Daily Dose: 12/11/17 NYC avoids terrorist attack

What’s up, kiddos? Hope your weekends went well. I’m coming to you live from Florida, where I’m at Major League Baseball’s winter meetings. It’s quite the experience, to say the least. We’ll see if any real news happens.

New York is again under attack. Happening at an-ever alarming clip, another attempted terrorist incident hit the city on Monday, this time near Times Square. Someone tried to detonate an explosive device inside the subway, which instantly caused a massive panic, understandably. The thing about New York is that ever since 9/11 you’ve sort of always got to assume you could potentially be in a dangerous situation. But then again, you’ve also got to live your life, so it is what it is. Thankfully, only a few people were hurt.

Hannibal Buress is a very funny dude. He’s also good because his regular-guy appeal is something that draws a whole lot of fans. When he first broke Bill Cosby off about his rapey ways, it resonated with a lot of people because of Buress’ casual delivery. So when I heard that he was arrested in Miami during Art Basel, I assumed it would be a case of mistaken identity. Instead, it was just a case of police being jerks because a famous person was drunk and doing too much.

The president’s job is a pretty intense one. He’s responsible for public policy for one of the most powerful nations in the world and therefore must always be on point to handle pressing issues. Meetings with important advisers, large decision-making sessions, etc. Surely he’s constantly studying documents and statistics, doing what he can to make the world a better place. Right? Nope, homey is basically sitting around watching television and drinking Diet Cokes nonstop. His eating habits are legit gross for someone who has a choice in the matter.

Speaking of baseball, being here in Orlando has been an experience. All sorts of characters are milling around, trying to get closer to players, execs or whoever wants to act like they’ve got some inside skinny on baseball news. It’s quite a scene. A perfect example of this kind of thing just happened Sunday. Someone paid over $100K for the original scouting report of Derek Jeter. Why on earth anyone would want that to begin with, never mind pay a healthy yearly salary for it, is beyond me.

Free Food

Coffee Break: I’ve been hesitant to write about the story of Daniel Shaver because it’s so scary. You’ve seen it by now. A man begging for his life in front of an officer who is literally toying with a person suspected of carrying a gun. In the end, he kills him. He also ends up walking free. The whole thing is truly despicable.

Snack Time: J Dilla never has and probably never will get enough credit for his work in hip-hop. Dude is a legend whom we lost way too early. Check out this mini-doc about him and his MPC.

Dessert: The Pentagon ain’t playing. Even if the president is talking trash.

Pay-per-views, Reddit rabbit holes — and a semi-ridiculous new TBS show: battle rap is back — if it ever left The gloves-off battles are sweaty, verbal MMA fights, with rappers getting directly in each other’s faces

On Dec. 9, dozens of rap fans crowded into a tiny, undisclosed location to watch a night full of rap battles — including a battle between Rum Nitty and Iron Solomon, who stole the show in what may go down as the most exciting battle of the year — as MCs traded mostly pre-written bars, insulting each other for three timed rounds. The event, called Smack Vol. 1, was held by the top battle rap league in the country, URL — for Ultimate Rap League. The fact that there were only dozens of fans in attendance is a misleading representation of battle rap’s popularity.

The small venue for Vol. 1 was by design — an attempt by URL to take the event to its roots of intimate crowds. But in actuality, battle rap events draw hundreds of fans, while thousands stream them live on pay-per-view before watching the battles on YouTube by the millions. Battle rap is a simmering subculture. It dominates Reddit threads, message boards and YouTube — and it’s going mainstream.

Iron Solomon vs. Rum Nitty

For instance, Drop The Mic. The Tuesday night TBS show is a spinoff of the rap battle segments from James Corden’s Late Late Show in which he battled celebrities like Kevin Hart and Anne Hathaway. Celebrities like the stars of Big Bang Theory lob rhymed insults at each other. The Seattle Seahawks’ Michael Bennett recently battled Vanessa Hudgens — to the tune of almost 1.4 million views. Hosted by Hailey Baldwin and Wu Tang rap legend Method Man, the show employs artists from the battle scene to help contenders craft lyrics and presentation. Drop The Mic is a gentrified but entertaining look at a battle scene that has been bubbling under the surface of mainstream American pop culture for decades.


The godfather of the modern-day battle rap scene is Troy “Smack” Mitchell. He’s an enterprising Queens, New York, native who set out to document New York rap culture in the early 2000s by recording guerrilla-style interviews of rappers. “I had access to a lot of MCs … because I was in the streets and knew a lot of people,” says Mitchell. “I really grinded … waited for artists outside of clubs. It just blew up from there.” He released the interviews and exclusive freestyles on his Smack DVD series, which features early looks at rappers like Kanye West, Cam’ron and Beanie Sigel. The series was hugely popular in the pre-internet era. And at the end of each DVD was a rap battle.

Kevin Durant once stood on stage, right next to Smack himself, in breathing distance of the battlers.

“We came up doing the battles as kids,” says Smack. The rap battles on the Smack DVDs took place on street corners, barbershops and clothing stores. MCs surrounded by dozens of spectators. The rappers had prepared “rounds” of timed raps directed at their opponents. No beats played, and if there was a stumble, slip-up or stutter, the rapper’s round was over.

Shells and Jae Millz

Mychal Watts/WireImage for KSA Publicity

The competitions were intense and legendary, and they helped rappers like Murda Mook and Jae Millz get signed to Ruff Ryders and Young Money. Smack brought battles to living rooms, even though the competitions have been part of hip-hop lore since the genre’s inception.

Here’s your history lesson: Rappers have always tested their mettle against one another. Big Daddy Kane used to roam the Big Apple streets challenging the best rappers. Jay-Z and Busta Rhymes infamously rapped against each other in high school. And a young rapper named Biggie Smalls made his name taking on all comers in freestyle competitions.

Eminem in 8 Mile which was one of the first time mainstream America got a glimpse into battle raps.

Universal Pictures

But it was Eminem’s 2002 8 Mile, in which he battled to famous rap beats like Mobb Deep’s “Shook Ones,” that introduced battle rap to the mainstream. The battles in 8 Mile were fictionalized takes on the real-life Scribble Jam battles that Eminem participated in during the late ’90s — and which got him noticed by Dr. Dre in the first place. By 2003, rappers E. Ness and Jae Millz were battling on MTV’s Making The Band. MTV also had a show called “Fight Klub,” and BET’s 106 & Park had a popular Freestyle Friday segment from 2001 to 2013.

Rappers have exposed opponents for cheating on their fiancées and poked fun at dead relatives or whether rappers’ dads turned state’s witness.

Battle rap found a new level of popularity via YouTube, and it shed light on leagues that had formed around the world. The two front-runners were Grind Time — the popular, now-defunct league that started in Florida and expanded to Los Angeles — and Smack’s own Ultimate Rap League that sprouted from his DVD series. Today, Smack battles sell out venues like New York’s Irving Plaza and the Highline Ballroom, and fans pay upward of $100 to attend.

The leagues book the battles. The rappers spend weeks preparing rhymes catered specifically to their opponents. The rappers take the stage, flanked by entourages, and perform alternating timed rounds anywhere from two to five minutes. The battles are verbal MMA fights, with rappers getting directly in each other’s faces.

While most of the rounds are pre-written, some rappers open their rounds with freestyled rebuttals to what their opponent just rapped, flipping insults in their own favor. Battlers never know what’s coming, or how personal an insult can get. When it’s a rapper’s turn to listen to his or her opponent, “defense” is employed, which is essentially how someone reacts to the person rapping — standing stone-faced, shaking a head to show disapproval or mumbling sarcastic reactions. It’s a human chess match — mentally taxing. Competitors physically train for battles and usually end up sweaty and dehydrated by the end of each contest.

“You know who your opponent is ahead of time so you can do research,” Smack said. “Did they get played? Did they get beat up? You can expose them.” Battles have gotten personal and tense, but it’s accepted, especially since the rappers are celebrities within the culture. They are revered within the battle scene but largely lead regular lives. While the most famous battlers like Loaded Lux and Murda Mook can live off of battles, making music and bookings, most battlers have day jobs. And, yes, the day jobs are function as ammo for insults. Nothing is off-limits.

