Dr. J talks about his new podcast and why the Philly legend is a Spurs fan ‘House Call with Dr. J’ launched after All-Star Weekend

Dr. J, the Philadelphia 76ers legend and fan, admits that he is a longtime follower of the San Antonio Spurs. But he has a valid explanation.

“It’s a former ABA [American Basketball Association] team that has been the most successful. I pull for them except when they play the 76ers,” he said with a short burst of laughter.

“I always admired the way Tim Duncan played the game and approached it and provided leadership in a quiet way, but a very forceful way. So for that franchise to continue to be successful, that’s very important to me.”

Otherwise, Julius Erving, known to the world as Dr. J, is almost always reppin’ the 76ers.

Erving started his professional career in 1971 with the Virginia Squires, then moved to the New York Nets in 1973 before landing in Philly from 1976-87. The highflier is credited with taking the slam dunk mainstream. He won three championships, four MVP awards and three scoring titles in the ABA and NBA, was a 16-time All Star and retired as the third-highest scorer in pro basketball history with 30,026 career points. Erving was inducted into the Basketball Hall of Fame in 1993 and named to the NBA’s 50th Anniversary All-Time Team.

His newest endeavor is a podcast, House Call with Dr. J, which debuted on Feb. 19, on the heels of the 2018 NBA All-Star Weekend.

“I figured on this side … being the interviewer … it probably would work,” Erving told The Undefeated.

House Call with Dr. J will feature interviews and discussions with athletes, celebrities and other people of interest.

“Dr. J was one of the first athlete superstars. He captivated audiences with his ability, strength and grace both on and off the court,” said Jack Hobbs, president of reVolver Podcasts. “I’m thrilled to have Mr. Erving in our lineup and know he’s going to wow our listeners and leave them on the edge of their seats, wanting more.”

“We’ve set it up so the interviews have been conversational more than fixed agendas,” Erving said. “I try to take it to a level above the normal interview but very much into the living room, sitting back relaxed and having a conversation with someone who you either know or you want to know.”

Erving may even attack some serious subjects. Born in 1950, he grew up with two pictures hanging on the wall of his home, staples that many black families had in their living rooms.

“During the Kennedy years, we had pictures of Dr. King at the house and pictures of John F. Kennedy,” Erving said. “It meant something for those to be up there because for us that meant that those were the individuals doing the most for your people. Between the ages of 18 to 21 when I was in college, I was a big follower of Dr. King. He was the one who my parents thought was the proper leader of the country.

“I came up in the ’60s and the ’70s,” he said. “It was a lot of activism at that time obviously with the Olympic Games. … That was impactful with the raised fists. People had to react to a broken system, and I think we see a lot of that now where a lot of people feel the system is broken and there is room for repair. So it’s a wake-up call in terms of finding out who the leaders are and listening to what they have to say.”

To listen to House Call with Dr. J, subscribe at reVolverPodcasts.com, Spotify, Google Play or iHeartMedia. To listen on Apple Podcasts, visit https://itunes.apple.com/us/artist/revolver-podcasts/id1086192367.

Mia Wright has big plans as president of the National Basketball Wives Association ‘It is hugely important for those of us that have the resources to set the example’

“Managing our husbands’ brands is one thing that binds us together.”

So said Mia Wright as she welcomed hundreds of guests to the recent National Basketball Wives Association (NBWA) Women’s Empowerment Summit.

Attendees learned about the organization’s new vision and listened to a panel moderated by CBS anchor Gayle King that included Ayesha Curry, Cookie Johnson, Jada Paul, Elaine Baylor, Tracy Mourning and Adrienne Bosh. There was even a surprise visit by U.S. Rep. Maxine Waters.

From left to right: Cookie Johnson, Ayesha Curry, Gayle King, Jada Paul, Mia Wright, Elaine Baylor, Adrienne Bosh and Tracy Wilson Mourning.

Kelley D. Evans/The Undefeated

“The purpose of the event is the coming out of the National Basketball Wives Association, and letting the public know and having the support of our NBA family to say, ‘Hey, we’re here, we have a mission, come join us,’ ” Wright said. “We’re not only here to break down stereotypes of women that are married to professional athletes, but we’re also here to show the importance of mentorship.”

Established in 1993, the organization was initially known as Women of the NBA, which later was changed to Behind the Bench, The National Basketball Wives Association. The nonprofit’s members include wives, significant others and life partners of current and retired players representing the American Basketball Association (ABA), the NBA, the NBA G League (minor league) and the Harlem Globetrotters.

Now the NBWA is entering the next stage of its evolution.

“I saw, along with my executive board members, that there was this need to regroup and to build the new entity that would be well representative of these women,” said Wright, who is the wife of NBA veteran Dorell Wright.

The current executive officers include Wright, vice president Tomi Rose Strickland (wife of Mark Strickland), secretary Renee Taplin-Jones (wife of Major Jones) and treasurer Donna M. Harris-Lewis (widow of Reggie Lewis).

“I found an opportunity to step into a leadership role with this organization and lead the charge on our membership and galvanizing women of influence to come together for our charitable mission,” Wright said. “I chose to take the position because I know that, being associated with professional athletes, there is a stage and this platform that comes along with that. And now more than ever in this era of social media, there’s millions of young girls that are looking up to us whether we like it or not. So … bringing women together for a charitable mission to raise awareness for underserved families and children, that’s really what it’s about.”

