Daily Dose: 9/8/17 Texas A&M’s Kevin Sumlin receives racist mail at home

Another week in the books, kiddos. Aaron Dodson joined me Friday on The Dan Le Batard Show, which was fun. Their gang has been dealing with Hurricane Irma stuff, so we wish them well.

Speaking of, it’s definitely crunch time for people in South Florida. We’re in that stage where if you’re hanging around, it’s because you’re either too stubborn to leave or incapable of doing so, or you’re there for work. The governor is urging people to be safe and smart and just get out of town and head north. The Federal Emergency Management Agency chief says straight-up that the storm will devastate the United States, which is just scary to hear on multiple levels. Of course, President Donald Trump has an extra eye on this because, you know, he’s got quite a bit of property down there.

Here’s the thing about kicking people out of the country. For many, they’ve been here long enough that “going back to your homeland” isn’t exactly the easiest option. In many cases, it can be downright dangerous, for a whole host of reasons. And the same goes in reverse. Just because you make it to the United States, that doesn’t mean that people are going to treat you with the respect you deserve. If you’re part of the LGBTQ community, that makes things even tougher. Read this story about the challenges of resettlement.

A new adaptation of Stephen King’s It is in the theaters. Why? I have no idea. The television miniseries looked terrifying when it first came out, so I didn’t watch that. I’ve certainly never read the book, and I don’t plan on seeing this version either. But there’s a larger question at hand here, which is why are clowns still a thing. Are they REALLY that entertaining? It’s certainly a craft that is far more multifaceted than people realize, and irrespective of individual clowns, it’s stunning that this form of entertainment is still around. Read this hilarious piece about it.

Texas A&M lost a bad football game last week. Up a ton on UCLA, the Aggies managed to botch it in the final seconds and gave away a game they should have probably won. Afterward, a guy on the A&M Board of Regents logged on to Facebook and ripped head coach Kevin Sumlin in a post that felt like it was more suited for a message board. That was one thing. Now, Sumlin’s wife is saying that people are sending racist letters to their home, which is obviously way too far to go. It’s just football, people.

Free Food

Coffee Break: Fat-shaming is not what’s up. But it’s one of those things that’s so ingrained in our society that for even the smallest of children, it happens. So when one mom was faced with a child who called her fat, she took matters into her own hands with an incredible teaching moment.

Snack Time: We’ve all heard some very harrowing stories about deathbed wishes in our time, but this story from Jae Crowder about his mother’s passing is heartbreaking.

Dessert: Let’s try to end things on a good note. Here’s Pharrell and Rick Ross vibin’ out.

 

Jay Z — an artist truly made in America — makes his case for an authentic rest of his life From Bun B to Styles P to T.I. — the grown men of rap are having a moment

In May, Jay-Z inked a new $200 million deal with Live Nation. Before this weekend, his last major tour was in 2014 with his wife Beyoncé for their ($100 million-grossing) On The Run excursion. Jay-Z’s return to Made In America, a music festival he founded with Budweiser in 2012, was to be the culmination of a chain of events that started with speculation, leading up to June 30 release of 4:44, about just how much Jay-Z did or didn’t have left in the creative tank.

Rap, historically, has been a young man’s game. Could Jay-Z, at 47, still shift the culture as he’s done countless times before? Could he successfully coexist in a world of Futures and Cardi Bs and Lil Yatchys and Migos — all of whom were either gracing the Made In America stage this year or in years past? Would Jay’s first major solo performance in three years be his next Michael Jordan moment?


Music fans in ponchos attend the 2017 Budweiser Made in America festival, day one on Benjamin Franklin Parkway on Sept. 2 in Philadelphia.

Lisa Lake/Getty Images for Anheuser-Busch

Sunday morning. On Philadelphia’s Chestnut Street. Jay Z’s new “Meet The Parents” blasts from a black Toyota Avalon. People on the sidewalk rap along — the car’s speakers are an impromptu appetizer for what’s to come later. He can’t explain what he saw / Before his picture went blank / The old man didn’t think / He just followed his instincts,” Jay-Z rhymes at the stoplight. Six shots into his kin / Out of the gun / N—a be a father / You’re killing your sons.”

On that day — before the Labor Day holiday and Night 2 of the sixth annual Budweiser Made In America Festival — a group of friends walking down 20th Street playing cuts from 2009’s Blueprint 3 on their mobile phones. Thousands of iterations of Shawn Corey Carter stared back from T-shirts worn by the crowd that swarmed Ben Franklin Parkway.

Then, it happened. An explosion lit up an adjacent stage. Just Blaze on the turntables.

And then there was the young man working at UBIQ, a chic sneakers store on chic Walnut Street. Looking like a student from Penn, he said he planned on taking in Jay-Z’s headlining Sunday set. At least for one day at the end of summer, the City of Brotherly Love bled blue, Jigga’s favorite hue. “It’s a skate park like right across the street,” Penn Guy said as cuts from Jay-Z’s lauded 4:44 play from the store’s speakers. “I’ve never seen him live. I’m excited.”

Jay-Z’s return to rap — there’s been no new solo album since 2013’s middle of the pack Magna Carta Holy Grail — has been a summer-long process. First came the rumors of a new album watermarked by mysterious “4:44” signage that covered everything from city buses to websites all across the country. Then, at the last of June came the album itself, which was met with immediate and widespread love. A slew of “footnotes” — videos, conversations between people such as Chris Rock, Tiffany Haddish, Will Smith, Jerrod Carmichael, Chris Paul and more — followed, which detailed the album’s creation and inspirations.

From there, in mid-August, the most-talked-about music interview of the year showcased Jay-Z alongside Tidal and Rap Radar’s Elliott Wilson and Epic Records and Rap Radar’s Brian “B.Dot” Miller. The podcast left no stone unturned. In a two-part, 120-minute conversation, they peeled back layers of Jay-Z’s thought processes about music, life, love, motivation, depression and, even LaVar Ball.