Really. Dumbfoundead and Conceited once spent their whole battle exchanging short jokes and racist Asian stereotypes. Rone went viral for a whole round about Big T’s obesity. Rappers have exposed opponents for cheating on their fiancées and poked fun at dead relatives or whether rappers’ dads turned state’s witness. Despite that, you could count on one hand how many battles have turned physical.

Courtesy of Underground Rap League

“It’s very much like a boxing match,” says Kyle “Avocado” Gray, who has filmed and directed battles for Grind Time and URL, adding a cinematic touch to battles broadcast live on pay-per-view. “These two people get into a ring. They have to have a thick skin. They have to be ready for people to say anything, and not be fazed by it. It almost brings them closer in the end, for having been through that battle together.”

Because fans are so invested in the battles — they reach such a fever pitch — battle rap culture has become a community of message board commenters and YouTubers. Battles often refer to earlier battles and online happenings online that may sound like a totally foreign language to the novice. However, catching the references is part of what makes fans feel rewarded for their dedication.

Competitors physically train for battles and usually end up sweaty and dehydrated by the end of each contest.

“The culture is super incestual,” Gray remarked. “The art in general isn’t that welcoming to an untrained ear.” But that’s what YouTube rabbit holes are for. And celebrities are happy to join in on the fun, even if that means getting called out midround. James Harden has attended — and Kevin Durant once stood on stage, right next to Smack himself, in breathing distance of the battlers. Drake and Diddy have co-hosted, with Diddy famously putting up $10,000 of his own money midbattle to see who would win between T-Rex and Aye Verb.

There are now leagues in every corner of the globe. In addition to URL, there’s King Of The Dot (KOTD) out of Canada, England’s Don’t Flop, Atlanta’s Bullpen Battle League and all-woman Queen Of The Ring in New York. Battle rap is as popular as ever, with landmark moments happening at a breakneck pace. This year alone saw KOTD bring in Russian battle rapper Oxxxymiron, whose massive following garners tens of millions of YouTube views per battle, to Los Angeles for the most viewed battle in North American history — and counting.

And Drop The Mic does utilize writing talent of competitors from the scene like Rone and Hollow Da Don. And the satire Bodied, about battle rap, is making a splash in independent movie festivals and should see wide release in 2018. There’s also the permanent roles of rappers like Charlie Clips and Hitman Holla on Nick Cannon’s improv show Wild N’ Out.

The rapid expansion of battle rap culture is what made Smack want to take things back to the basics with Dec. 9th’s Vol. 1 event. “I didn’t want the battle culture to lose its identity,” he says. “We wanted to take it back to the essence.”

Backstage at ‘The Late Show’ with Jon Batiste The musical director and former point guard on why it’s important to keep score

On a recent Wednesday afternoon, Jon Batiste reached over to the Crosley record player in his dressing room at the Ed Sullivan Theater. He lifted the needle so that Stevie Wonder’s In Square Circle could provide a little background music while he talked in the dim glow of what once was Carol Burnett’s dressing room. Old-fashioned showbiz lights still frame the vanity’s mirror, although the vanity itself is covered with books, hats, records and a speaker. A couple of paintings lean against the mirror.

The musical director of The Late Show with Stephen Colbert was quiet and relaxed, possibly the most subdued he’d been all day.

Batiste, 31, rarely stays still, which is the only way a person can hold down his Late Show gig while also acting as artistic director at the National Jazz Museum of Harlem, recording new music, promoting a Christmas album, reimagining “The Battle Hymn of the Republic,” collaborating with Wynton Marsalis, writing op-eds for The New York Times and constructing a tribute to dancer Carmen de Lavallade for the 2017 Kennedy Center Honors. Batiste is arguably the country’s most visible preservationist and celebrator of jazz. He and Stay Human, The Late Show’s house band, reach roughly 3 million people each night through their televisions.

Full Track

Jon Batiste’s fingers glide across the keys of a Steinway & Sons piano in the Stay Human rehearsal space ahead of a live taping at The Ed Sullivan Theater in New York City.

Melissa Bunni Elian for The Undefeated

The Late Show has recently vaulted to the top of the late-night ratings on the wings of host Stephen Colbert. Monday through Friday he provides a wry yet sunny accounting of how the world is descending into a morass of fear, uncertainty and, lately, how it’s being pushed there by famous men who can’t keep their hands to themselves. Batiste sets off the monologues with a tinkle of piano keys, a laugh or a quip. He’s the amen corner for Colbert’s sharpest jabs.

On the gray, overcast day after a terrorist plowed into a bike path in New York, killing eight people, Batiste strode into his eighth-floor office. When he crossed the threshold to find a stranger waiting for him, he held out his hand and let out one of his trademark “Yeeeeeeeeeeeaaaaaahs.”

His buoyant, irrepressible happiness might seem inappropriate for the day after a tragedy, even for a man who comes from the land where people give you a parade when you die. (He grew up in Kenner, Louisiana, about 20 minutes from New Orleans, before moving to New York as a teen to attend The Juilliard School.) Nevertheless, he was humming, scatting and upbeat. Batiste considers transmitting that energy to be part of his job.

“It’s an interesting line to thread, to find a joyous sound that also matches the tone of the material in the show,” Batiste said. “That’s the real challenge every day, is finding out, OK, how do we find that thing that’s gonna push the energy that we want forward but not come across as insensitive or not come across as kitsch or out of taste? And that’s what I enjoy. I love these artistic challenges.”

He’d been listening to The Commodores on the way to work, and he sat down on the small gray couch in his office, barely able to contain his humming until I joined him in the chorus of “Lady (You Bring Me Up).”

Admittedly, it’s hard not to bop your head once you hear the lively strings and driving beat of “Lady.” The Commodores are part of a playlist that Batiste made for 2017. At the beginning of every year, he compiles a mix of songs, a sort of aural lookbook for the next 365 days. This year’s mishmash included contemporary Bob Dylan, 1920s and ’30s Louis Armstrong, Peggy Lee and Michael Jackson’s Dangerous album.

The yearly mix provides a thematic foundation for what Batiste wants to reference in the show. About a week after we spoke, Batiste and Stay Human played an arrangement of “Lady” during a Late Show commercial break. It’s evidence of the thoughtfulness that defines his tenure as Late Show bandleader.

“I like putting stuff into the machine and then seeing what comes out of the machine. The brain, that’s like our processing machine,” Batiste said. “So for me, I like to just make a list of all the stuff that I want to digest and assimilate and then I just live with it.”


Batiste has had years of experience putting music into his “processing machine.” He began playing with his father, Michael, in the family’s Batiste Brothers Band when he was about 6 or 7.

The Batistes are one of New Orleans’ most respected and legendary jazz clans, and they’ve often worked side by side with the Marsalis family. Both Batiste and his mentor, Wynton Marsalis, attended high school at New Orleans Center for Creative Arts. Wynton’s father, pianist Ellis Marsalis Jr., headed the jazz department there and was succeeded by clarinetist Alvin Batiste, a distant cousin of Jon’s.

“Him and Alvin and Clyde Kerr and Kidd Jordan, they were like the four village elders who taught everybody in New Orleans music from the last 40 years,” Batiste said. His upbringing in a family of jazz musicians and his experiences playing point guard, both in school (where he was part of a state championship-winning squad) and for an AAU team, gave Batiste his energy, his musical acumen and his constant all-American drive for self-improvement.

Jon Batiste is an avid dresser, usually opting for suits with bold colors or prints paired with custom made sneakers.

Melissa Bunni Elian for ESPN

“It’s a discipline to achieve whatever your desired end result is,” Batiste explained. “In sports, there’s a score. There’s statistics, and there’s a winner and a loser and a championship, and there is one team that gets it. It’s just very clear-cut.

