‘The Black Cowboy’ will shine light on history hidden in plain sight Documentary in production lends insight into African-American cowboys and rodeo

Denard Butler is not the typical cowboy in Checotah, Oklahoma, known as the steer wrestling capital of America. He holds an advanced degree in behavioral health and worked for a time as a therapist. He speaks routinely about “the laws of the universe” and quotes Bible verses.

Oh, and he’s black.

Of all Butler’s attributes and uniqueness to his profession, his race is the most surprising — and polarizing.

At 33, he is a third-generation cowboy from Georgia, just outside of Atlanta, meaning he went into his chosen career aware of the challenges that come with it because he was not white. And he chose it anyway.

“It’s a passion,” said Butler, an accomplished steer wrestler who also owns a trucking company. “When you’re black and competing in places like San Juan Capistrano, California; Price, Utah; and Prescott, Arizona, you’re not going to see many people who look like you. So you will hear the N-word. A lot. I use it for power. I feed off it. I tell myself, ‘You’re going to read about me. You’re going to get sick of seeing me.’ I want it more than most, and so I use it as fuel. My belief system is different.”

Butler’s story, which includes four bar fights with white cowboys or patrons who put their hands on him, is part of a revealing documentary in production that promises to lend heretofore unknown insight into black cowboys and their history in America.

Charles Perry’s film, The Black Cowboy, takes a high-definition and comprehensive look at the legacy of African-Americans as cowboys, which dates to the beginning of the lifestyle, up to today’s influx of black cowboys in Oklahoma and other places across the country.

Perry, of Carson, California, said he “escaped” suburban Los Angeles to play college basketball at Northwest College in Wyoming in 1994. In 1997, he visited a friend’s home in Lewistown, Montana, and attended a rodeo.

“And there was this black kid participating,” Perry said. “And it was loud in my mind: ‘That kid must be adopted. A white family must have taken him and made him become a cowboy.’

“That thought stayed in my mind as I drove from Georgia to Portland, Oregon, [in 2014] with a friend. We ran across the Okmulgee Black Rodeo in Oklahoma. I was in a daze, seeing all these black cowboys. I didn’t understand what was going on.”

But it was at that moment that the budding filmmaker embraced the idea for his first major project. He had worked with others on small films where he served various roles. Perry also worked on films as an extra or bit, nonspeaking roles and said he would stick his head in directors’ discussions, and “they never told me to get out, so I learned a lot.”

In April 2015, the resourceful Perry took a job driving a U-Haul truck from Charlottesville, Virginia, to Portland. He drove “directly to Okmulgee, to tell the Okmulgee City Hall my plans of making the documentary.”

He met Delta Higgins, who worked at City Hall and who has been a guiding force for Perry — “my angel,” he called her.

“It is an incredibly important yet omitted story within America’s narrative,” the 41-year-old Perry said. “How often do we see now or in the past the cowboy of the Wild West represented as a black man or woman? Very rarely … and yet, they were there in important ways. Black cowboys and their story have been neglected.”

Filmmaker Charles Perry.

Ivan McClellan

Perry has spent the better part of three years traveling the country, mostly by car, to research, meet and film black cowboys in all points of the country. He said the film should be completed in time for entry into the renowned Sundance Film Festival next summer. He also plans to enter it at Cannes, Tribeca and other festivals.

He used online crowdfunding to raise $25,000, which allowed him to hire Emmy-nominated cinematographer Erik Angra and respected African-American photographer Ivan McClellan, who are working at discounted rates, Perry said, because they “see the vision of the film.”

Perry’s younger brother, Marcus, is on the staff, as well as two high school friends — J.R. Redmond, who won a Super Bowl ring as a member of the New England Patriots, and Tony Harvey, who once played for the Utah Jazz of the NBA — who serve as executive producers.

“It’s been a grind, something Nate Parker [director of Birth of a Nation] told me last year at Sundance what it would be,” Perry said. “But I’m determined.”