A Los Angeles native, Wright considers herself a “showbiz kid.” She appeared in her first commercial at 2 years old. She later became a member of the girl trio Before Dark, a rhythm and blues group signed to RCA Records.

Wright and her husband had a son, Devin, in 2008. Two years later, she became executive director of the couple’s first nonprofit organization, the D Wright Way Foundation, now known as the Wright Legacy Foundation (which includes Dorell Wright’s brother, Toronto Raptors guard Delon Wright). The organization helped inner-city communities in Miami; Oakland, California; Philadelphia; Portland, Oregon; and their hometown of Los Angeles. The two held events such as the Thanksgiving Festival, Adopt-A-Family at Christmas and KB3 Memorial Scholarship Fund. They also launched menswear line Scrapes & Gravel in February 2014, where she is CEO.

The Wrights welcomed their second son, Dash, in 2015, and Mia still finds herself balancing family, philanthropy and the many positions she holds.

“It is difficult because I think from the outside looking in, it looks like, ‘Oh, this is a fabulous life, you guys get to do this and that and fly here and there.’ But when you take on that spirit of entrepreneurship … it comes with a lot of responsibility,” Wright said.

“Being able to set the tone for future generations is critically important, especially now,” she added. “I think that it is hugely important for those of us that have the resources to set the example, and so that is what my balance comes from. It comes from purpose in knowing that the work that I’m doing is so much bigger than me, it’s bigger than my kids, it’s bigger than my husband. It’s literally we’re setting the tone for future generations and communities to survive and thrive.”

Wright says it’s important to have an identity as more than a basketball wife. She recalls being new to Miami at age 22 and meeting Tracy Wilson Mourning, wife of Alonzo Mourning.

“I remembered just seeing her and knowing that she had her own identity and all that she did in the community, and I said to myself, ‘I want to be like her. This is who I want to pattern my new life after.’ And it sounds a little crazy, but I think that is where the importance of mentorship comes in, because she embraced me. We were never super close, but we’ve maintained a relationship throughout the years, and her example from afar is one of the main inspirations that I had to use my husband’s platform, to create our foundations and to ensure that even though he wasn’t the franchise player, we had our footprints in those communities that he played in.”

Wright said the hardest part of her journey has been to remove fear from her spirit.

“When I say fear, that’s fear of judgment, that’s fear of failure, that’s fear in totality. Especially being in the public eye, being susceptible to the millions of opinions that you didn’t ask for, that can be quite difficult. So, yeah, that would be the most difficult thing. Kicking fear in the butt and getting it out of here.”

‘Orange is the New Black’ star Dascha Polanco talks Michael Jordan and her journey as a single mom ‘We all have our own hardships that act as a piece of motivation for us to push forward’

The 35-year-old Orange is the New Black (OITNB) star Dascha Polanco grew up in Brooklyn, New York, and was an athlete in high school. But she hit the basketball court last week in the NBA All-Star Celebrity Game playing alongside teammates Jamie Foxx, Common, Quavo of Migos and WNBA player Stefanie Dolson.

“I love that there are two women, Katie [Nolan] and Rachel [Nichols], coaching the [NBA All-Star] Celebrity Game,” said the actress who was on Team Clippers, the winning team. “I was very competitive when I used to play softball in school, so I was excited when the opportunity to play [in the Celebrity Game] came up.”

Polanco is best known for her role as Dayanara “Daya” Diaz in the hit Emmy- and Screen Actors Guild Award-winning Netflix show OITNB. Her first taste of Hollywood was in the independent film, Gimme Shelter, starring opposite Vanessa Hudgens and Rosario Dawson. Her big- and small-screen credits include Joy, The Assassination of Gianni Versace: American Crime Story, The Perfect Match and The Cobbler to name a few.

Born in the Dominican Republic, she emigrated to Brooklyn as a young girl with her parents and became a citizen in late 2013. Borrowing the words of Alicia Keys’ Empire State of Mind, “Ima make it by any means, I got a pocketful of dreams,” Polanco didn’t sit on her dreams just because she was a young single mom living with the help of government assistance. She didn’t let the stereotypes of a label define what she could or couldn’t do. She went back to school to become a nurse at New York City’s Hunter College, where she graduated with a bachelor’s degree in psychology. Then she began working as a hospital administrator at Montefiore Medical Center in the Bronx.

While studying nursing, Polanco signed up for acting classes at BIH Studios, where she eventually got signed to a talent agency and later landed OITNB in 2012, which changed her world forever.

The fierce and bold mother of two spoke with The Undefeated about why Michael Jordan is the greatest of all time despite her New York team allegiances, how she defies labels and uses fear to tap into an even stronger hustle, what it means to be an Afro-Latina in America and how overcoming insecurities is an everyday job.


Growing up in Brooklyn, are you a die-hard Knicks fan or have you become a Nets fan since they’ve become the Brooklyn Nets (previously the New Jersey Nets)?

I root for all New York teams. I grew up a Knicks fan and have so many memories watching the games with my family. As long as the Nets are the Brooklyn Nets, I’ll cheer for them too.

Who is the GOAT athlete?