On the heels of that talk, and through a Saturday of unseasonal chilly downpours, Jay-Z and Beyoncé watched a new generation of stars command muddy crowds. Family from both sides of the Carter-Knowles union cheered Solange on through her Saturday set. Was may well have been a kind of moment Jay-Z envisioned throughout the recording of 4:44. At 47, he had to wonder about his creative mortality, and if he could shift the culture as he’d done so many times before.


Bun B performs onstage at The Fader Fort presented by Converse during SXSW on March 16, 2013, in Austin, Texas.

Roger Kisby/Getty Images

The Los Angeles Lakers’ rookie point guard Lonzo Ball said it: “Y’all outdated, man. Don’t nobody listen to Nas anymore […] Real hip-hop is Migos, Future.”

On one hand, it’s difficult to fault a 19-year-old for backing the music of his youth. Younger generations of artists and fans alike have always bucked back at generations who view their contributions as destructive. Tupac Shakur openly dissed De La Soul on 1996’s seething battle record “Against All Odds:” All you old n– tryna advance/ It’s all over now take it like a man/ N– lookin’ like Larry Holmes, flabby and sick/ Tryna playa hate on my s–, eat a fat d–. And only weeks before he was murdered, The Notorious B.I.G. vowed to never rap past 30. On the other hand though? Right now is a particularly good time for a handful of statesmen who dominated hip-hop before Big Baller Brand was just a twinkle in Lavar Ball’s eye.

How generations before talked about Marvin Gaye, Prince, Whitney Houston and Michael Jackson, he’s hip-hop’s them.

Run The Jewels’ Killer Mike and El-P (and their soundman, Trackstar the DJ) have consistently been one of the decade’s most impactful groups. They tour the world — and, in particular, amassed a melting pot crowd of various races and ages moshing at the Sunday Made In America set. Nas’ 2012 Life Is Good is, in many ways, rap’s interpretation of Marvin Gaye’s Here, My Dear, and one of the great late-career albums from any MC. OutKast’s 2014 tour was weird, but Big Boi of OutKast has quietly been responsible for several stellar albums — 2010’s Sir Lucious Left Foot: The Son of Chico Dusty, 2012’s Vicious Lies and Dangerous Rumors and 2017’s Boomiverse — in this decade alone.

Jay-Z wasn’t the only artist in the pre-Lonzo Ball era displaying moments of clarity over the last few years either. A handful of hip-hop’s mature and notable names have been creating art and expressing — via conversation and on social media — everything from encounters with their own mortality to the pain and occasional beauty of survivor’s remorse.

Rice University instructor Bernard “Bun B” Freeman (currently working with Beyoncé and Scooter Braun on a telethon to benefit the victims of Hurricane Harvey), one half of the legendary Port Arthur, Texas, rap group UGK, sat down with Queens, New York’s own N.O.R.E. for an installment of the MC’s popular Drink Champs podcast. Per tradition, both parties swap hip-hop war stories and imbibe for the better part of two hours. The most emotional segment centered around memories of Freeman’s partner in rhyme, Pimp C, who died in 2007.

“The illest s— Pimp [C] ever said was ‘I don’t need bodyguards. I just need mighty God.’ Ever since he said that, and I never told him, I move like that,” Freeman said. A single tear streamed down the right side of his face. “If you wasn’t moving with me within God, I’ll just move by myself. That’s the way life should be.” He continued, “If you are who you say you are, and you’re honoring that in a real way, you can move anywhere in this world. Pimp and I are proof of that.”

When it comes to honoring a fallen comrade, T.I. (who was not feeling Lonzo’s comments) understands all too well. In May 2006, T.I’s best friend Philant Johnson was murdered in Cincinnati following a drive-by shooting. Phil, is inspiration behind T.I.’s massive Justin Timberlake-assisted single “Dead & Gone.” Phil had been by T.I.’s side that same evening — holding his mobile while the rapper performed. Hours later, his lifelong friend lay bleeding to death in his arms. “I told him I had him, and it was going to be all right,” T.I. told MTV in 2006. “That was what I said. And he said, ‘All right.’”

The death could be viewed as the trigger that disrupted T.I.’s massive mid-2000s success. His 2007 weapons arrest and subsequent incarceration was seen by many as a response to Johnson’s murder. T.I. contemplated quitting rap. But T.I.’s moved forward. While not at just this minute the Billboard and box office star he split time as a decade ago, the film producer, actor, and two-time Grammy winner born Clifford Harris is still a recognizable figure in rap. Particularly on his very active Instagram account.

Instagram Photo

Last month, Tip (a father to six who is who has experienced his own share of public marital ups and downs with singer-songwriter Tameka “Tiny” Harris) posted the video of him presenting Phil’s daughter with a new car. She’s now a high school senior. In a heartfelt caption, Tip used the moment as a social media therapy session. “Making straight A’s and maintaining a 3.8 GPA, all the way through school, staying away from all the things we were eyeball deep in when we was her age, & doing any & everything that’s EVER been asked since you left,” he wrote. “How can we not make sure she rides cool & in comfort her senior year? We miss you more than we can express…but we fill in for you everyday until it’s all said and done.”

He promised to send her to college. And that she’d never suffer for anything. It was more than an Instagram caption. It was remaining true to a promise to a man who died in his arms 11 years ago. “Our loyalty lives forever!”

Lastly, it’s Styles P — one-third of ’90s Bad Boy trailblazers The LOX. He and his wife, Adjua Styles, visited Power 105’s The Breakfast Club in August. Among other things, the couple discussed the benefits of healthy eating, and Charlottesville, Virginia. They also talked about their daughter’s suicide.

It’s what performances like these are masked for—regular season games for a championship run.

In June 2015, Styles P’s stepdaughter, Tai Hing, took her own life. She was 20. Styles P addressed the tragedy a month later via Instagram, detailing the difficulty he and his family faced, and would face. Hing’s death, her mother believes, could have been the boiling point of depression, issues with her biological father, and perhaps her sexuality.