The total budget of the film is $220,000, and Perry said he used his savings and supplemented the support and donations he’s received by eating less and working side jobs more. “I will pass up on an extra hamburger but not skimp on using the best-quality cameras we need,” he said.

Mostly, Perry said, “I know how to hustle” to keep afloat. To support himself and the film, he edits online video content, including short films and music videos.

“I’m a one-man crew for $2,500 a job. I get three or four jobs a month [to] sustain myself,” he explained. “I’m doing what I have to do to make this film. It’s that important to me.

“So I’m taking my time, not rushing,” Perry added. “This thing is deeper than I thought when I started.”

Perry, for instance, has learned that the term “cowboy” originated when farmers would instruct black farmhands to “go get that cow, boy.”

He learned that Oklahoma, first home of Native Americans, was a haven for African-Americans who fled the South in the 1800s. Blacks owned land and built thriving communities.

Government officials asked Congress to designate Oklahoma as a “black state” or “Negro Colonization.” It never happened, but the influx of African-Americans produced countless farmers and, yes, cowboys.

“I grew up playing at Will Rogers Park and Will Rogers Beach in California, so to learn the most famous black cowboy, Bill Pickett, was Will Rogers’ right-hand man, well, that was something of a confirmation for me that this was a film I should make.”

Prominent in the film is the story of Pickett, who is credited with creating in 1903 the sport of “bulldogging,” now known as steer wrestling. It is a rodeo sport in which the cowboy rides on a horse alongside a steer, leaps onto the bull and wrestles it to the ground by its horns.

Pickett is a cowboy legend and was the first African-American to be inducted into the National Cowboy Hall of Fame of the National Cowboy & Western Heritage Center in Oklahoma. He died in 1932 after being kicked and stomped in the head by a horse when he was 61.

His legacy did not die with him, however. Pickett also is in the Rodeo Cowboy Hall of Fame and has been honored with the annual Bill Pickett Invitational Rodeo in Oklahoma. Pickett’s emergence spawned a wave of black cowboys that, the documentary will show, has continued over all these decades.

“It’s a good thing this story is finally going to be told,” said Clarence LeBlanc, 65, a former black cowboy who retired 13 years ago, but not before twice claiming the world steer wrestling championship (1983 and 1990). “Every ranch since the beginning had black cowboys on them. But when you saw the movies or heard the stories, we were excluded. This film will help let people know our impact.”

LeBlanc said he was quite “uncomfortable” much of his career because “prejudice was strong. When I started out, it was really bad. Most schools weren’t even integrated. Over time, the white cowboys began to get to know me because we were seeing each other every week at different rodeos. Many of them let go of the ignorance.

“But the towns we went to, those people had never been around black people before, and they didn’t want us there. And they let us know that.”

He said he never felt his life was in jeopardy, but “I knew when I was in a place that was more [volatile], and so I stayed close, I didn’t venture off at all. … But I don’t think there was anything anyone could do to run me off, I loved the sport so much.”

That love among African-Americans continues to rise, according to Perry, who estimates there are more than 100,000 black cowboys in the United States. Most are in Oklahoma, but others are in Georgia, California, Arizona, Texas, North Carolina, Mississippi and Arkansas.

“There are small pockets of black cowboys in many parts of the country, and we visit those places and the people wonder why we want to take their pictures,” Perry said. “It’s like when blacks go to Japan and the Japanese want to take our photos because they don’t see many black people. That’s how it is with the black cowboy.”

This is news to many, including a man Perry recently encountered at a party in Boston. Perry said he wears a hat and T-shirt with “TheBlackCowboy.com” on it almost everywhere he goes. “This was a smart, educated white man,” Perry recalled. “He noticed my hat and I told him a little about the history of the black cowboy, and he said no way in the world was what I told him true. He said, ‘Oklahoma is white.’ He just didn’t want to believe it.”

Perry said he has received skepticism from some in the cowboy community because others before him had committed to documenting its history of blacks in the profession but failed. So many did not “take me seriously,” he recalled.