“I think, in order to get better at being a musician and a bandleader and a composer and all these different things, you have to create things that are that clear-cut, because the competition that you’re up against is yourself. So it’s harder, if you’re not willing to look into the mirror, to define what the end result is. It’s very easy to get to a certain level and to just coast, and to not push yourself to be better, because nobody is really keeping score.”

That constant pushing isn’t just what Batiste expects of himself. He expects it of his bandmates in Stay Human too.

It’s important to get “the team to where’s there’s a built-in camaraderie and built-in sense of purpose, that you’re OK passing your guy the ball to take the shot when it counts in the fourth quarter,” Batiste said, again likening the job to running a basketball team. “It’s not always going to be you that gets to take that shot. You may have to trust your sixth man, or your 2 guard. You’re running point, and I played a lot of point. You’re going to have to trust … I’m not going to be able to take this shot. This is not a smart shot for me to take.”


Batiste comes to work after lunch — this time, he raved about the meatball sandwich at a spot on 53rd Street and Ninth Avenue — usually taking a car from his apartment in midtown Manhattan. His office is filled with sunlight, although the view is basically of a construction crane, thanks to New York’s never-ending real estate development. He’s got two keyboards, a Mac, an amp, a drum set, an electric bass and a Mason & Hamlin baby grand piano. An unopened bottle of Dom Pérignon still in the box, sits on his windowsill — he doesn’t drink.

He catches up on the news and tries to get an idea of what the show will address. Because Colbert riffs on the day’s news for his nightly monologue, things at The Late Show are often in flux right up until it’s time to tape the show. That means Batiste finds himself flipping through the musical library in his head on deadline and making last-minute changes at sound check.

“Picking music for TV is so specific,” Batiste said. “It has a mystery to it until you pick that right song, play that right beat, and then it’s like, ‘Oh, of course I should have been doing that.’ So it’s a mystery until then. You gotta crack the code.”

The code-cracking continues in the Stay Human rehearsal space, which is about the size of a McMansion bathroom.

Jon Batiste, left, reacts to the music while practicing new material with his band, Stay Human, a few hours ahead of a live taping at The Ed Sullivan Theater in New York City.

Melissa Bunni Elian for The Undefeated

The Late Show tapes four days a week. So Monday through Thursday, 10-plus people cram into the space with their instruments, including a tuba and a drum set, and jam.

Batiste’s assistant squeezes into a chair next to the upright Steinway and plays a song from her phone through the Marshall speaker that sits on the piano. Gradually, the band picks up the groove and joins in. There’s little to no sheet music.

Batiste and the band rehearse for roughly an hour, their choices guided by that night’s guests and notes from a morning production meeting that his assistant attends. Then he’s off to comedy rehearsal with Colbert, where the two go through Colbert’s proposed monologue. A small gathering of crew makes up the audience for the rehearsal, which was kept so off-limits that not only could I not watch, I couldn’t even be in the building while it was taking place.

All those little riffs and interjections that feel natural and spontaneous when you watch Colbert’s monologue? They’ve been rehearsed.

After comedy rehearsal, Colbert and his staff make script changes and Batiste refines his music selections. Then there’s a sound check on the stage with the whole band. This time, Batiste was working through a song with Jonathan Groff, who played King George in Hamilton and now stars on the Netflix series Mindhunter. The two fumbled around to find the right key for a jokey promotional duet for Mindhunter that Groff sang with Colbert.

While everyone ventured off to hair and makeup, Late Show staff members shepherded the night’s audience into their seats. They were treated to a bawdy warm-up act by comedian Paul Mecurio. Batiste and Stay Human played a 15-minute concert, and Colbert came out, introduced himself to the audience and took questions.

Finally, they make the television that shows up after the local news five nights a week.


Duke Ellington favored natty suits and a top hat. Cab Calloway rarely performed without his conductor’s baton, white waistcoat and tails.

While Colbert sticks to a uniform of sober suits and dress shoes, his bandleader favors blazers from Mr. Turk and fresh Jordans. Batiste is a consummate sneakerhead, and while he sat and talked on his sofa, he casually dribbled a basketball between his feet.

Now Batiste has access to an entire collection of covetous footwear, an actual binder full of sneakers, via The Late Show’s stylist. He’s an admirer of Russell Westbrook’s sartorial boundary-pushing, and though his loyalties are not wedded to one particular NBA team, he casually follows Oklahoma City.

Unlike Calloway, Batiste doesn’t come out in a zoot suit every night. But there’s a special element of showmanship involved in being a bandleader. It’s a skill, one that Batiste, who swears he used to be shy, had to learn. And his personal style, which he began to cultivate after moving to New York, is part of it. Presentation, he insists, is separate from being a skillful musician.

Jon Batiste is an avid dresser, usually opting for suits with bold colors or prints paired with custom made sneakers.

Melissa Bunni Elian for The Undefeated

“I think it really is important to think of them as different things,” Batiste said. “It requires a certain understanding of yourself and your comfort zone, and then stepping outside that and expanding your comfort zone. I actually didn’t see a connection with the two. Also, when I was growing up, it was more the older family members who took that role of presenting the band and everything like that. … That’s always a shock to people who I’ve known for a long time, to see how both those things have developed. It’s a surprise, almost, like a different person has emerged.”


Batiste interprets the world through the youthful ears of a wizened soul. His workspaces at The Late Show are a cornucopia of old and new. Crosley and Marshall are companies that specialize in making music equipment that draws on vintage aesthetics but benefits from modern technological innovation. It’s a theme that recurs throughout Batiste’s working life — he began playing for vocalist Cassandra Wilson, now 61, when he was just 22. He’s a jazz musician whose instrument of choice is the melodica, a contraption that looks like a small hand keyboard with a mouthpiece and sounds like a harmonica.

“A lot of people think that this instrument, you know, is like a child’s toy,” Batiste said, but he loves it. He recounted how he showed it to Stevie Wonder the first time they met, when Batiste was still a student at Juilliard.

“Man, you ever played one of these?” Batiste asked Wonder.

Wonder took the instrument, played it, then gave it back.

“Yeah, I used to play them, but I would get so much spit in them, I stopped,” Wonder told him.

“Oh, you got jokes!” was Batiste’s retort.

Unlike many of his earliest predecessors in jazz, Batiste boasts formal musical training besides everything he learned in his family’s band. He earned a master’s degree from Juilliard.

“I feel like it connects me to the ancestors more, the kind of founding fathers of the music,” Batiste said of his musical education. “Mothers and fathers, because women were a big part of it as well. There’s a lot of female artists that I think are still actually becoming recognized that we don’t even know about. The training just gives me another tool. Nothing can hurt you in pursuit of knowledge, the pursuit of your craft.

“You know, there were great musicians who were the most erudite, studied, and they knew everything there was to know even before there were all these schools. And there were also musicians who didn’t know all that stuff, but they knew it in their own way. So, in my mind, I don’t even think about it like I’m educated more so than a musician who didn’t go to a conservatory. It’s just I know the terminology. But the person who knows it is the one who experiences it. So, if somebody is playing it on their instrument, they know it. … Whether they call it a C scale or dominant seventh chord or they just know it by whatever they know in their mind, when they play, it’s there.”

In Batiste’s office there’s a poster of Mavis Staples, one of his many heroes.

“She’s not just a musician now, she’s bigger than music,” Batiste said. “[Her involvement] in the civil rights movement and being a force for goodwill and a force of peace and a force for faith and a force in all kinds of ways. It’s amazing.”

Staples represents what he wants to achieve, Batiste said, “just what kind of energy I want to have as a performer and a celebrity. Somebody that’s authentic and is very real and also accomplished and all that, at the same time.”

In marrying youth with tradition, drawing a line from zoot suits to Jordans, Batiste has become a vehicle for advocating and communicating about jazz. He’s reverential, but not stuffy, and always repping New Orleans. (When it comes to gumbo, Batiste prefers filé to okra as a thickener for the city’s signature stew — that’s how his mama makes it.)

