season he just had for the Clippers. Grade: A- Admittedly, this is the part of the trade I'm having a little trouble with understanding. I loved the dynamic the Clippers had with Powell and felt they really needed what he gave them throughout the season. With most teams, you can't assume injuries and should approach most seasons expecting everybody to be healthy. I don't think you can do that with the Clippers and Kawhi Leonard. You have to bake in the idea of him missing many games. I have even offered up the theory he should consistently have his season begin in early January to keep him healthy for the playoffs, which sort of worked last season. Advertisement Losing Powell's production will be a blow to the Clippers' attack. Will acquiring Collins make up for that loss? It's possible! Collins is a solid scorer at the 4, and he's been a good enough 3-point shooter during his career to believe he can stretch the floor some. Adding him to the mix gives the Clippers a lob threat when he's running a pick-and-roll with Harden or Leonard. The offense they can execute with Collins could definitely add certain dynamics Powell's presence didn't provide. With that being said, other questions do remain. Does this deal clog up things at the rim with Ivica Zubac already there? Does this team need to be bigger after bringing in Brook Lopez as a backup big man? Should the Clippers be more traditional with their power forward position or continue Ty Lue's approach of swapping in rangy wings for defensive versatility? Collins is not a defensive player, so having him and Harden on the floor together could be difficult. Like Powell, Collins is on an expiring deal, so this deal isn't necessarily a long-term play. The 27-year-old is a one-year rental that they can assess. The Clippers do get younger and more athletic, but I think I'd rather get volume scoring from a guard than at power forward. Unless Bogdan Bogdanović can completely replace Powell's production, I think this is a risky and potentially poor swap by the Clippers. Grade: C+ It cost the Jazz a second-round pick and Rudy Gay to acquire Collins two years ago. In this deal, they receive a future second-round pick, Love and Anderson to move him. I guess it's a wash after having Collins for a couple of seasons. Given Utah's goals, this trade makes sense. The Jazz can talk the good talk about competing because that helps sell tickets, but this team will be awful and tanking at some point again next season. The latter endeavor didn't work out for getting Cooper Flagg in 2025, but the Jazz are hoping it works out for the top of the loaded 2026 draft class, which is headlined by BYU star freshman AJ Dybantsa. I would assume Love is getting bought out and won't spend time with the Jazz. Being on a rebuilding team at this point in his career doesn't make sense for either side. I could see them trying to make Anderson part of their rotation and flipping him some time before the trade deadline. He is a valuable role player a lot of teams would like to have. The Jazz could even flip him before the season even starts if they wanted to. They are leaning into the tank, though, and, even though Collins wasn't going to truly add enough wins to their roster to ruin the losing effort, they shouldn't take any chances with it. Grade: C+ (Photo of Norman Powell: Rich Storry / Getty Images)