To gain trust, he paid out of pocket for a sizable portion of historic footage — and has been consistent in his efforts to complete the movie.

“I’m excited about seeing the film myself,” Butler said. “I haven’t studied the black cowboy. I am into Warren Buffett and Napoleon Hill. But do know the black cowboys have two things in common: talent and perseverance. That’s the only way to make it with all we have to go through because of our race.”

And don’t forget money, added Butler, who also raises and sells horses on his ranch. “Really, you have to be close to rich, or have someone in your family with money, to compete,” he said. “My family isn’t rich, but my parents made some real sacrifices to get me out here.

“You’re talking $21,000 in fuel to travel to events, $20,000 fees to enter. A horse trailer: another $40,000. Then there are all kinds of miscellaneous stuff. It’s the No. 1 reason there aren’t a lot of blacks on the [rodeo] circuits.”

For LeBlanc, who has lived in Oklahoma all his life and raised prize-winning horses, seeing the number of black youths in rodeos makes him proud. “I know, in at least a small way, we paved the way,” he said. “I have a little grandson, and I can’t wait for him to get old enough to get out there.”

In the end, Perry anticipates a work that enlightens and entertains. “Our goal is not only to bring their story to the mainstream but to establish resources for young aspiring cowboys and cowgirls to follow their dreams,” he said. “I have almost been like a detective, digging for the truth, and it’s been fun.

“Imagine being a cowboy in a rodeo — the sole black person in an entire arena. It’s as close to Jackie Robinson as you can get. This is a history that has been hidden in plain sight … while going on today.

“Well, we’re bringing it all to light with this film.”

Ray Charles’ ‘America the Beautiful’ is our best hope for bringing us together If a patriotic song can divide us, this song can heal that divide

It would take a genius to ease the antagonisms surrounding the national anthem controversy. I know just the man for the job. His name is Ray Charles.

Often called “the Genius” during a long career, Ray Charles performed unique combinations of rock, country, rhythm and blues, soul, blues, jazz and gospel with such energy and style that he invited fans of one culture to cross over and taste the flavor of another. The fact that he was blind from childhood only added to the mystery of his mastery. He attracted appreciation from white folks and black folks, listeners from the country and the city, rich people and poor people, the up-and-coming and the down-and-out.

“This may sound like sacrilege,” said another piano man, Billy Joel, “but I think Ray Charles was more important than Elvis Presley.”

I remember well the day he died: June 10, 2004. I was in New Orleans, scheduled to deliver a professional workshop on writing and music. A day earlier, a young woman slammed a car door on my left hand. When it was time for the workshop and I sat down at the piano, I learned the meaning of playing with pain. Using just one finger to play the bass notes, I offered my best tribute to Charles, brief versions of “What I Say” and “Georgia on My Mind.”

This tribute wasn’t planned, but I was inspired by what I had seen that morning on the news. It turns out that former President Ronald Reagan had died just five days before Charles. The two had a fine moment together during the final minutes of the 1984 Republican National Convention. Ray delivered his gospel version of “America the Beautiful.”

The effect was mesmerizing. While the crowd was overwhelmingly white, you could not help but notice a change in its demeanor. Some cried. Some swayed. Some nodded and looked up as if it were their first visit to a black church. The Reagans and the Bushes looked on with a curiosity that turned to warmth and then delight. When it was over, Reagan and Vice President George Bush climbed down to where Charles had been at the piano and lifted him up to the top of the stage, where the love of the crowd could wash over him.

Move forward now to Oct. 28, 2001. It is the second game of the World Series between the Arizona Diamondbacks and the New York Yankees, a series delayed by the attacks of 9/11. The debris of the Twin Towers had fallen on a cross-section of Americans, and for a brief interval we were together in our misery, and resolved toward our recovery. Who better to express this emotion than the Genius. At a piano on home plate he once again performed “America the Beautiful.” As he sang and played with an easy soulful pace, people on the field, soldiers and first-responders unrolled a flag that covered the entire outfield. Cheers went up. When they created the illusion of the flag waving, cheers reached a crescendo. Charles rose from the piano bench. I am not sure I have ever seen a performer so moved by the response of an audience. It was almost a dance of delight, holding his face, hugging his body in recognition.