Fighting back tears, Styles P was emotional about never having been able to take the place of Hing’s biological father. The dynamic bothered him deeply, but was beginning to understand as he, himself, was a product of a similar situation. “If we knew she was depressed she would’ve been home with us,” he said. “ We all deal with depression on some sort of level … You expect your child to bury you, not to bury your child.”

Honesty has always been a prerequisite for hip-hop in its most soul-piercing form. Beyond the flash, the lights and the flossing, at its core, rap was necessary to explain the fears, dreams, joys and pains of a people so often still struggling. And dealing with police brutality, poverty, misogyny, and more. So Styles P’s pain, T.I.’s memories, Bun B’s instructions from Pimp C, and Jay-Z’s vulnerability aren’t new grounds for rap. But their grief, and willingness to shred the cloak of invincibility rap often mirages is living proof of the power behind the quote a wise man said nearly a decade ago. Ain’t no shame in holding onto grief. As long as you make room for other things, too.


Music fans attend the 2017 Budweiser Made in America festival – Day 2 at Benjamin Franklin Parkway on September 3, 2017 in Philadelphia, Pennsylvania.

Lisa Lake/Getty Images for Anheuser-Busch

The weather Sunday proved to be Mr. Hyde to the Saturday’s Dr. Jekyll. The only visible fingerprint from Saturday was the mud that essentially became a graveyard for shoes. Jerseys were popular with the crowd. UNC Michael Jordan and Vince Carter. Cavaliers, Heat and St. Vincent-St. Mary LeBron. Sonics and Warriors Durant. Nuggets Jalen Rose, Sixers Ben Simmons. Lakers Kobe, and Hornets Glen Rice. UCLA Russell Westbrook, and Lonzo Ball. Arizona State James Harden, University of California Marshawn Lynch, Niners Colin Kaepernick, LSU Odell Beckham and Georgetown Allen Iverson. Obscure jerseys such as Aaliyah’s MTV Rock n’ Jock and Ray Finkle’s Dolphins jersey (from the 1994 Jim Carrey-led comedy classic Ace Ventura: Pet Detective) were sprinkled among the sea of thousands.

Afternoon sluggishly careened into evening. 21 Savage, Run The Jewels and The Chainsmokers all commanded large crowds. Felicia “Snoop” Pearson from The Wire dapped up fans. Hometown young guns Markelle Fultz and Joel Embiid of the Philadelphia 76ers walked through the crowd. Festivalgoers camped near the main stage for hours in hopes of landing an ideal viewing spot for Jay-Z’s performance. To pass time, cyphers were had. Weed smoke reclined in the air. Guts from dutches and cigarillos were dumped. All to pass the time.

Months ago, many, especially on Twitter, wanted to act like Jay-Z wasn’t a headliner. No one even saw an album coming. Now here they were minutes from history. That’s what Jay-Z is in 2017. How generations before talked about Marvin Gaye, Prince, Whitney Houston and Michael Jackson — Jay-Z is hip-hop’s them. He’s a throwback to the genre’s yesterday lyricism while embracing the newer generation he still attempts to impart game on and learn from.

The oversized Balloon Dog by famed sculptor Jeff Koons took the stage: It was time. “I’ve been waiting for this all summer,” one concertgoer said as he wrapped his arms around his girlfriend. “I know one thing, Jay better do the songs I wanna hear!” demanded another young woman.

So he did. Jay-Z’s set lasted nearly an hour and a half. He blended 4:44 cuts with classics from his catalog — the radio-friendly and the graphic street narratives. Jay-Z commanded of the crowd, but critiques did exist.

In his Rap Radar interview, Jay-Z mentioned that he was still toying around with the set list for his upcoming tour (slated to start in October). While it’s not a question to 4:44’s quality, Jay-Z weaving in old classics such as “Where I’m From,” “H to the Izzo,” “N—as In Paris,” “Big Pimpin’,” “Hard Knock Life,” “Run This Town,” “Empire State of Mind” and “Heart of City” captivated the crowd, cuts from his most recent album seemed to dissipate from the energy those helped muster. 4:44, after all, does not have a big radio single.

4:44 is Jay-Z’s most personal album to date. His thirteenth solo effort revolves around the complexities of his marriage, his mother’s sexuality and societal issues that continue to create systematic disadvantages for people of color. Its intimacy can get lost in an outdoor crowd of tens of thousands. For an album of that nature, it’s tough to ask even Jay-Z to plan for such.

Breath control was expected to be off-center in his first major performance in three years — though coaxing the crowd to sing Beyoncé happy birthday was a great diversion. Are these flaws that will doom his upcoming tour? No. He still has three more festivals on deck before setting sail on his own on Oct. 27. It’s what performances like these are made for — regular-season games for a championship run.

“It’s Jay, so he did all the songs I wanted,” a concertgoer told me. “But I’m greedy. I wanted more.”

Jay-Z performs at Budweiser Made in America festival on Sept. 3 in Philadelphia.

Arik McArthur/FilmMagic

Jay-Z’s catalog: a litany of hits he can employ at any time to wrap a crowd around his fingers. People filmed Instagram and Snapchat videos of themselves rapping along. People yelled to him from the back of crowd as if it were a Sunday service. And cyphers between friends sprouted everywhere. Another element Jay-Z kills with is the element of surprise. He concluded the show with a tribute to Coldplay’s Chester Bennington, who committed suicide in July: an inspired performance of his Black Album single “Encore.”

As he left the stage, crowds swarmed to the exit. Some concertgoers voiced their displeasure. Jay-Z did his thing in the 90 minutes he gave Philly. But there was still something missing. “That’s it? He didn’t even do half of the songs I wanted,” said a girl as she walked toward the exit. “It was aight, I guess. It’s Jay, so he did all the songs I wanted,” another concertgoer told me. “But I’m greedy. I wanted more.” Made In America was over.

Then, it happened. An explosion lit up an adjacent stage. Just Blaze on the turntables. Some slipped in the mud trying to get there, ruining their clothes, but those concerns were faint. Hundreds were already on the street heading back to their apartments, AirBnB’s or Ubers when Jay-Z informed Philly that the party wasn’t over yet. This set was only for his “Day Ones.”