For decades, there’s been a panic that jazz, born in Louisiana and spread via the Great Migration, radio and vinyl, is dying. As once-booming jazz corridors in cities such as Washington, D.C., and Kansas City have shrunk or transformed, those changes are accompanied by understandable worries that no one’s interested in carrying on the genre’s traditions, that a uniquely American art form is going underappreciated outside of Lincoln Center, the Kennedy Center and rich people’s wedding receptions. Damien Chazelle won an Academy Award for directing a movie around that theme.

But there’s always a young, handsome, passionate and charismatic ambassador keeping the legacies of Bird and Miles and Satchmo alive. In the ’90s, it was Batiste’s mentor, Wynton Marsalis. Now Batiste has picked up the torch, along with the requisite fedora and porkpie hat — he’s got a stack of them in his dressing room and more in his office. As for the next generation? Well, Batiste turned 31 in November. He celebrated by traveling to see his 8-year-old nephew’s piano recital. The culture is in safe hands.

No matter if it’s a rehearsal or an actual performance, Batiste and his band member play full out, laughing and having fun with each note they play.

Melissa Bunni Elian for The Undefeated

“I don’t expect that jazz is always going to be on top like it was in the ’20s, for example,” said jazz pianist and bandleader Herbie Hancock. “The music is always evolving and constantly changing, and it’s very difficult for a lot of listeners to keep up with that.”

But he’s optimistic about Batiste’s work on The Late Show. “That experience is incredible because you’re challenged in a lot of new ways, doing that type of TV show,” Hancock said. “Because of the kind of talent he has and his experience in jazz, he’s able to more easily adapt and include new ways of dealing with the music for that kind of show than if he had not had it.”


As darkness began to settle over Manhattan, it was time for a show.

Batiste sprinted onstage to greet the show’s live audience. Joined by Stay Human, they pumped up the crowd with James Brown’s “Get Up, Get Into It, Get Involved” and an arrangement of Dave Brubeck’s “Take Five” modeled after Tito Puente’s salsa-fied version.

One of Colbert’s guests was writer and Aspen Institute president Walter Isaacson, who was there to promote his new biography of Leonardo da Vinci. To introduce Isaacson, the band played an up-tempo rendition of “Oh! Didn’t He Ramble,” a New Orleans ditty from 1902 later popularized by Jelly Roll Morton and Louis Armstrong.

“I grew up with his whole family,” Isaacson explained to Colbert. “The wonderful Batiste family of New Orleans.” Isaacson gestured toward Batiste. “He’s a great man.”

When the interview concluded, Isaacson walked over for a hug, thrilled that Batiste had chosen to pay musical homage to their shared roots.

Later, Colbert said goodbye and the band exited. While the audience made its way to the lobby, stopping for pictures with cardboard cutouts of Colbert, Batiste huddled with the host for a post-mortem of the night’s show.

The process of assembling and putting out a newspaper used to be known as the Daily Miracle. Making late-night television involves many of the same pressures related to accuracy, tone and intellect. On top of that, it’s got to be funny, and it’s done in front of a live audience.

No wonder The Late Show tapes smack in the middle of Broadway. With Colbert and Batiste at the helm, it’s clear that’s exactly where it belongs.

Timberwolves center Gorgui Dieng gives back to his native Senegal – and then some His foundation and partnership with Matter assists with hospital improvements and he also trains the Senegalese in farming

Minnesota Timberwolves center Gorgui Dieng will never forget seeing a pregnant woman helplessly lying on the floor waiting for medical attention in a severely antiquated hospital in his hometown of Kebeber, Senegal, about 3 1/2 years ago.

It was the same hospital Dieng was born in on Jan. 18, 1990. There was nothing electronic at this hospital. Most beds didn’t have mattresses and patients lay on springs. Babies were warmed in incubators by a light bulb. The odds of getting decent health care were slim.

“I was visiting someone at the hospital and the doctor that was there was the same doctor I saw when I was in Senegal,” Dieng said. “I went to the visiting room to say hi to him and there was a pregnant lady laying on the ground. I asked him what was going on. He said he was waiting for someone to leave a table so she could lay there. I looked at the room and there was only one table there. No beds.

“I asked him if I could take a tour and see what the hospital needs. The building was OK, but the equipment was the issue. I told the doctor to give me a note and tell me everything that he needs. I told him, ‘I’m not going to promise you anything, but I will do my best to help.’ ”

Dieng has done more than his best to help his hometown and Senegal.

The hospital is now updated. There is a new dialysis center with 200 beds. Farming tutoring is offered on his land. There is more on the horizon through his foundation.

Gorgui Dieng #5 of the Minnesota Timberwolves controls the ball against the Denver Nuggets.

Doug Pensinger/Getty Images

The NBA veteran is better known in Senegal for what he has done off the court in saving and improving lives than for what he has done on the court in North America. Dieng, 27, is averaging 6.8 points and 4.6 rebounds per game in his fifth season with the Timberwolves. He started playing basketball when he was 15 and played in college at Louisville.

“He is a celebrity in Senegal in large part because he’s been all over the media there with his foundation and all he is doing to help his people,” said Quenton Marty, president of Minneapolis-based non-profit Matter.

In March 2015, Dieng attended the Timberwolves’ FastBreak Foundation’s annual Taste of the Timberwolves fundraising event. Players and coaches from the team dine on local fare from some of the best restaurants in the Twin Cities at their annual fundraiser. Dieng was quietly trying to find help for his hospital back in Senegal while hanging out with the movers and shakers of Minneapolis.

Dieng received an important introduction to Marty during the event. Marty’s organization, Matter, has a mission to “expand access to health, next door and around the world” with a goal to bring access to health aid to 10 million by 2018. Matter has leveraged Minnesota’s renowned health care and agriculture to aid those in need since 2000 and has distributed more than $550 million in resources around the world.

Not long after the Wolves charity event, Marty and Dieng met for breakfast.

“Gorgui is a guy who came from humble beginnings and I got the sense that he wanted to work with people he could trust that weren’t going to just talk about doing stuff, but we are actually doing stuff,” Marty said. “The one thing I took away was this was a great young guy who wanted to do something to help his people and not just be in the NBA for his own benefit.”

A partnership was born during that breakfast meeting with Matter and Dieng’s budding charity foundation.

They initially began outlining a plan to aid Dieng’s hometown hospital. Matter next shipped medical supplies to Senegal. Through Dieng’s connections, the equipment sent overseas was able to get through customs relatively smoothly after a journey that took about a month. Matter sent beds, furniture and other hospital basics for treatment.

“After that meeting, I went back to the office, pushed pause on everything and said, ‘We’re going to help Gorgui send medical equipment back to this hospital where he was born,’ ” Marty said. “Within about two weeks, we had a 40-foot container on the water sent back to Senegal, where Gorgui was born and raised. That was the beginning of our relationship.”

Said Dieng: “I met with Matter and have been working with them ever since.”

Gorgui Dieng walks through the farm project that was built near the hospital.

Courtesy of Gorgui Dieng

Marty and a contingent from Matter joined Dieng for a site visit to Senegal. Marty has seen struggling hospitals all over the world, but he was shocked by what he saw in Dieng’s hometown, saying the hospital had equipment that was “about 50 years behind the times.” Marty immediately began thinking about what more Matter could do to help through Dieng’s foundation.

“Over the last 20 years, because of the work that I do, I’ve seen a lot of dilapidated hospitals,” Marty said. “This one was among the worst. It was pretty small. I just remember seeing a lot of moms with kids that were sick, but the hospital didn’t have the resources to take care of them. Just walking through with Gorgui was a somber experience knowing that this is where this guy playing in the NBA was born. It was still a place where people didn’t get the treatment they deserved.”

Today, the hospital in Dieng’s hometown is much improved, thanks to Matter and Dieng’s foundation. Another problem in Senegal was a lack of dialysis treatment centers in a country stricken with masses of people with kidney problems. A 200-bed dialysis center was opened in 2016 through Dieng’s foundation and the aid of Matter and other donors. There is also a new neonatal center to help babies. Marty said that there are also Wolves season-ticket holders and Minnesota businesses that are aiding Dieng’s foundation.