“The Star-Spangled Banner,” “God Bless America,” “This Land is Your Land” and “America the Beautiful” have all made a claim to be America’s song. Each has its strengths and weaknesses. Our national anthem (like the Pledge of Allegiance) too often carries with it a formalized test of patriotism: “Please rise and remove your caps …” (Hey, this is America. Don’t tell me what to do.)

Irving Berlin’s “God Bless America” is easier to sing, but it can be rendered and received in a way that seems cloyingly sentimental. Woody Guthrie wrote “This Land is Your Land” in response to Berlin’s anthem, with choruses that focus on the poor and dispossessed who do not feel so blessed. To my ear, “America the Beautiful — at least the version rendered by Charles — exceeds all of them in its ability to raise our collective spirits.

It was not just this song that allowed Charles to use his powers for healing and reconciliation. In 1966, the Georgia State Assembly refused to seat an elected African-American, Julian Bond, because of his supposedly unpatriotic opposition to the Vietnam War. It took a unanimous Supreme Court decision to seat him.

Turn the calendar forward 13 years to March 7, 1979, to that same body. In what was considered a symbol of reconciliation and racial progress, Charles performed his version of the Hoagy Carmichael ballad “Georgia on My Mind.” At the end the assembly rose as one in tribute. The speaker honored him with having performed a miracle, bringing political antagonists in the legislature together. One month later, they voted to adopt Charles’ version as Georgia’s official state song.

The song “America the Beautiful has its own rich and complex history, giving Charles the artistic freedom to make it his own. That history begins in 1893 when a young English professor from Wellesley College, Katharine Lee Bates, makes a trip across the country to Colorado. From the top of Pikes Peak, she is inspired by natural beauty she has seen. To honor that vision, she composes a poem, America, published in a church magazine for the Fourth of July. After some reworking, the stanzas of the poem become the lyrics of a song. A New Jersey composer, Samuel A. Ward, wrote the music. Over the first half of the 20th century, the popularity of “America the Beautiful” grew and grew, sung in churches, classrooms and patriotic festivals.

Charles recorded the song in 1972. In live performances he followed a consistent pattern, flavored by the improvisations we associate with gospel and soul music. He adds “I’m talkin’ about America” and “I love America, and you should too,” and “Sweet America,” fervent ornaments that offended the few but inspired the many — including my dad.

He begins his version, curiously, with the third of four verses, perhaps the least well-known.

O beautiful for heroes proved

In liberating strife,

Who more than self their country loved

And mercy more than life!

America!

America!

May God thy gold refine,

Till all success be nobleness,

And every gain divine!

Written just three decades after the end of the Civil War, those lines evoke the most traditional tropes of America’s civic religion. They include the heroes who give their lives to protect the country and keep it free. They remind us that we are an exceptional country, blessed by God but imperfect in his eyes. Its gold must be refined. The second stanza prays that “God mend” America’s “every flaw.”

What happens next in the Ray Charles version is especially interesting. He speaks directly to the audience over the music, “When I was in school we used to say it something like this. …” Only then does he sing the original first verse, familiar to generations.

O beautiful for spacious skies,

For amber waves of grain,

For purple mountain majesties

Above the fruited plain!

America!

America!

God shed His grace on thee

And crown thy good with brotherhood

From sea to shining sea!

It invites the audience to sing along, and we often do, a call-and-response pattern familiar in many churches and a powerful expression of unity, community, love of country — with all its flaws. Sisterhood and brotherhood — from the man who liked to be called not a genius, but “Brother Ray.”

It should be obvious by now that I love Ray’s version. When I sit down at my 100-year-old upright piano and try to play it the way he did, I always wind up crying. But I love “The Star-Spangled Banner” too, even with all those bombs bursting and its two challenging high notes.