Jay pulled his “Pump It Up Freestyle” out his back pocket. This bled into “Best of Me,” “I Know,” “Hola Hovito,” “Money Ain’t A Thing” and more. Hometown kid Meek Mill’s guest appearance gave an already frenetic crowd an HGH-sized boost of adrenaline as the rapper ran through his catalog’s zenith and most intense track, 2012’s “Dreams & Nightmares (Intro).”

As Jay-Z closed the second set with [his favorite track], “Allure,” the mood was ceremoniously serene. Michael Jordan finished with 19 points on 7-of-28 shooting in his first game back in versus Reggie Miller and the Indiana Pacers in 1995. The 21 misses are footnotes in history. It’s a moment everyone remembers for two simple words: “I’m back.” Grown as hell, Jay-Z is too.

Lonzo Ball and LaVar Ball: Can their new reality show keep up with the Kardashians? The new Facebook series is produced by the same creative team

Season 1, Episodes 1 & 2 | “Bittersweet Victory” + “Forging a Path” | Aug. 31

A couple of weeks ago, I sat in an Uber with my boy when Gucci Mane and Drake’s hit “Both” came on the radio. See the power of the mind is not a joke, the Canadian kingpin rapped in one of the 2016 song’s more recognizable lyrics. Man, I said that I would do it and I did. “I’m surprised LaVar Ball hasn’t taken that line,” my homey said with a laugh, “and ran with it.” Call the man a lot of things, but make sure “right” is one of them. Love LaVar, hate him or be annoyed by him — Father Ball called his shot.

It’s tough to remember the first time the name “LaVar Ball” made ripples in my corner of the universe. It seems he’s always been in the public lexicon despite the fact that he’s still a relatively new name in pop culture — and one that even has Jay-Z buying into what he’s cooking. Ball, the person, isn’t foreign to anyone familiar with the AAU circuit. He’s an overly involved dad invested in his kids’ professional athletic future. Go to any AAU game in the country and there’s a LaVar Ball — or 12 of them. The only difference is LaVar’s sons are all Division I-bound — and, in his eldest son’s case, the most recent No. 2 overall draft pick by the Los Angeles Lakers. Lonzo Ball is already an insanely hyped lottery pick in the NBA’s most historically glamorous franchise.

Ball’s antics — loving, comical, arrogant and problematic — have all led to the reality series (properly titled) Ball In The Family. The 10-episode trek, airing on Facebook Watch, chronicles the life of basketball’s newest first family. There’s Lonzo and his younger brothers, LiAngelo (who recently played in a pickup game with LeBron James) and LaMelo (who recently played in the most publicized amateur contest of the summer versus phenom Zion Williamson and became the youngest player ever with his own signature shoe).

There is also their mother, Tina; Lonzo’s high school sweetheart, Denise; and, of course, the Dre Johnson of basketball himself, LaVar. Broadcasting the show on Facebook, the world’s most popular social media platform with nearly 2 billion monthly users, may just ensure that the Ball family revolution is digitized.

And if there’s any humanizing moment for LaVar, it’s his “private” moments with his wife.

If the first two episodes seem to resemble another high-profile, polarizing family, you’re not tripping. Bunim/Murray Productions, the minds behind Keeping Up with the Kardashians, have their hands on Ball. The series kicks off by taking a look into life leading up to Lonzo’s big day in June. The Ball brothers are comically familiar in terms of personality types. Lonzo’s the oldest and most chill. LiAngelo is the GQ model of the clique. And Melo’s the goofy younger brother (with Nick Young shot selection) who is treated as such.

There’s a designed system at play, and one that’s so ingrained in not only LaVar but the entire family too — so much so that LiAngelo moves into Lonzo’s UCLA apartment intending to focus on school and basketball, not parties. All of the sons follow the same path that Lonzo broke the barrier for, and which was mapped out, on the show as apparently in real life, by sports’ most outspoken patriarch. There are no new or explosive revelations in the first two episodes. No plot twists. The family is who we thought they were: laser-focused on the success of dad and sons, which is either a huge selling point or a huge deterrent depending on what side of the aisle one sits on.

On an “unscripted” date night with Lonzo and his girlfriend, the future of their relationship is the topic of conversation. This leads the No. 2 pick to joke that he can’t see how their relationship will change now that he’s in the NBA — except for when he travels to Miami on the Los Angeles Lakers’ annual East Coast road swing.

But let’s do the math here, though. Lonzo is a 19-year-old, living in Los Angeles, who gets lit to the Migos and Future. He’s the face of the Lakers and a household name before he’s even scored his first official bucket in the league. And the All-Star Game is in L.A. in 2018, too? If he’s half as good as most expect him to be, then Jesus be a faithful commitment between these two young and in-love souls.

The most revealing part of the 18-minute episodes centers on a part of the Ball family we knew little about: LaVar’s wife, and the boys’ mother, Tina. Mrs. Ball suffered a stroke in late February, and in the first two episodes she is attempting to learn how to walk again. She’s learning how to talk again. And if there’s any humanizing moment for LaVar, it’s his “private” moments with his wife. LaVar successfully rejects the idea of a speech pathologist helping his wife, insisting instead that he be the one to be there with “his girl” each step of the process. The idea seems insane but status quo for a man whose stubbornness is the reason he landed this documentary. In a particularly memorable scene, he teaches his wife how to say “I love you” again. Lonzo, LiAngelo (called “Gelo” in the show) and LaMelo also express love and adoration for their mother. They’re insanely attached to her, and her stroke did scare them. In the Balls’ rise to fame, she has often been kept out of the news cycles, for obvious medical reasons. Now appears to be her time to step into the spotlight.

The characters basically hold a middle finger up to pro basketball norms as it relates to taking control of one’s own destiny.

LaVar is, of course, the series’ main attraction so far. At least through the first two episodes — 10 in total, with the next seven released in weekly installments — he’s more than enough to hold your attention. The characters basically hold a middle finger up to pro basketball norms as they relate to taking control of one’s own destiny. Pass or fail, if the Balls actually do ball out, it’ll be because they built and walked on their own path.