In July 2018, Matter will join Dieng again with a contingent of about 20 people going to Senegal to tour his projects.

“It’s a much well-oiled machine now that the Gorgui Dieng Foundation is established,” said Marty, who has made three trips to Senegal. “We now have a whole system of requests that Gorgui is getting to help people. It went from the first container helping one hospital to people all over the country requesting our assistance. Within a couple years, we have a program that will go well into the future to help the whole country.

“The hospitals have been upgraded significantly. Now they are able to serve people with dignity and give them the care they need and should have.”

Dieng said he owns more than 100 acres in Senegal that he uses for farming and it is not uncommon to see him on a tractor or tending to the animals. It also serves as a training ground for local and aspiring farmers.

Goats, lamb, chickens, cows and sheep are raised on Dieng’s land, with employees working the farm. It is difficult to grow fruits and vegetables because the farm has sandy soil on the edge of the Sahara desert. With the aid of Matter, Dieng’s foundation is teaching people how to farm more intelligently and successfully in Senegal. Matter provided the farmers with repurposed equipment from Minnesota farms in 2016. Dieng also has agricultural students working on his farm to gain experience while also aiding them with scholarships.

“Farming is very big in Africa, but people don’t do it the proper way,” Dieng said. “I love farming. Through my foundation, I can train people. I give up my own land so people can practice the proper way to farm. When they finish, they can help their own farm and my foundation can help them with pretty much anything they need. It helped them stabilize their community so people don’t have to go to the city to make money. You can farm where you are, the proper way, get great results and make a way of living.

Gorgui Dieng next to a well that was built to assist in sustainable farming.

Courtesy of Gorgui Dieng

“Things I’m doing right now isn’t just to make money. It’s to stabilize people and keep them in their community. They have the right to go make some money. When they leave the village, or leave the town, no money is going to be there. It will be a dead town. I want them to stay in their town by creating jobs for them.”

Dieng said he truly learned the impact he was making in Senegal when he met a young boy affected by a kidney problem at 12 years old named “Semi.”

Dieng said the young boy and his father decided to go by “faith” to travel to see him at his annual offseason basketball camp after seeing him on television and learning what he was doing medically. The father had previously sold his house and car to get the money needed to pay his son’s expensive medical bills. At the time, Semi could not walk either.

Dieng was able to get Semi enrolled for treatment in his hospital that aids with kidney dialysis, get him transportation for his appointments and food. Semi has improved dramatically since having surgery. The teenage boy can now walk.

“His dad said he never saw Semi do anything with the other kids,” Dieng said. “His son’s only complaint was, ‘Why can’t I go play with the kids?’ His dad was always depressed about it. He wanted to see Semi happy. And after he was doing his treatment, he had surgery at 12 years. After the surgery, he went back home normal. His dad said the first day he saw Semi playing with the kids, he couldn’t believe it. He called me that night praying and all that kind of good stuff.

“Stuff like that makes me happy. Only God can make stuff like that happen. But we helped Semi get into the right situation.”

Despite being Senegal’s most notable NBA player, Marty said, Dieng was not well-known in Senegal when he made his first visit there with him. But with everything Dieng has done, Marty says, he is now a household name.

The fact that NBA games are now easier to see in Senegal also will help his profile. Dieng hosts a four-day youth basketball camp and coaching clinic in Senegal every offseason, and kids can’t attend unless they have high grades. He also plays for Senegal’s national basketball team. It’s not easy for Dieng to walk around Senegal these days without being recognized, but he believes it is important for the children to be able to touch him.

“It’s tough to go outside and walk around. But I like going outside because the kids, they want to see you. I take pictures and talk to them. That can change a life. Why hide or get security? No,” Dieng said.

The court that was built in Dieng’s hometown.

Senegal showed its respect and belief in Dieng by asking him to be its ambassador of tourism last August.

Through a translated statement, Senegal director general of tourism Mouhamadou Bamba Mbow said “the ambition of the agency is to rely on the international notoriety of Senegalese personalities to amplify the radiation of the destination.” Dieng said he filmed a tourism promotional commercial for Senegal after touring “beautiful places in the country I had never seen before.” Senegal’s hope is that Dieng will inspire tourists and businesses to visit Senegal. Dieng was very humbled by the appointment.

“Gorgui doesn’t want to be known as just a basketball player,” said New York Knicks scout Makhtar N’Diaye, a Senegal native and former NBA player. “In my opinion, he’s becoming a brand in Senegal and is an inspiration to the youth. He’s working towards becoming an icon. It’s all about legacy for him.

“Many people have come before him and tried. He came and took it to the next level. The best is yet to come for him.”

Marty says that Matter has about 50 other projects going on as well. Even so, Marty plans on going to Senegal again next year and is excited to see the growth of their medical and farm projects for the fourth straight year. Why? It’s Dieng’s love for his people that keeps Marty making the annual trips.

“He is a really impressive guy,” Marty said. “The thing that stands out to me is he really wants to help his people. He loves basketball, but he sees it as the vehicle to help others. I don’t know where it came from. But he has a sincere desire to help other people. I just really admire that about him.”

Dieng is not satisfied with the medical and farming improvements he has made in Senegal. He plans to open a major hospital in his hometown. He also has grander plans of not just helping Senegal, but aiding Africa at large. With the continued aid of Matter and other donations, Dieng plans to make an impact on the continent from a medical, farming, basketball and educational standpoint.

“The reason God put you in a good situation is to help others,” Dieng said. “I strongly believe that good things happen to good people and things happen for a reason. There is a reason why I am in playing in the NBA and I’m in a good situation today, not just for me and my family. It is to help others, too. That is why I am doing what I am doing right now.

“I’m doing this just to help. I want to be that guy who played in the NBA, makes his money and is gone. I want to have an impact on the community wherever I am at. Whether it is in the States or in China, Senegal, whenever. If you leave somewhere and have an impact, it’s like having a statue in the streets. That’s the way I see things.”

Daily Dose: 12/6/17 Craig Melvin rumored to be up for ‘Today’ show gig

Back at it on television Wednesday, folks, so tune in to ESPN at 5 p.m. for Around The Horn. Going for my second win in a row, so we’ll see if it happens! But speaking of Around The Horn, our new Advent Calendar is out, and I got to be a part of it!

Time magazine has named its Person of the Year. It’s the women of the #MeToo movement, the hashtag started to call attention to sexual harassment and assault across the globe. This has been the year that this country has apparently started to take this matter seriously, with men losing their jobs all over the place, for good reason. In a very weird way, though, this feels a bit disingenuous because last year’s person of the year was … Donald Trump, who has admitted to sexual assault on a few occasions.

Every once in a while, some people come up with really good ideas. Craig Melvin replacing Matt Lauer on the Today show would absolutely qualify as such. I’ve been a fan of Melvin ever since he was on NBC4 here in Washington, D.C., and his wife Lindsay Czarniak used to work for ESPN (as well as with him at the local station, where they met). If he makes this jump, it’ll be a great way to recover for NBC as Melvin is not only deserving, but also very well-liked. We’re really hoping this happens.

Right now, wildfires are destroying the greater Los Angeles area. These kinds of natural disasters happen with some regularity, but the pictures from today are truly mind-boggling. I’ve genuinely never seen anything like this in my life, and if I did, I don’t know how I’d just continue driving like nothing was wrong. This stuff is next-level scary and it feels like a movie just looking at it. Alas, those flames are on a path of damage and shutting down operations all over the area. Including the UCLA basketball game.

The NFL is all over the place right now. They’re suspending dudes for head hits, then not suspending others and none of it seems to make much sense at all. If you’re going to say that hits to the head are a priority, but allow guys to get away with WWE moves after plays, the message you’re sending is that you, in fact, don’t care. Now, the guy responsible for handling a lot of this, the commissioner of the league, has signed a new contract to the tune of $40M a year. No word on the private plane or lifetime health care for his family.