There are hundreds of interesting versions, many available on YouTube, including ones in which African-Americans have offered their special take. We know what Jimi Hendrix did with his magical guitar in 1969 at Woodstock. In 1983, Marvin Gaye shocked the world with his slow-jam version before the NBA All-Star Game, the only version of the anthem I have ever seen in which the audience was moved to rhythmically clap along. Whitney Houston gave us the most elegant version before the 1991 Super Bowl. Maybe my favorite anthem moment was provided in 2003 by NBA coach Maurice Cheeks, who rushed to the rescue of a 13-year-old girl who forgot the lyrics. Mike Lupica once referred to this move, by the former point guard, as Cheeks’ “greatest assist.”

I am not advocating replacing the national anthem. I am proposing, instead, that some group (the NFL, MLB, Congress, the Georgia state legislature, ESPN) offer the Ray Charles version of “America the Beautiful” as our hymn of national unity and racial reconciliation. My dream is to one day attend an NFL football game when, at halftime, an image appears on the screen. It is Ray Charles at the piano. As he sings and swings, and hums and prays, we see a montage of images: Americans, including professional athletes, working to help each other through storm and strife. Working across difference to find unity and build community. From sea to shining sea.

Drake really wants Vince Carter to come home Day 4 at the Toronto International Film Festival

TORONTO — At this point, the most magical words Drake could hear come out of Vince Carter’s mouth might be, “Hold on, we’re going home.”

In July, Carter, 40, signed a one-year, $8 million contract with the Sacramento Kings. But at a Q-and-A after the premiere of The Carter Effect at the Toronto International Film Festival, Drake made his feelings plain: He wants the man who launched Vinsanity to come back to this city.

“It would be amazing, hopefully, for Vince to give us one last chance to not just give him a standing ovation for one night or two nights out of the year,” Drake said.

Saturday’s Carter lovefest (with the star basketball player nowhere in sight) was something to behold. The premiere was studded with sports and music notables: LeBron James, Cory Joseph, Akon, Director X (the guy who caused a sensation with the James Turrell-inspired visuals of “Hotline Bling”), sprinter Andre De Grasse, Raptors general manager Masai Ujiri, and former Raptors Chris Bosh and Patrick Patterson were among those in attendance. And since it was a bright, sunny afternoon, Drake fans were lined up everywhere for a glimpse of their hometown rapper.

Instagram Photo

Drake was an executive producer of The Carter Effect, along with James and his longtime business partner Maverick Carter.

“Me being from Ohio, when Vince signed with Nike, he actually made me believe that putting on those damn shoes would make me jump to the rim,” James joked after the screening.

Director X appears in the film and likened himself to John the Baptist and Drake to Jesus when it comes to Toronto and hip-hop. I asked him where Carter fits into that metaphor.

“He’s Moses,” X answered.

I also had a chance to talk to Mona Halem, a party host who had a front-row seat to the transformation Carter brought with him to Toronto, a city so unacquainted with basketball that its fans didn’t know they were supposed to be quiet when Raptors players were shooting free throws.

Halem, who also appears in the film, is a cross between an NBA doyenne, unofficial Toronto ambassador and social scene producer. She puts interesting people together with liquor and good music and has made it her personal art form here.

“Because basketball and entertainment around basketball was more popular in the U.S., [Carter] shone a light on Toronto,” Halem said. “It was like, ‘Oh, what’s this place Toronto?’ Everyone thinks we live in igloos and it’s so cold.”

Sighted Eyes/Feeling Heart

Courtesy of TIFF

Director Tracy Heather Strain’s documentary on playwright Lorraine Hansberry, in a way, has been her life’s work.

Strain, who is a professor at Northeastern University (she canceled last week’s class to attend TIFF), has been working on Sighted Eyes/Feeling Heart for 14 years. Most of that time has been spent raising more than $1.5 million to make the film. The rights for film clips, music and other properties cost about $300,000.