Michael Jordan, hands down. And yes, I know I’m a Knicks fan, but MJ all the way. When I worked in the healthcare field, I had Jordan quotes all over my office. He is the epitome of dedication, perseverance and beating the odds. In my son’s room, I even have the poster of MJ with his arms stretched out.

What is your favorite Michael Jordan quote?

“Talent wins games, but teamwork and intelligence wins championships.” You can relate that quote to any situation in life. When I used to work in the operating room, it took a team of surgeons and nurses to get the job done, [and now as an actress, it takes so many people with different roles to make everything come together].

Where did your motivation come from as a young single mom going back to school to become a nurse, and then later taking acting classes while still working in the health care field?

We all have our own hardships that act as a piece of motivation for us to push forward. I remember living in a shelter and using food stamps and getting treated like a piece of crap every time I went into the city for welfare. That treatment made me feel ashamed and embarrassed, but it also encouraged me to want to have my own and be independent. I could have chosen to do nothing [and accept the stereotypes associated with the labels that were given to me], but I chose to go back to school. No label can define me. I’m Dascha and I am a force.

What’s something you didn’t think you’d have to adjust to as a celebrity?

I never was able to buy things because I wanted to; it was always because I had to. Now I have the choice and can treat myself, but I even struggle with that because I’ve become conditioned to be fearful of losing [what I work for]. But I’ve gotten to the place where I’ve learned to embrace what I deserve.

When you were working at the hospital, why didn’t you tell anyone that you were also filming Orange Is The New Black?

Where I come from, we don’t say the things that we’re working on. [Sometimes] people don’t want to see you grow. When I’m working, I don’t speak about it. I just let it show for itself. All of my life, I’ve gotten negative feedback when I’ve said I wanted to be a singer, actress or a dancer. I’d hear, “Ahh, girl, that’s so hard … I don’t think you’re going to make it doing that.” So I don’t give them the opportunity to put that negative energy into the universe. I don’t have to tell everyone my goals, because at the end of the day, everyone wants to succeed but no one wants to see anyone else succeed. I stay quiet and keep my goals in my control and my protection.

How have you overcome insecurities?

It’s a process that you ideally try to overcome, but you’re always working on it. There are days that I feel ugly and fat, and I have to tell myself to cut it the hell out. I started acknowledging what I’m feeling and exploring why I’m feeling that way. I look back at my experiences growing up and it’s rooted from not feeling like I’m enough. [And in the present day] maybe it’s that I’m around a group of sophisticated people and I feel I don’t talk as proper as them or I’m at a table with models and I’m the only one eating bread. Those insecurities come about when I’m so focused on everything else and I’m not taking the time to be aware of myself. So now I stop, meditate, stop again and go.

Where does your courage come from?

It might be genetic because my mom [who died at 46 years old] was one courageous woman emigrating [from the Dominican Republic], and just her tenacity in every situation. My mom and dad are my heroes and have taught me to take advantage of the now in life.

I recently booked a film that I never thought that I would get. [I can’t say what it is yet.] It’s a small role, but it’s with someone that I’ve always wanted to work with. I was so nervous that even my armpits were sweating. But I took a moment before I went on set and reminded myself, I am here because I deserve to be. You were brought to America by your parents to do whatever your heart wants to pursue, so take this moment to have the power and courage to take advantage of this moment. Fear is just one layer before your breakthrough. Give me a little bit of fear so I can beat it up and come out even stronger.

What does it mean to be an Afro-Latina in America?

There’s these labels and terms that we’ve created so people could understand their roots, what they identify with and where they come from. Even though I’m considered Latina, I’m really a Caribbean woman because I have African roots too. I love being a combination of pure melanin and having exaggerations in my body and movement.

But sometimes these labels are just a way of grouping individuals and putting people against each other — where it becomes about exclusivity instead of bringing people together. Growing up, the black community embraced me but not as much as I embraced them. It was always, “You’re not black, you’re Spanish,” but culturally I connected with them. It’s always been that constant battle but a lot of people feel that way. Even without racial differences, not everyone feels like they’re American too.

Tell me about your work with the D.R.E.A.M (Dominican Republic Education and Mentoring) Project?

I always wanted to do something for the youth in my home country, so I fell in love the D.R.E.A.M Project. The organization is kind of like a YMCA where the kids get education and job training. A lot of the kids are orphans and are growing up through hard times.

Together we’ve launched a theater arts program for these children. The talent that comes through these kids out of hardship is just amazing. The kids play instruments and are so good at so young. I knew we had to create a space to feed their talent so it could be used as a way to express themselves [and heal]. D.R.E.A.M Project has created a school [that they’ve named after me] and now these kids get to write their own script and tell their own story through performance.

Taye Diggs is working with us now too. I encourage people to take a trip to the Dominican Republic and share moments with these kids. It’s truly a remarkable experience.

Here’s what’s on Ayesha Curry’s list of things she cares deeply about The mother, wife and self-made businesswoman is passionate about women’s empowerment and so much more

LOS ANGELES — Ayesha Curry loves bringing family together and creating memories. She’s a “family-first” woman who has created her own empire while balancing a family.

“I balance it all by realizing there is no such thing as balance,” Curry told The Undefeated.

But her passion often stretches far beyond her own household. She is passionate about sisterhood, forming lasting bonds and empowering women, families and children to live their best lives.