There is one surprise, though. Lonzo orders his steak medium well. I threw up a little bit in my mouth. The best steaks are medium rare or medium. Any other temperature is for the people who confuse “your” and “you’re” in texts and justify it by saying it doesn’t matter because it’s a private conversation. It does matter! And it absolutely matters that Lonzo Ball is purposely cheating himself out of the delicacy that is steak by essentially ordering a piece of leather for his entrée. I’m really starting to second-guess my hot take prediction for the season of him finishing with at least 22 10-assist games. It’s like I don’t even know who this kid is anymore.

New Air Jordan 32s channel the swag of Michael Jordan’s Air Jordan 2s The new sneakers draw inspiration from shoes made more than 30 years ago

Nike senior designer Tate Kuerbis must’ve packed his bags, whipped out his passport and hopped into a DeLorean while crafting his latest Jordan Brand creation.

The new Air Jordan XXXIIs, which debuted on Tuesday in Turin, Italy, are the second coming of the legendary Italian-manufactured Air Jordans IIs that dropped more than 30 years ago during Michael Jordan’s third season in the NBA. Both pairs of shoes feature a similar structure, collar wings first seen in Jordan’s signature line on the IIs, and the iconic “Wings” logo on the tongue.

“Our goal with the AJ XXXII was to combine the essence of the AJ II with today’s best innovation to create a distinct design language both on and off the court,” said David Creech, Jordan Brand’s vice president of Design. That new technology is incorporated into the Kuerbis-designed XXXIIs through a “first-of-its-kind Flyknit upper,” formed by high-tenacity yarn. What does that actually mean? In layman’s terms, the XXXIIs boast components that make them the most flexible Air Jordans in history.

That means we should expect nothing less than for Jordan Brand athletes Russell Westbrook, Kawhi Leonard, Jimmy Butler and Carmelo Anthony to get busy on the court in the XXXIIs during the upcoming 2017-18 season. The question is, can they channel the same magic that His Airness delivered to the IIs, which he played in during the 1986-87 season.

Here are the top three performances and moments that Michael Jordan had in the Air Jordan IIs — the sneakers that served as inspiration for the latest release on his signature Air Jordan line.


1987 NBA SLAM Dunk Contest

Remember when Jordan soared through the air in his first career NBA Slam Dunk Contest in 1985, with his gold chains swinging and Air Jordan Is on his feet? There was also 1988, when he threw down a dunk from the free throw line while rocking his Air Jordan IIIs. But never forget: Jordan first won the dunk contest in 1987, while rocking the Air Jordan IIs. On his final dunk of the night, Jordan connected on an acrobatic, leaning windmill from the left side of the hoop that earned him 50 points and the win over Jerome Kersey of the Portland Trail Blazers. A day later, Jordan wore the IIs in the 1987 NBA All-Star Game.

Not One, but TWO 61-point PERFORMANCes

Michael Jordan lays the ball up past Portland Trailblazers guard Clyde Drexler at Memorial Coliseum in 1987.

USA TODAY Sports

Jordan had the best scoring year of his life during the 1986-87 season, which he finished with a career-high average of 37.1 points a game and his first league scoring title. Two performances from that season especially stick out. First, on March 4, 1987, against the Detroit Pistons, Jordan scored 61 points, including 26 points in the fourth quarter that he capped off by draining a nearly impossible jumper to send the game into overtime. A month later, on April 16, 1987, Jordan put up 61 points again — while scoring 23 straight at one point in the game. The Bulls lost, but for Jordan, it was a record-setting night. He became the second player in NBA history, along with Wilt Chamberlain, to score 3,000 points in a season and the first player since Chamberlain to score 50 or more points in three consecutive games. Jordan was unstoppable in the IIs in both 61-point performances.

UNC vs. UCLA Alumni Game

Fun fact: The first player exclusives (PEs) Jordan ever received from Nike were a pair of Air Jordan IIs. After the 1986-87 NBA season, Jordan suited up for Dean Smith and his alma mater UNC in a charity alumni game against UCLA at Pauley Pavilion in Los Angeles. Jordan took the court in a pair of Carolina blue-accented IIs that were specially designed for him. Earlier this year, Jordan Brand paid tribute to the classic alumni game, and His Airness’ first pair of PEs, by releasing the same IIs that Jordan wore 30 years ago.

The “Rosso Corsa” Air Jordan XXXIIs are scheduled to be released on Sept. 23 for the retail price of $185. The “Bred” Air Jordan XXXIIs, in both mid ($185) and low ($165) versions, will be released on Oct. 18.

Track and field legend Jackie Joyner-Kersee’s focus remains on giving back Philanthropy and community service were always top priorities during Joyner-Kersee’s career, but now she’s all in

Jackie Joyner-Kersee dominated track and field. She’s widely known for her stellar track and field career that produced six Olympic medals, four World Outdoor Championships gold medals and earned her a spot in the National Track & Field Hall of Fame, but giving back to communities across the country is where her true passion lies.

In her most recent charitable venture, Joyner-Kersee, 55, has teamed up with Comcast for the second consecutive year to be a spokeswoman for the company’s Internet Essentials program, a comprehensive, high-speed internet adoption program that has served more than 4 million low-income Americans since its launch six years ago.

“[Comcast] sought me out, and a lot of it probably had to do with me already doing work in the community,” Joyner-Kersee said. “This fit right in my wheelhouse, and I was very honored to be asked to be the spokesperson. When you talk about Internet Essentials and bridging that digital divide, it’s just really a great program for low-income households and a comprehensive, high-speed internet adoption program.

“Access is everything. We know how important that is, and it’s required for you to do homework, or parents want to research jobs. It’s a valuable tool to have.”

The program, which is entering its fourth round in six years, will allow customers 40 hours of free out-of-home Wi-Fi access per month through Xfinity Wi-Fi hot spots. As of this year, the program will increase internet service speeds from 10/1 megabits per second (Mbps) to 15/2 Mbps and also expand the program to include low-income senior citizens from five cities and metropolitan areas to 12, according to the press release.