I spoke to Strain on Sunday morning before she departed for Boston so her students wouldn’t miss a second week of class. Sighted Eyes/Feeling Heart will air in the future on PBS, and it’s a deep dive into the jam-packed 34 years of Hansberry’s life and the world that created the fictional Younger family of A Raisin in the Sun. Strain said she became taken with Hansberry when she was a 17-year-old in Harrisburg, Pennsylvania. Her grandmother took her to see a community theater production of the autobiographical To Be Young, Gifted, and Black.

“You know how you know something in your gut?” Strain asked. “[That’s] how I felt when I was exposed to Lorraine Hansberry’s words.”

In Sighted Eyes, Strain makes it clear that Hansberry is so much more than the one-paragraph biography schoolchildren get during Black History Month before they watch the film adaptation of her celebrated play. In fact, early in the movie, one of Hansberry’s contemporaries insists on making it clear that Hansberry was not a liberal but a “radical leftist.”

I was astonished to learn Hansberry began her career as a journalist before venturing into playwriting, and even more astonished to learn that she’d basically mapped out her life, and told her would-be husband what it was going to be like, when she was just 23 years old. This woman did not waste time. Strain fell in love with Hansberry’s sense of humor: It’s hard not to crack up upon learning Hansberry bought a house on 2 acres in New York and named the place “Chitterling Heights.” She sounds like someone I’d desperately want to be friends with if she were still alive.

Sighted Eyes also works as a bit of mythbusting. My eyes grew large when Strain informed me that I, like so many others, had been fooled by this photo, supposedly of Hansberry dancing with writer James Baldwin. It’s not her but rather a Congress of Racial Equality (CORE) worker from Louisiana. There are no photos, at least none that Strain could find, of Baldwin and Hansberry together despite their close friendship.

According to recent study, Obamacare worked for many Americans Report shows more people of color have insurance, health disparities decreased for blacks and Latinos

Health care disparities are much higher in black and Latino communities than in any others, according to statistics that have been cited for over a decade. But recently revealed stat-based research featured positive results.

According to a study published by The Commonwealth Fund in August, the number of uninsured blacks and Latinos decreased under the Affordable Care Act (ACA) — or, as it’s nationally known, Obamacare.

As NBC recently reported, the study reveals that the numbers declined within the first two years of the Obamacare coverage expansion.

“From 2013 and 2015, the uninsured rate among blacks between ages 19-64 dropped 9 percent, and dropped 12 percent among uninsured Latinos ages 19-64, the study showed. The rate of uninsured whites dropped 5 percent. The disparity among uninsured blacks and whites also narrowed by 4 percent and among Latinos and whites narrowed 7 percent,” according to the article.

“If we are going to reduce these disparities, we must continue to focus on policies like expanding eligibility for Medicaid that will address our health care system’s historic inequities,” Pamela Riley, vice president of The Commonwealth Fund’s Delivery System Reform and a co-author of the report, said in a statement.

The ACA was enacted by the 111th U.S. Congress and signed into law by President Barack Obama on March 23, 2010. When the health care law was passed, states were required to provide Medicaid coverage for all adults ages 18 to 65 who hold incomes up to 133 percent of the federal poverty level.

States also have the option to expand Medicaid beyond the minimum federal guidelines and eligibility requirements. After Obamacare was enacted, many states declined Medicaid expansion, which made health care coverage hard to obtain for many individuals.

But for those states that participated, the results were evident in communities of color.

“Uninsured Latino adults dropped 14 percent in states that expanded Medicaid coverage compared to 11 percent in states that did not. The number of uninsured black adults meanwhile fell 9 percent in states both with and without Medicaid expansion,” NBC reported.

Having insurance coverage also encouraged more people to go to the doctor. The study revealed that blacks who reported that they did not see a doctor because of medical cost decreased from 21 percent to 17 percent once they were insured. For Latino adults, the decrease was from 27 percent to 22 percent.

“By 2015, the disparity between black adults and white adults without a usual source of health care narrowed from 8 percent to 5 percent. It narrowed even more for Latinos compared to whites — 24 percent to 21 percent,” the report found.

Click here to read the entire analysis by The Commonwealth Fund.