She recently shared her thoughts on encouraging women at the first National Basketball Wives Association (NBWA) Women’s Empowerment Summit as a panelist. The panel was moderated by CBS co-anchor Gayle King, and Curry joined Cookie Johnson, Jada Paul, Elaine Baylor, Tracy Mourning and Adrienne Bosh.

Born in Canada and raised in Charlotte, North Carolina, Curry maintains her own identity while setting an example for her two daughters, Riley and Ryan. She is an author, restaurant owner and Food Network personality. She’s also a CoverGirl with her own cookware collection.

Married to Golden State Warriors star and two-time NBA champion Stephen Curry, Ayesha wants her daughters and young girls to see themselves in her work. According to her website, the “Ayesha Curry Kitchenware Collection continues Curry’s commitment to infusing her passion for food and family with personality and ease,” which can translate into her life as a role model.

After her panel, Curry sat down with The Undefeated and discussed the NBWA, women’s empowerment and family.


To what do you attribute the resurgence of the National Basketball Wives Association?

I attribute that to new people coming in, kind of the new wave of women, and kind of revamping it a little … because it too had stigmas attached, and now one of my personal best friends, Mia [Wright], is the president and she’s completely revamped the NBWA and it’s backed by the NBA now, and it’s an official 501(c)(3). To have that charitable aspect behind all of this makes it so worthwhile. It really makes it a sisterhood, so it’s kinda cool.

What would you like to see more of within the organization?

I think I’d like to see us coming together more, and to really listen to the women that are involved, going through each person, seeing what it is that they hope to change within their communities and trying to come together and help everyone with each of their causes.

You all have really seemed to create a sisterhood within the organization. Do you communicate about it, or is it just something that comes naturally?

I think it just happens, and from the outside looking in it probably looks like there’s cliques, but there’s not. Everybody is kind of reliant and dependent upon one another, and I think it’s a beautiful thing. We’re all there for each other; we all kind of go through the same things. So it’s nice to have sort of an official community for that.

How did it feel being on the panel with Cookie Johnson, Elaine Baylor and Tracy Mourning?

It’s really cool. You know, it’s nice just to listen to the people who came before you and hear what they have to say so that you can take any life lessons that they have to give, learn from their faults and take what they did right and do it on your own terms, and so I think that was really special. And they’re always there. One thing that a lot of people don’t know is that they’re always there as a resource. Nobody’s stuffy or uptight. Everybody’s always there as a resource and is more than willing to talk to you and give you guidance if you want it, and so I think that’s really special.

What would you tell a new wife just coming into the organization?

I would tell her to do her own thing and not believe the hype. There’s a lot of stigma, and what I have to say is that everybody’s different. You can’t put these men in a category; I don’t think that’s right. Just the same way we don’t want to be put in a category, they don’t want to either, and so it’s just remembering that everybody within the organization and within our realm of things is an individual person. And so to take your relationship and make it your relationship, and nobody else’s, and focus on that.

What do you have coming up next for you?

Well, I’m pregnant, so that is my main focus right now, just trying not to be sick every single day. But I have my home collection out, that’s available at retailers nationwide, and so it’s just expanding that brand. And I think for me, personally, it’s been really cool. It was daunting when it was first brought to me. I wasn’t sure if it was something I wanted to do because it’s a big task; my name is on the box, it’s there. Walking down the aisles of these stores, you only see one type of person and one thing. And so I said, even for my daughters — they’re 5 and 2 — when they grow up I want them to be able to walk down the aisle and say, ‘Oh, that girl looks like me.’ And so it’s been cool to kind of take over the kitchen space and have my collection on shelves in stores. I feel it’s been a great experience.

Family Feud?

Family Feud! We had so much fun. I’m not allowed to talk about the outcome. But it was so much fun.

What will you tell your children about social consciousness and female empowerment?

It’s one of those things where right now is such a sucky time. But at the same time, it’s a great time because we’re the ones that are making the shift and making the change. But it’s really hard, and so I hope that when they get to my age, that they don’t have to worry about these things. But the sad truth of the matter is, in one way or another, they probably will. I just want to make sure that I’m instilling that woman empowerment in them and letting them know that they’re no less than anybody else, and that they can do whatever the heck it is that they want to do, and do it with dignity and honor, and to the best of their abilities, but to make sure that everything they’re doing, they’re passionate about.

I just think with the social climate now, God knows what the social climate is going to be like when they’re older. I think about when I was 12 years old, these social media sites and stuff didn’t exist. I mean, cellphones barely existed, and so to think when they get to my age, what’s going to be around and available and accessible to them? It’s kind of crazy. I can do the best I can do right now and then see what happens in the future.

A career in sports analytics busts another barrier for African-American women I’m in the game to change it, not to be part of the status quo

I was standing right outside of the team personnel entrance when time seemed to slow down. Was I in the wrong place? What if I dressed wrong? Maybe red lipstick was too bold. I’m 17. How in the world am I even standing here even if it is the wrong place?

After an excruciating wait of what could have been two or 200 minutes, the arena door opened and out walked my mentor Calder Hynes. “Hi, Tiffany? Welcome, let’s get you started for the night!” Before his current stint overseeing public relations for some of the world’s most valuable athletes at Wasserman, Hynes was one of the main points of contact for the then-New Orleans Hornets communications team, and graciously took on the role of educating yet another eager high school student in the art of game-night operations.