Joyner-Kersee believes some of the most rewarding moments she’s experienced while working with the program are the reactions from eligible families, which range anywhere from shock to tears.

“They say how elated and how grateful they are because it gives them a better quality of life, knowing that they have access to allow them to do their term papers or homework,” Joyner-Kersee said. “And then, when you’re working with seniors, some seniors are reluctant to trust anything, let alone the internet. But when they can communicate with their loved ones across the country and around the world, it opens them up.”

American track and field great Jackie Joyner-Kersee, center, jogs with Palestinian women in the West Bank city of Ramallah, Thursday, April 17, 2014. The three-time Olympic gold medalist visited the West Bank to encourage Palestinian women to be physically active.

AP Photo/Nasser Shiyoukhi

Donating time for a greater cause isn’t a new concept for Joyner-Kersee, who made it a point to invest in her community long before she became a track star. As a young girl, Joyner-Kersee said, programs she took part in stressed the importance of giving back, whether it be time or money.

“I got involved with my community work in the early 1980s, when it wasn’t really popular,” Joyner-Kersee said. “I wasn’t doing it because it was popular, though. I was doing it because I came up through programs where people taught you about volunteering, taught you about giving back. Giving back at that time, even when I was in school, meant coming back and sharing your knowledge. Give your time. Work on taking someone under your wing. While I was competing, I knew this was something I always wanted to always be involved in. That’s why I built my community center, and I’m back in the community trying to really share what I know.”

Community service and Joyner-Kersee’s track and field career were both top priorities that demanded long hours and solid commitment, yet Joyner-Kersee balanced the two seamlessly.

After graduating from high school, Joyner-Kersee attended UCLA on a full basketball scholarship after turning down a track scholarship from the school. Although Joyner-Kersee earned All-America honors as a basketball player, she began training for the heptathlon in hopes of making it to the Olympics.

During track and field events, Joyner-Kersee’s work ethic and athletic ability spoke for her. At the 1984 Olympic Games, Joyner-Kersee was a silver medalist in the heptathlon, and she returned in 1988 to earn gold medals in the heptathlon and long jump, setting a world heptathlon record of 7,291 points that still stands today. That same year, Joyner-Kersee founded the Jackie Joyner-Kersee Foundation in an effort to provide those in need with resources to better their situations. The foundation would also cater to residents of East St. Louis, Illinois, Joyner-Kersee’s hometown.

In 1992, Joyner-Kersee earned another gold medal in the heptathlon, and bronze in the long jump. In 1996, in what would be Joyner-Kersee’s fourth and final Olympics, a hamstring injury forced her to withdraw from the heptathlon, but she still managed to earn a bronze medal in the long jump.

Jackie Joyner-Kersee competes in the women’s heptathlon, the opening event in the U.S. Olympic track trials, in Atlanta, Friday June 14, 1996. Joyner-Kersee, the favorite to win the event, won her heat.

AP Photo/John Bazemore

In 2000, the Jackie Joyner-Kersee Center was built in East St. Louis after the foundation raised $12 million for the 41,000-square-foot facility. The center would be used as a premier venue for youth recreation and sports. Joyner-Kersee officially retired a year later at age 38.

“It’s always tough to leave something you love doing, but the reality of it is, is that I know my body couldn’t take anymore,” Joyner-Kersee said. “So physically, you probably want to do it a little longer, but mentally, it takes a combination of both. You can have all the physical ability in the world, but mentally, if you are emotionally drained and you can’t focus, it would show in your performance. I knew I was doing a lot of community work and speaking at different events. Even though that was good, it was taking away from my training.”

Now, Joyner-Kersee is all in. Outside of her work with the Internet Essentials program, Joyner-Kersee is still hosting events through her foundation. She is now gearing up for the foundation’s largest event, the fifth annual Sequins, Suits & Sneakers Gala, which will take place in St. Louis on Oct. 26.

Although Joyner-Kersee enjoys being considered one of the greatest female athletes of all time in her sport, it feels even better to be known for her work in the community.

“It makes me feel really good because you can do something for a long time, and you do it and love it, but then you realize the relevance of it when you’re away from the sport,” she said. “And when I’m walking the streets and people just come up to me and say how much they appreciate not only what I’ve done on the field but also what I do in the community, that makes me feel real good because there’s a connection there that I didn’t even know about. It’s great when someone comes and says good things when they don’t know me. They just know my name and what I’ve done, and somehow I’ve made an impression on them.”

Why Floyd Mayweather can still box after beating women No photos, no central authority and black victims

He might be a coarse, past-his-prime boxer, but plenty of people are still willing to pony up the paper to see 40-year-old Floyd “Money” Mayweather fight again and risk his unblemished record of 49-0. And even if boxing spectators are aware of the physical and emotional damage he’s inflicted on the black women in his life for nearly two decades, there’s little in American society that’s more beside the point.

Why does Mayweather remain such a compelling figure despite his repeated and documented instances of domestic abuse? Let us count the ways: There are no publicly available photos showing the evidence of his crimes; there’s no central organization to hold Mayweather and other abusive boxers to account; and there’s an understanding, however contentious, that some boxers are inherently violent, their rage uncontrollable. Furthermore, there’s a long-standing pattern of victims, especially black women, holding their tongues to protect the black men who hit them.

All of those factors leave some fans torn, some indifferent and some completely disgusted. Despite the moral split decision, many boxing fans remain reliable spectators who continue to reward Mayweather with cultural cachet, fame and money, money, money.


Mayweather has consistently deflected and dismissed the abuse he’s inflicted. His explanations are twofold: “Only God can judge me,” he’s repeatedly said. He’s also maintained that there is no photographic evidence of his misdeeds. (That’s because it’s been locked away or legally destroyed by Las Vegas officials, according to reporting by Deadspin.)