LaMelo Ball gets his own basketball shoe and other news of the week The Week That Was Aug. 28 – Sept. 1

Monday 08.28.17

In “life comes at you fast” news, former Baylor football coach Art Briles, who once won back-to-back Big 12 titles, was hired as an assistant coach with the winless Hamilton Tiger-Cats of the Canadian Football League. Grand opening, grand closing: Briles was not hired by the Tiger-Cats. A Colorado man who said he was attacked with a knife because his haircut resembled that of a neo-Nazi actually stabbed himself. The Indianapolis Colts played themselves. President Donald Trump and his terrible, horrible, no good, very bad relationship with Russia continues to get worse. As one final middle finger to former Los Angeles Rams coach Jeff Fisher, 56-year-old Hall of Famer Eric Dickerson will sign a one-day contract with the team. Miami Dolphins quarterback Jay Cutler, really shedding that “lazy” reputation, didn’t prepare for his job as a TV analyst. The New York Jets, a little too on the nose, signed a man named “Armagedon.” Trump is upset about crowd sizes (again) and TV ratings (again). Former Arizona Sheriff Joe Arpaio, a leader of the birther movement, wants the “media to stop saying he is racist.”

Tuesday 08.29.17

ABC News anchor Tom Llamas was out here snitching to the feds. Texas Republicans who once voted against Hurricane Sandy relief aid in 2012 will now be forced to ask for hurricane relief aid. “Heritage, not hate” has caused a boon in Confederate flag sales in Pennsylvania after a white supremacist rally in Virginia earlier this month. Trump is excited about crowd sizes (again). The head of the Energy Department’s Office of Indian Energy once called former President Barack Obama’s mother a “fourth-rate p&*n actress and w@!re.” The Kevin Durant-Russell Westbrook cupcake war is still not over. The Houston Rockets, Astros and Texans donated $9 million to hurricane relief efforts; the city of Houston gave over half a billion dollars to build each of the franchises’ respective stadiums. Supposed man of faith Joel Osteen finally allowed hurricane victims into his church. A white Georgia state representative told a black female former colleague that she would “go missing” and be met with “something a lot more definitive” than torches if Confederate monuments were removed from the state. Sixteen U.S. Postal Service workers in Atlanta were charged with distributing cocaine through the postal system.

Wednesday 08.30.17

A day after Trump promised to “take care” of Houston after Hurricane Harvey, Republicans are set to cut nearly $1 billion from the disaster relief budget. The Cleveland Cavaliers and Boston Celtics finally completed their trade a week later. Gov. Greg Abbott (R-Texas), who signed one of the strongest anti-immigration bills into law earlier this year, said he will accept hurricane relief assistance from Mexico. The Jets made former quarterback Tony Romo want to remain retired. The Tiger-Cats, in the news again somehow, worked out former NFL quarterback Johnny Manziel. The Cleveland Indians and Major League Baseball still can’t figure out a way to get rid of Cleveland’s racist mascot. The American Red Cross, a charity, still doesn’t know how much of the money it raises goes directly to relief efforts. Florida, because of course, was named the state with the worst drivers in America. A New Hampshire inmate, who has a face full of tattoos and will definitely not be spotted walking around town, escaped from a halfway house. Fox Sports 1 host Shannon Sharpe said model Nicole Murphy’s derriere is “FATTER than a swamp-raised opossum.”