I’d wanted to take career day off — goof off after four long years of honors courses, two-a-day volleyball practices, and PE Accelerate (physical education for the competitive overachievers if you were wondering). Instead, I marched over to the event, up to the public relations team and asked if I could shadow for a regular-season night or two in order to get skin in this game that would, though I did not yet know it, be my future.

After a rundown of team responsibilities and introductory small talk, Hynes then handed me an all-access pass to the New Orleans Arena, now Smoothie King Center. “I have you assigned to shadow the guys who will be inputting stats while I attend to our celebrity guest for the night, Will Ferrell. I hope that’s OK?” Hynes directed.

“The guys who input the stats?” What about shadowing Will Ferrell? Why can’t that happen? But rather than the response I was thinking, I simply said; “That’s perfect.” I headed off to assist the Hornets game night stats crew disappointed, but determined to make the best of my time with the stats guys.

Following Hynes into an entryway of an 8-foot-by-10-foot space barely big enough for an area rug, I walked into what I noticed was a closet transformed into a makeshift office by dint of the two desktop computers displaying NBA and team websites, a collection of roster posters of the Honeybees dance team pinned to the wall and two men unlocking their gaze from the monitors to greet me.

The stats crew for game nights was in charge of getting box score updates into the hands of prominent front-office personnel during timeouts and halftime, and manual statistical inputs to the team website after the game.

It wasn’t until I started tagging along with said crew as they were handing out stats sheets during timeouts to Monty Williams, the head coach of the Hornets at the time, and entering the suite of former Hornets president Hugh Weber, for the halftime stats update to help with any last-minute team decisions that I realized the significance of the situation.

Never mind Will Ferrell. I’d discovered that stats were what I wanted to do with my life. I’d found a career … maybe even a calling. I now knew that these stat sheets that revealed everything from player on-court contributions to net efficiency were my golden ticket. With these, I could go anywhere … even to the front office of an NBA team. Analytics, coaching and development personnel.

Who should be the sixth man off the bench? How are players developing over time? Should a trade even be entertained?

Still the doubts persisted. Was I really in the right place? The room housing the stats guys were clearly last-minute resources the team scrambled to find. They looked tired … manually inputting stats until 1 a.m. with an emptied bag of Lay’s potato chips near the computers for a postmidnight snack. I was tired leaving the arena before the end of the game news conference. After all, it was still a school night.

Seven years later, I’m still in stats. Moving on from handing out numbers to crafting intelligent insights from those numbers is now my life as a sports analytics associate for ESPN. It is still the career I want but the “Am I in the right place” doubts have never gone away. Sometimes I feel as if they’ve amplified. I have mentors, supportive colleagues and a challenging and intellectually stimulating job that I know I’m good at and to which I can bring my best self. But I have no role model. I am an accidental standard-bearer for black women in sports statistics. The first woman of color on ESPN’s sports analytics team — the only one crunching numbers among all of statistics and information at ESPN. And the shortage of women who look like me hasn’t changed a whit since that day with the Hornets.

Choosing a career in sports had, in part, grown from my experience playing volleyball, basketball and swimming and my hypercompetitive relationship with my older brother Osby (Oz for short). The day I beat Oz in NCAA Football on PlayStation is a day I will never let him live down. But sports became an obsession after that night with the Hornets and still is. I knew then I didn’t want to be what the sports industry expected of me. I wasn’t going to take a job I didn’t feel fit me because it fit the societal expectations of female-dominated roles in sports.

Analytics would be my path. Damn the comments and consequences.

I was and am constantly asked about what I’ll do if I hit that glass ceiling, the infamous old boys’ club that generations of women have struggled to join. And like generations before me, I ignore the question and focus on the work — work that reveals clearly what I bring to my field and hope it does the trick.

I remember receiving a text earlier in my career. A colleague with significantly fewer qualifications than myself was asking for help on statistical methodology that would be used to evaluate him for an analytics position with one of the few NBA teams that were hiring. It was a job I’d also applied for through a well-acclaimed referral (and had heard nothing back). That silence would then turn into apologies followed up with “you’ll end up somewhere soon.”

If I’d known about the glass ceiling on that night in New Orleans, if I’d known how hard it is for women to break new ground in a field that hasn’t ever included them, I’m not sure I’d be in stats right now. But today, it is my work that combats gender and racial stereotypes when I tell people what I do for a living and it is my work that prepares me for the seemingly choreographed head snaps when I walk into a room full of men.

Analytics is my path and I’m not stepping away from it. With a little bit of luck and a more courage than I’d expected I’d need, I found my way to change the perception of what a woman can do in the sports world.

This respect that women, minorities, and frankly any human being should have in pursuing their purpose comes from running toward the gray. It comes from accepting the norm as merely a long inherited social custom to be considered and then rejected or accepted depending on what works for any individual. I chose rejection. By embracing what cultural differences set me apart from my team, I am able to create and quantify different insights that expand the usefulness of analytics.

Analytics is used mostly to help front offices or journalists to find those undervalued players, those Davidson College-Stephen Currys of the world. But what happens when we use analytics for stories about issues that go far beyond pure sports? The stories that intersect cultural experiences and sports. The very stories that create the tension behind the “stick to sports” label.