Free Food

Coffee Break: Jordan Peele has had an incredible year. After the success of Get Out, he’s basically become Hollywood’s go-to scary movie guy, which is cool. Now, he’s on board to reboot The Twilight Zone, which is a brilliant move for CBS.

Snack Time: Y’all gotta get your girl Rachel Dolezal. Homegirl has a new calendar out for 2018, with photos of her in various states of dress and some black history facts thrown in. What on earth??

Dessert: There are emergencies. Then there are EMERGENCIES.

Five highlights from the 2017 Kennedy Center Honors Stevie Wonder, Meryl Streep and ‘Mama Said Knock You Out’: You won’t want to miss these moments when the Honors are broadcast

Sometimes you need a bit of black tie glam to remember there’s beauty in the world, and that it’s worth celebrating.

Thank goodness for the Kennedy Center Honors.

On Sunday, the John F. Kennedy Center for the Performing Arts in Washington, D.C., held its 40th Honors ceremony to fete contributions to American culture. This year’s Honors were a celebration of Gloria Estefan, Norman Lear (at 95, the oldest person to be honored), LL Cool J (at 49, the youngest), Carmen de Lavallade and Lionel Richie. LL Cool J was also the first rapper to be recognized.

Certainly there’s plenty of darkness these days. Have you read a newspaper? Sunday, as journalists and spectators huddled around velvet ropes for a word with the night’s VIPs, CBS chairman Les Moonves and his wife, Julie Chen, quickly swooshed by and managed to avoid being harangued about the firing of CBS This Morning host Charlie Rose over allegations of sexual misconduct. Rapper Darryl McDaniels, better known as D.M.C. of Run-D.M.C., and LL Cool J were confronted about multiple allegations of sexual assault leveled against Def Jam co-founder Russell Simmons. LL Cool J declined to discuss the allegations, while D.M.C. condemned Simmons’ actions. Both rappers were key players in the success of Def Jam, the record label Simmons founded.

But the Honors reminded us that the performing arts aren’t just a distraction from the serious, gloomy issues of the day but rather the thing that makes us able to persist through them.

Here are five magical highlights from the evening that you can see Dec. 26 at 9 p.m. EST on CBS.

Meryl Streep’s salute to Carmen de Lavallade

Carmen de Lavallade, one of the 2017 honorees, walks the red carpet at the Kennedy Center Honors at the Kennedy Center in Washington, D.C. on Dec. 3, 2017.

Gabriella Demczuk for The Undefeated

Meryl Streep is always fun to watch during awards shows. There’s a reason that her reactions turn into viral GIFs. She was on the list of expected guests for Sunday evening, as a former honoree, but it was a pleasant surprise to see her take the stage.

Streep was a student of de Lavallade’s at Yale School of Drama, and she lovingly described her dance teacher’s soft-spoken methods and teaching philosophies. Streep affected de Lavallade’s famous hand motions, which she’s executed for decades with an enviable and flawless seeming grace and natural ease, as she spoke about her admiration for de Lavallade as a role model and dance pioneer.

Replicating de Lavallade’s soft-spoken manner, she cooed, “No one is late on the second day of class.”

The musical tribute to LL Cool J

In person, the Honors can be a bit of a staid Washington event. Its attendees are not known for taking chances with fashion, and it’s the one night of the year there’s probably enough brocade in the building to make curtains for the center’s many windows. But this was the first time in the history of the event that a rapper was being honored.

The tribute to LL Cool J was loud, boisterous and funky, and some of the younger audience members, namely Becky G, a young singer who performed earlier in the evening for Estefan, could be seen bobbing their heads and rapping along to “Mama Said Knock You Out.” This wasn’t polite hip-hop, toned down for the opera house. This was the real deal, and the audience was treated to footage of an oiled-up, shirtless LL Cool J as Queen Latifah extolled his position as “rap’s first sex symbol.”

The elephant not in the room

Norman Lear, one of the 2017 honorees, walks the red carpet at the Kennedy Center Honors at the Kennedy Center in Washington, D.C. on Dec. 3, 2017.

Gabriella Demczuk for The Undefeated

Months ago, the president and first lady announced they would not be attending the ceremony. Richie, Lear and de Lavallade said they would boycott the annual White House reception that’s part of the weekend’s celebrations.

But the president’s absence was noticeable, especially during the tribute to Lear. You can argue that all art is political, but few make it as obvious as the storied television producer. In expressing gratitude for Lear’s cultural contributions, the video short about him focused on his decision in 2001 to buy one of the last remaining original copies of the Declaration of Independence, which he sent on tour around the country so Americans could see it up close.

Dave Chappelle was on hand for Lear’s tribute, and after expressing surprise that a copy of the country’s founding document could simply be purchased with enough money, he dropped the hammer: “I’m sure we’ll fetch a lot of rubles for that.”

Then, the U.S. Air Force band performed “America the Beautiful” while Lear’s copy of the Declaration sat center stage.

A surprise appearance by Stevie Wonder

The honorees have no idea who will be performing their work until they see them on stage, but those who keep an eye on the red carpet can guess. Leona Lewis, D.M.C., MC Lyte, Questlove, Kenya Barris, Anthony Anderson and Rachel Bloom were among the glitterati spotted in the center’s Hall of States early in the evening.

But the real magic takes place when the Kennedy Center sneaks in some unexpected cultural royalty, and Sunday it was Stevie Wonder. There was an audible gasp in the audience when he turned up on stage to honor Richie by singing “Hello,” one of Richie’s many solo hits.

Paquito D’Rivera’s national anthem

Gloria Estefan, one of the 2017 honorees, walks the red carpet at the Kennedy Center Honors at the Kennedy Center in Washington, D.C. on Dec. 3, 2017.

Gabriella Demczuk for The Undefeated

With Estefan in the mix, this year’s class of honorees included a Cuban immigrant who made Latin pop part of the fabric of the country. The Kennedy Center quietly thumbed its nose at nativism with the inclusion of Paquito D’Rivera, who got the evening started with a jazz saxophone rendition of the national anthem. He even worked in a couple of bars of “We Wish You a Merry Christmas” in the middle of “The Star-Spangled Banner.”

African Ancestry Inc.: Telling black folks where they’re from Maryland company pioneered the science for determining the genealogy of the Seahawks’ Michael Bennett and people of color across the diaspora

Few people on the planet are as funny as comedian Tommy Davidson. But when Davidson decided to learn about his heritage, it was no laughing matter. He had questions and wanted answers. African Ancestry Inc. provided them.

A leader in the field of genetic ancestry tracing, AfricanAncestry.com followed Davidson’s roots to Africa. Through DNA testing, he discovered he’s a descendant of the Mende people of Sierra Leone. The information provided a sense of belonging that Davidson previously lacked. Many African-Americans can relate.

“Because of the slave trade, we never really had the inner sovereign feeling of home,” said the celebrity, who rose to fame on the groundbreaking 1990s sketch-comedy show, In Living Color. “We never had that same feeling that Europeans, Asians, other people who came here [to the United States], have experienced in their lifetimes. Getting the information, man, it was significant for me.”

That’s what AfricanAncestry.com likes to hear.

Founded in 2003 by Dr. Rick Kittles and Gina Paige, the Silver Spring, Maryland-based company pioneered the science for determining the genealogy of people of color across the world. Other genealogy companies, obviously, are capable of tracing roots as well, but “we’re able to be more specific because we have a larger database of African lineage,” Paige said. That’s the reason in a nutshell.

“And we have a larger database of African regions because we are specifically in business to help black people understand where they’re from and who they are. That’s our sole focus. We are not in business to give you health traits or genetic traits. We are not in business to tell you who you’re related to and who your seventh, eighth and ninth cousins are. We’re in business for a very specific reason.”

A swab from the inside of a person’s cheek is all that’s needed for testing.

Based on which test is purchased, AfricanAncestry.com analyzes either mitochondrial DNA (mtDNA) inherited from a person’s mother, the Y chromosome that men inherit from their fathers or autosomal DNA from both parents.