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Mayweather, for all the talk of his over-the-top public persona (his other nickname is “Pretty Boy”) is a savvy media operator. He understands the damning nature of video and photography, which is why he’s repeatedly insisted on pointing out that there are no photographs of his crimes. In 2015, after journalists Michelle Beadle of ESPN and Rachel Nichols, then of CNN, publicly challenged Mayweather on his history of domestic abuse, the boxer responded by trying to ban them from covering his fight with Manny Pacquiao.

Mayweather’s representatives did not offer any comment when contacted this week by The Undefeated.

“Everything has been allegations,” Mayweather told The Guardian in 2015, despite court cases that said otherwise. “Nothing has been proven. So that’s life.”

When the news organization pressed him about the contradiction, Mayweather responded, “Once again, no pictures, just hearsay and allegations.”


Mayweather’s record of domestic abuse:

2001: Mayweather punches Melissa Brim, the mother of his daughter, Iyanna, in the neck during an argument over child support at a Las Vegas mall. In March 2002, according to the Las Vegas Review-Journal, he pleaded guilty to two counts of battery against Brim and received a suspended sentence.

2003: Mayweather is accused of punching two female friends of Josie Harris, mother to three Mayweather children, at a Las Vegas nightclub and chasing them out of the club. Mayweather receives a suspended sentence after being convicted of two counts of battery, according to the Las Vegas Sun. He’s ordered to undergo “impulse control” counseling. The verdict is later vacated and the charges “dismissed per negotiations.”

2005: Mayweather stands trial for felony battery after allegedly punching and kicking Harris and dragging her out of his Bentley after she confronts him about cheating. Harris changes her story on the witness stand and says she lied to police about the fight and Mayweather’s history of abuse. Mayweather is acquitted.

2010: Mayweather and Harris have split, but she still lives in a house Mayweather owns. Mayweather confronts Harris at the house for dating NBA guard C.J. Watson. After police head off the initial fight, Mayweather returns shortly before dawn and beats Harris in the back of the head and threatens to beat his children if they call the police, according to the arrest report. In an account given to Las Vegas police, Harris’ son Koraun, then 10 years old, says, “I saw my dad was on my mom and my mom said go to the office my dad was hitting her… my dad kick my mom and he told me to go in my room.” Mayweather, who contends that he was trying to restrain Harris, is charged with multiple felonies. He pleads guilty to misdemeanor domestic assault and harassment and is sentenced to 90 days in jail, the Associated Press reported. He’s released a month early for good behavior.


Photographs may be the new burden of proof in the era of 24/7 cable news and social media, but Mayweather’s abuse isn’t “alleged.” He’s served jail time for it. So why hasn’t he suffered more professional repercussions, like former Baltimore Ravens running back Ray Rice? In 2014, the NFL suspended Rice for two games for hitting his then-girlfriend, now-wife Janay Palmer, knocking her out, and dragging her unconscious body out of an elevator at an Atlantic City, New Jersey, casino. It wasn’t until TMZ published video of the incident that the NFL treated it more seriously. Commissioner Roger Goodell eventually suspended Rice from the league indefinitely. That decision was eventually overturned in federal court, but no team has signed Rice since.

According to boxing experts, it’s not just the video that’s missing, it’s also the ability of the sport to sanction fighters or even maintain the most basic rules and standards of behavior.

Football has something boxing does not. That’s “a governing body,” said Rock Newman, a former boxing promoter whose most famous fighter, Riddick Bowe, was a two-time heavyweight champion. “Baseball, football, basketball, most professional sports, soccer, you know, hockey, you pretty much have a clearly defined set of rules in which you’re expected to operate by on the field and, by extension, off the field,” said Newman, who now hosts a public affairs show on Howard University Television.

There’s no central authority in professional boxing. Four sanctioning bodies govern the sport, and they each award their own belts: the World Boxing Council (WBC), the World Boxing Association (WBA), the International Boxing Federation (IBF) and the World Boxing Organization (WBO). Even if one decides to suspend a boxer, there are three others that may decide otherwise, which means there’s going to be a fight somewhere, sanctioned by someone, especially if there’s a lot of money on the line.

Newman, a longtime advocate for oversight to curtail the exploitation of fighters, says a single governing body could also insist on putting moral turpitude clauses in fighters’ contracts that would affect their ability to earn a living.

Gary “Digital” Williams, creator of the Boxing Along the Beltway blog, agrees. “There’s no one entity that can say to a boxer, ‘You cannot fight because you have had issues with domestic violence.’ ” And there’s a long history of boxers who’ve had those issues.

Some are famous names: Jack Johnson beat women (some of them white) as he rose to fame in the early 20th century. Decades later, Joe Louis beat Lena Horne. Mike Tyson, Sugar Ray Leonard and Riddick Bowe all had issues with domestic abuse. In 2014, Robin Givens wrote a first-person account for Time explaining why she stayed after Tyson hit her. Leonard told sportswriter Buzz Bissinger he hit his wife, Juanita Wilkinson, while she was holding their infant child and threatened to kill himself if she left him. Bowe was not only arrested for second-degree assault, but served prison time for kidnapping his first wife and their five children. Edwin Valero, a WBA and WBC featherweight and lightweight champion, committed suicide in a Venezuelan jail cell after his arrest for stabbing his wife to death.


Boxer Floyd Mayweather Jr. goes through moves during a media workout at the Mayweather Boxing Club on Aug. 10 in Las Vegas.

John Gurzinski/AFP/Getty Images

Boxing’s appeal is atavistic. It’s the same reason everyone runs toward the school yard melee when somebody yells “Fight!” And the qualities that make someone an excellent boxer do not necessarily translate well outside of the ring.

“If somebody hits them too hard in the ring, they can retaliate any way they like, as long as the referee doesn’t call them on it,” said Gail Wyatt, a professor of psychiatry and biobehavioral sciences at UCLA. “At home, if somebody pisses them off, it’s hard to say, ‘Well, now, I’m not supposed to exhibit the same kind of behavior here as I am there.’ So many times, they act like they are in a ring.