Basketball aside, maybe that’s using our metrics to calculate the total quarterback rating (Total QBR) or impact on a team’s football power index (FPI) of Colin Kaepernick vs. well, insert any injured NFL starting quarterback of your choosing. For the record, that would be the Kaepernick ranked 23rd in Total QBR for the 2016 season ahead of seven current starting quarterbacks, including the now-injured Carson Wentz of the Philadelphia Eagles.

Either way, analytics should be looked at as a conversation-starter, not ender. And in being just that, it uncovers the rudimentary answers to questions all of us have either had or haven’t thought were relevant, all while trying to strip bias from the equation. This is what I want all individuals to understand about what it is that I do and about what analytics can and will do, prejudices aside.

And yes, there are biases in analytics that I am fully aware of. The bias to strategically exclude racial, gender and educational minorities, or the biased belief that athletes are not bright enough to comprehend these analytical insights. Being that I, ironically, am a target for all four of these prejudices makes me the exception that proves the arguments for and against analytics. I find solace in the coming generations ready and already acting to squash preconceptions of African-Americans, women, athletes, and nonstatisticians. Though it may appear to be but slight progress with me being the lone African-American woman in sports analytics within ESPN, professional leagues – specifically the NBA – and our sports analytics industry as a whole are realizing the significance of not following the norm and following people who look like me.

Shane Battier for the Miami Heat. Aaron Blackshear for the Detroit Pistons. Curry and Andre Iguodala for the Bloomberg Players Technology Summit (the Summit). Rajiv Maheswaran for Second Spectrum. John Scott, Jahkeen Hoke, and John Drazan for 4th Family.

All are “minorities” moving into or helping other minorities move into analytics and data-tech, all while realizing their momentous influence on our industry. But most importantly, they are all building the future of our industry so the next stream of analytics looks like all of us. Specifically, 4th Family and its win in the research competition at our annual conference, what most call the meeting of the nerds – the MIT Sloan Sports Analytics Conference, for developing science, technology, engineering, and mathematics (STEM) education using basketball analytics for minorities in underprivileged schooling communities.

Curry and Iguodala are two African-American NBA players in the forefront of investing and all in the battle for startup equity among top venture capitalists interested in the tech right in the Warriors’ backyard, Silicon Valley. Using their own summit to invite other professional athletes to share in their sports tech capitalizing endeavors, my mind can’t help but wander to a player investing in the next startup that revolutionizes the way sports data is managed and how analytical insights are formed.

An investment with professional athletes as primary stakeholders in potential sports tech companies founded on tracking depth perception in arenas and stadiums for holographic experiences that will be used in their team practices. An investment that returns a double bottom line – strengthening on-court or on-field performance and a peek into franchise operations. Now that’s a real key to the city.

My key?

I have accepted my life detour into sports media with open arms, and have complete faith in the handful of women NBA front offices have progressively placed their confidence in. I am an extroverted sister navigating my way in this mostly introverted, analytics industry of men and a few women sprinkled about. I am accepting and learning from role models that do not look like me in order to catalyze change. And that is the exact reason that there is beauty in having no standard. I’m figuring out my own black girl magic.

As she says goodbye to Olivia Pope, Kerry Washington opens up  The style icon is honored at the 20th Annual Costume Design Guild Awards

BEVERLY HILLS — The hooting and hollering from the photo bay picked up when Kerry Washington breezed onto the carpet at the Costume Design Guild Awards on Tuesday night. The star — in her last season of the game-changing Scandal — was the last to grace the carpet, and outside of the legendary Lily Tomlin, Star Wars’ Mark Hamill, and Eva Longoria, Washington was easily the most famous person in the event space at the Beverly Hills Hilton. The event is in its 20th year, and bestowed upon Washington the Spotlight Award, which was presented by Longoria.

This night is one of award season’s keystones, and by far one of the more chill events, as it honors the women and men who create the television and film looks we all fawn over. As the big show — the Academy Awards — draws closer, other such events will take place, and Washington is always a notable face. This year, her husband Nnamdi Asomugha — a former NFL star — is up for a prestigious best supporting actor Indie Spirit Award for his excellent turn in last year’s Crown Heights. So this night of award season celebrating certainly won’t be the last time we see Washington grace camera-filled carpets.

Washington took the stage in a body-hugging Dolce & Gabbana floor length sparkler, and was — perhaps — at her most candid. The notoriously private star rarely references her husband and children, preferring instead to talk about her work as an actor and activist. But this night, she chose relay some insight: about the season on Scandal in which she was pregnant with her first child—and the show’s attempts to hide it. And she talked about saying goodbye to Olivia Pope.

“It’s crazy for me to be saying goodbye to Olivia Pope because I’ve been Olivia Pope longer than I’ve been anybody’s wife or mother.”

“When I grow up, I want to be Kerry Washington,” Longoria said. “But there’s a big problem because she’s just too much. She’s lovely and warm and kind and thoughtful and genuine. She’s the one of the most genuine people you’ll find in this business. But she’s also at the same time one of the most kick-ass women that you will ever meet. All the while being a devoted wife and mother to two beautiful kids.”

Longoria talked about Washington’s seven-year reign as Olivia Pope— she called Washington a TV icon. Importantly, Longoria recalled about the headlines Washington grabbed as the first black woman to lead a network drama in over thirty years. “After all, why shouldn’t a black woman be the boss in politics or anywhere else?” Longoria said. “She owned it … she normalized it. Her success paved the way — not just for women of color — but for our society as a whole.”