Through the analysis, markers or mutations indicate where ancestry is found. If genes indicate that a person is from Africa, the company compares those genes to what it describes as the world’s largest database of African lineages. AfricanAncestry.com is then able to specify the present-day African country and ethnic group with which the person shares maternal and paternal ancestry.

Once a sample is provided, the process takes about eight weeks to complete.

Seattle Seahawks learned the results of his testing last week. On his mother’s side, Michael Bennett descends from the Mandinka people in Senegal and, like Davidson, the Mende people in Sierra Leone. His father’s folk come from the Bubi people of Bioko Island in Equatorial Guinea.

Courtesy of African Ancestry, Inc.

AfricanAncestry.com also has provided DNA testing for the PBS television show, Finding Your Roots with Henry Louis Gates Jr. The company did all the testing for African-American guests during the first two seasons. AfricanAncestry.com informed Davidson that he’s a descendant of proud fighters.

The Mende were aboard the Amistad, the ship on which a slave revolt occurred in 1839. The story became widely known because of the 1997 Steven Spielberg-directed movie starring Djimon Hounsou and Morgan Freeman.

“It really is something,” Davidson said. “Just to find that link to things because of what happened in slavery. Just the psychological effect that that’s probably had on us. It’s real.”

AfricanAncestry.com’s employees take pride in bridging the gap for black folks.

“I’ve seen the impact that [testing] has had on people across all walks of life, across all professions, across all interests, across all different beliefs,” Paige said. “There’s something sobering and also humbling about having the ability to provide people with this information. Not everyone can do it. We’re the only ones who can do it. That’s heavy.”

‘This Is Us’ recognizes the power of Howard University As a senior, I know exactly how the show’s character Randall Pearson felt visiting The Mecca for the first time

If you didn’t catch the midseason finale of the NBC series This Is Us, you missed seeing on national television the moment a young black boy full of joy arrives on the main campus of Howard University, a place where blackness is unapologetic and excellence is vivacious.

One of the most touching moments of the show’s second season is a throwback to the ’90s in which high school junior Randall Pearson (Niles Fitch) asks his adoptive father, Jack Pearson (Milo Ventimiglia), if he could visit the historically black university after initially filling out an application for Harvard University. Randall has been trying to figure out for a while where he would like to go to college.

Phi Beta Sigma Fraternity Inc. Alpha chapter performs a stroll during “First Friday” on The Yard of Howard University. These were the very first people I met during my first time visiting Howard on April 26, 2013.

Photo by Paul Holston

After Jack agrees to plan a trip to Howard with Randall, the episode soon shifts to The Yard, the symbolic heart of the campus. The environment and the Afrocentric energy that thrives throughout The Mecca immediately overwhelms Randall. Randall and Jack then walk to the Valley on campus and are greeted by Keith, a friend of Randall’s who is a Howard freshman, and Craig, another student who is a member of my fraternity, Phi Beta Sigma (shout out to the MAB!). Keith offers to give Randall a tour, and to Randall’s surprise, he gets the comfort of being at an HBCU (historically black college or university). From walking the halls of Founders Library to eyeing a young woman who walks by him on The Yard to chilling in one of the dormitories with Nas and Lauryn Hill’s If I Ruled The World gliding in the background, the show does a great job of showing how many Howard students feel during their first experiences at The Mecca.

As a soon-to-be Howard alumnus (December), this show immediately reminded me of my first time at The Mecca on April 26, 2013. It was “First Friday,” and the first people who caught my eye on The Yard were Sigmas in their blue and white paraphernalia strolling to some of the latest hip-hop tracks. Who knew then that I would later become a part of black Greek life and gain a lifetime of brotherhood with that same fraternity? And after walking and talking with some of the students and faculty from the School of Communications, witnessing an on-campus protest for unarmed black victims of police brutality and just soaking up all of the blackness that Howard embodies, I knew that The Mecca came into my life for a reason.

In an interview with Entertainment Weekly, This Is Us executive producer Isaac Aptaker said this of the episode: “When we started talking about the college stories and where our Big Three would want to go, our writer Kay Oyegun came in with the idea that Randall would potentially be very interested in Howard [University], and we thought that that was such a rich story: that a black kid who was raised in a very, very white world with a few notable exceptions, being Yvette (Ryan Michelle Bathe) and her son, would be very interested in seeking out the total opposite and immersing himself in this culture that he never fully got to be a part of because of his adopted family.”

The storyline reflects the experience of some students at Howard — it is their first time at a place that appreciates you for not only your blackness but also your brilliance. And although no HBCU is perfect, professor Jules Harrell stated perfectly this semester that “Howard University is the students and the faculty. Everyone else is here to support.” I couldn’t have agreed more.

Howard’s up close and personal moment was a chance for millions of TV viewers to see what an HBCU can offer, and to see a black boy finding something he’d been truly seeking: a place he could call home. Even when Randall talks with Jack on the ride home about the trip and the awkwardness of not introducing his adoptive white father to his friends, Jack knew Randall would make the right decision in his choice of school because he always made the right decisions in life.

When the show returns in January, let’s hope not just for more real HBCU cameos but for other popular shows to follow suit and include these institutions so the nation can see the brilliance that lives at HBCUs.

H-U!

Reactions to ‘This Is Us’ coming to Howard

‘The Rumble in the Jungle’ — and the poster that sold it Remembering The Champ’s historic comeback

 

In the darkest night part of morning they came 60,000 strong — to watch undefeated world heavyweight champion George Foreman take on challenger Muhammad Ali. It was another time. The 20th of May Stadium in Kinshasa, Zaire, is now the Stade Tata Raphaël in the Democratic Republic of the Congo, and The Rumble in the Jungle, as it was known, was scheduled to begin at 4 a.m. local time on Wednesday, Oct. 30, 1974. This was so the match originally titled From Slave Ship to Championship would air live on closed-circuit television in U.S. theaters at 10 p.m. EST.

From backstage, journalist Norman Mailer described the scene. Although his entourage was somber, Ali appeared relaxed as he addressed himself in a mellifluous tone: “I been up and I been down. You know, I been around. It must be dark when you get knocked out. Why, I’ve never been knocked out. I’ve been knocked down, but never out.”

Ali was about to prove, once again, why he was the greatest of all time. Ever since the boxing commission stripped the champ of his title and suspended his boxing license for refusing to serve in the U.S. armed forces during the Vietnam War, Ali had been on a mission to reclaim all that had been stolen from him. Ali fought the law — and won, taking his case all the way to the Supreme Court, where he was vindicated in June 1971.

“No one had heard the word ‘Zaire.’ ”

Boxing license back, Ali took on then-world champion Joe Frazier in The Fight of the Century in March 1971. It was the first time that two undefeated heavyweights had battled in a title fight. They went the full 15. Frazier won by unanimous decision, handing Ali his first loss.

By 1974, George Foreman held the title. Undefeated, Foreman had more than 35 knockouts under his belt, and at 25, seemed an unstoppable force, but Ali, seven years his senior, never lost heart.

On most fight posters, the location was not a visual part of the story. Whether held in Las Vegas, Chicago or Miami, the location was simply a matter of logistical information. But with The Rumble in the Jungle, Africa was a central character. “No one had heard the word ‘Zaire,’ ” recalled sports photographer Neil Leifer. “If you want to put your country on the map — what a way to do it. If you wanted the world to know who you were, get the most popular black man on earth to promote it. It was probably a good business move for Mobutu.” Dictator Mobutu Sese Seko, who was noted for his cruelty and for being a master of terror on a grand scale, died in exile in 1997.

Set against a blazing yellow background, black and white photographs of Foreman and Ali floated above the continent of Africa, silhouetted in verdant green, perfectly matching the colors of the flag of Zaire. The poster had gone through slight modifications after Foreman cut his right eye during training, pushing back the date of the match, and it ran in both English and French. The French version of the fight poster included the words Un cadeau du President Mobutu au peuple Zaïrois et un honneur pour l’homme noir: “A gift from President Mobutu to the people of Zaire and an honor for the black man.”