Thursday 08.31.17

Late night TV host Jimmy Kimmel cost the Los Angeles Lakers $500,000. High school basketball phenom LaMelo Ball is already set to incur an NCAA infraction two years before he attends college. Someone gave LaVar Ball a reality series. The Trump administration, creating an issue where there wasn’t one, is considering not putting Harriett Tubman on the $20 bill. Milwaukee County Sheriff David Clarke resigned from his position; Wisconsin state Sen. Lena Taylor (D-Milwaukee) wants “to thank Sheriff Clarke for his decision to step down. After years of abuse at his hands, the people of Milwaukee can sleep soundly tonight.” Trump makes secret phone calls to recently fired chief strategist Steve Bannon when chief of staff John Kelly is not around. In “boy, that escalated quickly” news, Missouri state Rep. Warren Love (R-Osceola) responded to vandalism of a Confederate monument by calling for the culprit to be “found & hung from a tall tree with a long rope.” UConn quarterback Bryant Shirreffs had to practice taking a knee. Further proof that bottom has met rock, former New York Knicks coach Derek Fisher will appear on the next season of Dancing with the Stars. The Cleveland Browns won one fewer game during the preseason (four) than they are expected to win during the entire regular season (five). A CBS executive blamed the NFL’s sagging TV ratings on Colin Kaepernick, who played two games on CBS last season. Trump, who once offered $50 million for proof of Obama’s citizenship, pledged $1 million to hurricane relief efforts.

Friday 09.01.17

New Boston Celtics guard Kyrie Irving, almost guaranteeing a sassy passive-aggressive response from former teammate LeBron James, said he hasn’t spoken to James and that “me leaving [Cleveland] wasn’t about basketball.” A nonpartisan watchdog group filed a complaint with the Federal Election Commission and Department of Justice because musical artist Kid Rock keeps lying about running for U.S. Senate. Attorney General Jeff Sessions is still trying to send a 61-year-old woman to jail for laughing at him. Trump “liked” a tweet that he’s “not Presidential material” for misspelling “heeling” (again). In other Trump Twitter news, the president is definitely about to fire Kelly. Professional boxer Manny Pacquiao, who is absolutely not still shook, pulled out of his rematch with Australian teacher Jeff Horn for government duties; in 2014, Pacquiao was present for Congress of the Philippines for just four days.

Auntie Maxine has some things to say Rep. Waters, the no-nonsense Queen of Shade, turns 79

Long before U.S. Rep. Maxine Waters of California became known as Auntie Maxine and Queen Maxine was turned into a meme for situations where the strongest form of shade is necessary, she was a girl from St. Louis who knew she wanted to make a difference in her community.

And what a difference she’s made.

Waters has seen it all and done it all, from working in segregated restaurants and factories as a teenager to working as a teacher and volunteer coordinator. In the 1980s, Waters co-founded the Black Women’s Forum and Project Build to help young people in Los Angeles housing developments on job training and placement. Waters continues to serve as a member of the House of Representatives’ Committee on Financial Services, Congressional Democratic Leadership and Steering & Policy Committee, Congressional Progressive Caucus and Congressional Black Caucus.

Her realness has won the hearts of millennials across the nation. Below are eight top quotes we’ve been gifted with from the 79-year-old congresswoman in recent months.

Happy birthday, Auntie Maxine. Reclaim your time.

“I have to get up every morning believing that I and others can make [the future] better, and that no matter how difficult it is, that we will rise to the occasion to force this country to be the democracy it claims to be.”

“Reclaiming my time. What he failed to tell you was when you’re on my time, I can reclaim it.”

“I went to a Drake concert. I’ve never seen anything like it in my life. I was at the BET Awards with Chance the Rapper. And all these people get up and scream and holler. I keep wondering, ‘Where did all these people come from? Why can’t they come into politics?’ ”

“Your time has to be divided between relaxation and fun and the work that you think can make a difference in people’s lives.”

“Let me just say that I have been adopted by the millennials in this country. I am honored. I am so pleased to see the involvement and the engagement of all of these millennials, and they have helped to teach me a new language. We’re talking about shade, we’re talking about receipts, we’re talking about serving a little tea and, of course, it’s all about staying woke.”

“I am not running [for the presidency]. That’s simply a rumor, everybody. I am not running for anything except the impeachment of Trump.”

“As an African-American woman who has been involved in the struggle, you know [hate] is coming, you know who they are, and you know not to let it devastate you. You build the strength to fight back, to push back and let it just go over your shoulders. Every day I wake up, I wake up energized.”

“I am a strong black woman. I cannot be intimidated, and I’m not going anywhere.”