The show’s costume designer Lyn Paolo cried as she called Washington “stunningly graceful…Your love of costume design and storytelling … all of that is self evident in your whole body of work,” she said. As Marvin Gaye and Tammi Terrell’s “You’re All I Need To Get By” played — a musical moment that felt directly plucked from Scandal — Washington made her way to the stage. She recalled a hilarious story about being a scholarship student at George Washington University and failing miserably at pressing a dress in the school’s costume shop.

“That is how much I knew about costumes…By the time I left college, I not only knew how to iron, but I was able to say to people that I don’t really know who a character is until I know what shoes she wears,” she said. “Because the shoes tell you how I walk. They tell me how I stand. They tell me who I am. I have relied on the wisdom and genius of costume designers every step along the way.” Washington also revealed how she took ownership of Olivia Pope. She wasn’t just the face of the series, she wanted to make sure she had a stake in the brand itself.

“When we heard that the network was going to create a clothing line inspired by Olivia Pope, Lyn and I said together, ‘not without us!’ Women wanted to dress like her not only because of what [series creator] Shonda [Rhimes] wrote … but it was because of those extra 15 minutes in a fitting,” she said. “We wanted to go past okay, into right. We wanted to go past okay into telling a story and informing the audience of a deeper truth because we know that a pair of shoes can do that!” Soon, Washington will hang up her white hat and Olivia Pope will go away. This is the show’s final season, and it’s been an emotional ride.

“It’s crazy for me to be saying goodbye to Olivia Pope because I’ve been Olivia Pope longer than I’ve been anybody’s wife or mother. Those things are new to me because of her,” Washington said. “When I told Shonda I was pregnant and Shonda told me that Olivia Pope was not going to be pregnant, I panicked. How in the world am I going to hide this bump? And I could do it because of Lyn. There were no maternity clothes out there. But she took those beautiful couture Armani pants, cut out the front and replaced it with with growing material that held my daughter. I waddled—but I waddled well dressed.”

‘Black Panther’ unlikely to change Hollywood’s lie that black movies can’t make money Hollywood’s biases have proven themselves stronger than its commitment to the bottom line

Any hopes that Black Panther’s box office conquest will spur Hollywood to greenlight heavily-financed movies featuring Pan-African stories and performed by predominantly black casts must be muted. Racial discrimination is not a product of logic, but rather its antithesis.

Marvel Studios’ latest movie, based on the comic company’s first black superhero, is generating earth-shattering sums of money, amassing $235 million over the first four days of its release in the U.S. and Canada alone. Directed by a black man, 31-year-old Ryan Coogler, with nearly an all-black cast and powered by a $200 million budget, the film is filling Disney’s corporate coffers and delighting its largely white executive decision makers. With films featuring black casts rarely enjoying big budgets, Black Panther will show the financial rewards that Hollywood can reap with black movies rooted in uniquely black experiences.

Many hope the economic triumph of Black Panther will persuade studios to bankroll similar movies with nine-figure budgets. This hope is buoyed by simple logic: Once scenario A proves itself, others, likewise seeking economic success, will copycat. Black Panther’s achievement, therefore, should coax others to understand the financial wisdom in backing black blockbusters. Proof of concept opens opportunity to others, so the theory goes.

An unavoidable truth, however, must temper this expectation: Hollywood’s ongoing discrimination against black movies isn’t supported by logic and evidence, so why believe illogical people will amend their behavior based on evidence that they were wrong all along?

Movie studios would insist that the leading reason for not investing big bucks in predominantly black films is that international markets won’t support them. Comedian Bill Maher, in that vein, said of Asian moviegoers, “They don’t want to see black people generally in their movies. The Hollywood executives are, like, ‘We’re not racist, we just have to pretend to be racists because we’re capitalists. We want to sell our movies in China [and] they don’t like Kevin Hart.’” With Hollywood increasingly reliant upon international dollars to turn profits, overseas perceptions matter greatly.

This is where the illogicalness of racial discrimination pierces through and why we mustn’t expect Black Panther’s success to lessen discrimination’s prevalence in Hollywood: The idea that “black films” don’t make coins internationally has long been proven demonstrably false.

Go back 30 years to Coming to America, a comedy starring Eddie Murphy, released in 1988, which made $160.6 million internationally. Or look at the two Bad Boys action movies, led by actors Will Smith and Martin Lawrence, the original released in 1995 and the sequel in 2003. Together the films earned $210.3 million in foreign countries. The black superhero movie Blade, with Wesley Snipes playing a vampire as the lead, made $61 million internationally 20 years ago. The Fast and Furious franchise practically prints money in China, starring mixed-race Vin Diesel and Dwayne “The Rock” Johnson and black actors Ludacris and Tyrese Gibson. And even the indie film Moonlight, with an all-black cast with no movie stars and a production budget of around $4 million, did $37 million internationally.

When a black movie rakes in the cash overseas, however, Hollywood insiders toss out an endless array of excuses as to why this or that black success story cannot be used to kill the assumption that black movies represent bad overseas investments.

Appealing movies with black casts can make money in foreign markets. The proof surrounds us. Just like movies featuring white leads, black movies need to be well-executed and appealing. If so, people across the globe will pay money to see them.