Leifer, a boy wonder who began his professional career in 1958 at the age of 16, produced arguably the most famous photograph of Ali on earth: the image of him standing above Sonny Liston after throwing “the phantom punch” that sent the challenger to the mat during the first round of the 1965 world heavyweight title fight.

A photographer, like a boxer, has to be fully prepared for the fight, to be in peak condition and determined to make history. With more than 200 magazine covers and 17 books to his name, Leifer’s most recent book, The Fight (Taschen) is a triumph of book publishing. Limited to just 1,974 copies, the book features photographs by Leifer and Howard L. Bingham, Ali’s best friend, who died in 2016.

Using abridged copy from Mailer’s 1975 The Fight as its departure point, the Taschen volume follows Ali’s path through Zaire, crafting a comeback that blew people away. The book comes inside a slipcase that is modeled after the fight poster, using the same colors and design concept. “An image has to stop you — otherwise you will walk right by it,” said Leifer. “A cover is a poster — and if you take a second look at it, you might want to look inside. That yellow just jumps out at you … you can see it from half a block away.” But it’s the image of Ali and Foreman floating over the continent that invoked the Pan-African sentiment that had resurfaced in the wake of the civil rights movement and the African independence movements.

It’s the image of Ali and Foreman floating over the continent that invoked the Pan-African sentiment that had resurfaced in the wake of the civil rights movement.

The story belongs to the champion. This is increasingly clear when paging through The Fight. The Rumble in the Jungle was Ali’s return to glory. Unlike Foreman, whose strengths did not translate outside the ring, Ali took advantage of every opportunity that came his way, never meeting a camera or a reporter he did not like.

As Mailer reported, after shaking hands, Ali told Foreman, “You have heard of me since you were young. You’ve been following me since you were a little boy. Now, you must meet me, your master!” Foreman blinked.

The bell rang, and 30 seconds into the fight, Foreman had Ali on the ropes. They sparred, landing blows. It was an intense round, but people feared Ali would not be able to sustain that level of aggression. They weren’t wrong. Somewhere in the second round, Ali switched it up: rope-a-dope.

Ali hung back against the ropes, inviting Foreman to charge, then ducked, bobbed, weaved and blocked the champ’s fists of fury. Everyone was stunned. “What Muhammad did was so unusual, I honestly didn’t know when he would win,” Leifer recalled. “Any sensible person said, ‘What is he, out of his mind? He’s letting himself get hit.’ Foreman was an incredible puncher. You had to assume that at some point he’s going to break through Ali’s defense … but it didn’t happen that way.”

By the eighth round, Foreman was spent and Ali was prepared, landing several hooks followed by a five-punch combination that sent the champ sputtering to the ground. Mailer reported, “Vertigo took George Foreman and revolved him. Still bowing from the waist in this uncomprehending position … he started to tumble and topple and fall even as he did not wish to go down. His mind was held with magnets as high as his championship and his body was seeking the ground. He went over like a six-foot sixty-year-old butler who has just heard tragic news … ”

Determined to rouse himself, Foreman made it back on his feet after a count of 10, but he was finished. With two seconds remaining in the round, referee Zack Clayton stopped the fight. Ali had won the title back. Then he fainted.

Soon after the fight, the sky broke open and the rains came pouring down. The rainy season had been two weeks late, and the torrents flooded the stadium, drenching the batteries until the generators gave out. Half of the Telex machines shut down, and pictures and words could no longer get out — but they didn’t need to. Ali lived up to the poster — and did what he came to do as the whole world watched.

Meghan Markle and Prince Harry’s wedding is a good thing, right? A black feminist argues with herself about the impending royal nuptials

Rachel Meghan Markle and Henry Charles Albert David Mountbatten-Windsor (better known as Meghan Markle and Prince Harry) are getting married next spring. Upon official confirmation of this news, I immediately began vacillating between feelings of OMG … SO EXCITING … ROYAL WEDDING … BLACK PRINCESS … HARRY PUT A RING ON IT and Dear Lord, I hope someone has taught Prince Philip to stop saying racist stuff in public.

Markle is the biracial American actress who played Rachel Zane on Suits and helmed a popular lifestyle site called The Tig. Now, she’s vaulted to an entirely new stratosphere of fame, thanks to months of speculation about her relationship with Prince Harry.

I’m conflicted. I abhor our culture’s fixation with all things pink and fluffy and princessy because of the way they reinforce narrowly defined gender roles and limit the possibilities that girls imagine for themselves. It’s why, when my niece was born, one of my first gifts to her was a copy of The Paper Bag Princess. There are more important things in life than bagging a man, and doing so is no guarantee that one will live happily ever after. Just ask Charlene of Monaco. Besides, “happily ever after” is just a concept invented by men like Don Draper to sell nylons.

But I’m not immune to princess fever. The Windsors are the weak inheritors of my obsession with the Tudors, which was fed by a steady childhood diet of Cate Blanchett and Judi Dench movies. But the thing that turns my princess fever practically rheumatic is The Princess Bride. I loved that movie so much I named my cat after the title character. Then I rewatched it this year and found myself cringing at Princess Buttercup’s (Robin Wright) general inability to save herself or even recognize the voice of the supposed love of her life.

Still, my ambivalence about the gender politics of one of my favorite movies didn’t stop me from having a conversation with myself as Vizzini (Wallace Shawn) about Markle and her betrothed, Prince Harry:

On the one hand
Aren’t we supposed to be trying to upend the colonialist, imperialist, racist patriarchal system, not marry into it?

On the other hand
This will definitely piss off actual Nazis, especially the ghosts of Wallis Simpson and Edward VIII.

On the one hand
Harry dressed up like a Nazi that one time.

On the other hand
We get to watch neurons short-circuit in real time on Fox News the first time Meghan says, “Happy Christmas” in public.

On the one hand
Our obsession with princess crap is bad and we should be trying to KILL IT WITH FIRE.

On the other hand
You definitely rewatched Rodgers and Hammerstein’s Cinderella on Freeform over the holiday and couldn’t tear yourself away, hypocrite.

On the one hand
You grew up obsessed with Elizabeth I and you turned out fine.

On the other hand
Yes, but I was obsessed with her speech-giving and political acumen and the way she navigated power as a woman (and also her relationship with the Earl of Leicester).

On the one hand
Poor Meghan’s going to have some seriously racist in-laws.

On the other hand
Stars, they’re just like us!

On the one hand
Didn’t we fight a whole war so we wouldn’t have to bow to white people who think they’re ordained by God to rule the world? I mean, Longfellow wrote a whole poem commemorating its start.

On the other hand
I hope the wedding dress is Alexander McQueen. (Sarah Burton for McQueen, yes, but McQueen all the same.) Everyone loves an impossibly expensive, pretty dress. Even me.

On the one hand
But Harry dressed up LIKE A NAZI.

On the other hand
We can fantasize about them reading the poetry of Elizabeth Barrett and Robert Browning to each other. (You know Elizabeth was black, right? Robert used to call her “My Little Portuguese.” Don’t @ me about how Creole ain’t black. It’s just fancy black. Hush.)

On the one hand
I hope she’s not miserable like Diana and Fergie. I mean, I’m named after a woman who wrote a book called Palace of Solitude after marrying the Shah of Iran.

On the other hand
As far as we know, Harry is Wesley, not Prince Humperdinck. After all, Harry is probably the Obamas’ favorite royal.

On the one hand
Meghan had a website and a career, and now she’s already had to swear off all of that.

On the other hand
Amandla Stenberg can play her in The Crown.

On the one hand
Their kids won’t have a remotely normal life, and everything they do will be scrutinized.

On the other hand
BLACK ASHY BABIES ALL UP IN THE PALACE OF WHITEHALL (*briefly assumes Wendy Raquel Robinson’s role in Something New, whispering, “Nedra! Don’t be so crass!”*)