But why, then, does Hollywood swim against the current of evidence? Why do movie studios need proof of the concept when the concept has already been proven? The answers stare us in the face: These arguments about why black movies aren’t being greenlit are not being made in good faith; the strength of Hollywood’s biases against black movies are stronger than the commitment to the bottom line; sometimes logic is not enough to persuade people to behave in a racially fair way, particularly when discrimination pervades the entire industry.

Jeff Clanagan, president of Lionsgate’s Codeblack films, told the Los Angeles Times, “Every time there’s a success, it gets swept under the rug. … It’s almost like there’s an asterisk on it. They chalk it off as an anomaly.”

We should brace for something similar regarding Black Panther. Hollywood bigwigs will laud the movie as so unique that its appeal cannot be applied to the next black project in the pipeline waiting to be greenlit. Sure, we will get Black Panther sequels. But other movies rooted in blackness produced because of Black Panther’s success? History teaches us we should temper our expectations.

For now, a Hollywood that acknowledges the potential of black films is as fictional as Wakanda.

Though devastated by hurricanes, University of the Virgin Islands knows ‘UVI Will Rise’ The only HBCU outside of the continental U.S. finds the power in the words ‘Tell Them We Are Rising’

The title of Stanley Nelson’s most recent film, Tell Them We Are Rising: The Story of Black Colleges and Universities, immediately resonated with me as president of the University of the Virgin Islands (UVI). A couple of months before I previewed the film, UVI, the only historically black college and university (HBCU) outside of the mainland, was struck by two Category 5 hurricanes within a two-week period.

Winds of 185 mph swept through our campuses on St. Thomas and St. Croix, leaving trails of devastation and destruction in their wake. Our beautiful and scenic campuses looked like war zones. Ten buildings across both campuses were uninhabitable; faculty members lost their offices; students were deprived of classrooms and laboratories; and a treasured residence hall, and so many aspects of college life were no longer present. The estimated damage to our campuses ranges between $60 million to $80 million.

The theme we embraced in order to make sense out of catastrophe was “UVI Will Rise.” None of us had heard of the film, proof that this theme came from the depths of our collective consciousness. From our souls emerged the same spirit that had propelled HBCUs for generations — a spirit that defies the odds and faces challenges with resilience and creativity. We even created a “UVI Rise Relief Fund” to support the needs of our students and employees, and it has received support from over a hundred donors.

About 150 of our students on the St. Thomas campus were forced to live in a shelter residence hall that normally accommodates 70. They went 36 hours without power and running water. The morning after Hurricane Irma left, I visited the residence hall on our St. Thomas campus.

While I saw fear on the faces of some, I mostly saw a desire to rise above this tragedy.

Through the creativity, resilience and dedication of our faculty, staff and administrators, we were able to resume classes within a month after the first hurricane arrived. This was done in the midst of the stark reality that neither campus had permanent power, islandwide curfews were in existence, and all night classes had to be canceled due to the lack of lighting on campus.

This tragedy created a laboratory for us to demonstrate our “academic resiliency.” Faculty members transformed some traditional classes to an online format, while others recorded their lectures and classes so that students who missed class would still be able to obtain the information.

The principle of “hold harmless” guided our perspective on how students should be treated in the midst of this major uncertainty. Students were given the right to withdraw without penalties, and faculty members were asked to be flexible and creative in how they conducted their classes and engaged our students. They would not lower their standards, but raised their patience and increased their passion. Faculty members and staff were being asked to embrace this academic resiliency spirit at a time when many of them had either lost their homes, electricity, transportation and precious belongings.

Approximately 350 of our 2,300 students withdrew during the fall 2017 semester, but the vast majority remained and completed the semester.

The experience was not perfect, but we rose above this horrendous challenge with dignity and pride. We were even asked to save the semester for another Caribbean educational institution — the University of St. Marten, and we responded to the call.

Recovery from two Category 5 hurricanes is not a straight line forward. It involves circular movements of frustration and disappointments. It is a dance of one step forward and two steps back at times.

The HBCU spirit of “rising” has no end because there are constant challenges, obstacles and forces formed against these institutions. Yet rising has a spiritual beauty that reminds us that if we remain faithful to our calling, we will always reach another plateau, even if it is just for a temporary moment.

I am very excited about the national debut of Tell Them We Are Rising because we want the world to know that HBCUs continue to rise, and that the University of the Virgin Islands is still rising from one of the most ferocious hurricanes ever recorded in the Atlantic Ocean.

UVI wants the world to know that the spirit embodied in this powerful and moving documentary is not isolated to struggles against social injustice, but includes struggles in the face of natural disasters, financial setbacks and national doubters.

Martin Luther King, a graduate of an HBCU, stated that “the ultimate measure of a man (or woman) is not where he (she) stands in moments of comfort and convenience, but where he (she) stands in times of challenge and controversy.”

Tell Them We Are Rising is UVI’s marching anthem for the future. It is our continuing resolution to never cease from overcoming whatever the world or nature sends our way. This is the precious history and mission of HBCUs. We rose not because of the size of our endowments or the gifts of our philanthropic partners; we rose and continue to rise because of the spirit that resides within these institutions, and the precious individuals who choose to be associated with our special mission.

David Hall is the president of the University of the Virgin Islands, the only historically black college and university outside of mainland USA.