“They’re actually at war. Many times they don’t have any kind of anger management, because anger management, it’s only appropriate for those people who require it. You can’t have anger management in boxing — you wouldn’t box. … There are some sports that just work against a person understanding the kind of respect and boundaries that people have to have in a relationship to keep a partner safe.”

Sugar Ray Robinson used to say that “boxing is the hurt business.” Newman says that’s true both inside the ring and out. We cheer the fighter who walks into the ring knowing he’s going to get “his face smashed in, but continuing to come back” when most people would run. “They stand there and endure that, and we cheer. We rise to our feet and cheer that kind of gladiator mentality, and we’re surprised or act like we’re shocked when they’re caught doing 110 mph in a 30 mph zone, or when they beat the hell out of their wife.”

Mayweather comes from a troubled home. His mother was a drug addict. His father was a drug dealer who was part of a family of renowned boxing brothers. Mayweather’s father was imprisoned for drug trafficking when the boxer was a teenager. Newman has known Mayweather since he was an 8-year-old watching his father and uncles fight and mimicking their every move.

In Newman’s experience, fighters often come from tough or abusive homes. “That gladiator appeal is a result of, most times, of fighters who come from homes that have been taught very little in the way of conflict resolution skills,” he said.

“It’s ‘God damn it, you took my crab cakes, I’m going to beat the s— out of you.’ ”

We are conditioned to expect domestic violence among poor people because economic insecurity is often tied to increases in domestic violence, according to the American Psychological Association. But leaning too heavily on that correlation can be dangerous. Since we expect higher rates of domestic violence from poor people, we’re more likely to excuse it.

Being brought up in poverty alone does not cause domestic violence. Rich men enjoying the spoils of generational wealth beat up their partners too, and they use the same excuses to explain or minimize it. It’s just that their wealth and social status can sometimes allow them to outrun the stain in ways that their less economically fortunate counterparts cannot.

When Mayweather uses the Las Vegas judicial system to reclaim or disappear photographic evidence of his crimes, he’s doing what rich and powerful men do: Use their wealth to quash the less savory aspects of themselves they’d prefer not be revealed.


Floyd Mayweather on Jimmy Kimmel Live! on Aug. 15.

Randy Holmes/ABC via Getty Images

Despite his notoriety, Mayweather is still seen as a compelling, charismatic figure in the court of public opinion. Last week, for instance, he was a guest on Jimmy Kimmel Live! and the interview wasn’t even briefly uncomfortable for Mayweather.

Kimmel’s interview was another late night exhibition of fawning grotesquerie: 12 minutes of chatting about money, boxing and strippers in which it would have been bad form to bring up that time you beat your girlfriend’s ass. The only time women even entered the conversation was when Kimmel asked about — and, as a result, plugged — Mayweather’s Las Vegas strip club.

“I got into the strip club business because I knew breasts, the vagina, alcohol and music would never go out of style,” Mayweather said confidently. Kimmel laughed, then cut to commercial.

We have a hard time reconciling our understanding of such men with intimate partner violence. That’s in part because of how we consume and distill our understanding of such violence through pop culture. On screen or stage, domestic abusers are often pitched as obsessive, psychotic, mouth-breathing villains, from the titular character in Othello to Billy Campbell in the 2001 film Enough to Patrick Bergin’s in Sleeping With the Enemy (1991).

On-screen fictive portraits of domestic abusers are often flat in the same way portraits of racists are. In film and television, racists are typically depicted without nuance, as unambiguously evil, isolated individuals. They provide an emotional shorthand for audiences: This guy is bad. And so we see such characters as evil, mean, with no particularly redeeming qualities, rather than as humans who are messy and complicated and morally ambiguous. It’s more difficult to process accusations of assault when they’re aimed at people we find likable.

In the case of intimate partner violence, this also makes it easier to blame women for the abuse they endure. If he’s so awful, society asks, then why does she stay?


Mayweather’s five documented accusers are all black women. In response to their allegations, he has cast himself as the true victim, a beleaguered black man bearing the cross of race-based resentment in a white society that doesn’t want to see him succeed. In a January interview with ESPN’s Cari Champion, Mayweather’s language was a reminder of Supreme Court Justice Clarence Thomas’s testimony after Anita Hill accused him of sexual harassment during his 1991 Senate confirmation hearings. Thomas referred to the process as a “high-tech lynching” and cast Hill as an agent of white supremacy angling to bring a black man down. Mayweather, too, was defiant.

“That was in my past, and of course, with any situation, when someone talks about domestic violence with a fighter like myself, when they say, ‘Floyd was involved with domestic violence’ — restraining someone, yes I did that,” Mayweather told Champion. “I’m guilty of restraining. But as far as stomp, kicking, beating a woman, I think that the world would see photos.

“You must realize this. For so many years, for so many years, they tried to defeat me in so many different ways — negative things. But I couldn’t be defeated inside the ring, so they tried to defeat me on the outside, far as trying to discourage me. Do I think they want … for me to break Rocky Marciano’s record? Absolutely not. Do I think — do people want to see me fail? Absolutely. But I beat all odds.”

Finding themselves in this compromising position has deep roots for black women, and there are plenty of examples of black men who are celebrated despite accusations of abuse, among them O.J. Simpson, Miles Davis, R. Kelly, and Chris Brown.

“If we only frame race in terms of what is best for black men and that what is best for black men is in aggregate best for black people, then we’re always going to find assault and other forms of gender-based violence as second-tier, secondary issues,” said Treva Lindsey, an associate professor of women’s, gender and sexuality studies at Ohio State University. “What allows this violence to continue is that we don’t believe black women, we don’t trust black women and girls.”

Even when photographic evidence exists and gets released to the public, it’s not necessarily enough.

“So when we get these videos … this objective lens of a camera is presenting us these things and we’re still trying to find ways to justify our interest in a player, celebrity, whoever who are committing these atrocities against black women,” Lindsey said. “It’s still saying even with that kind of truth, we’re willing to forgo the accountability. Even in the face of truth.”


When Cat Taylor isn’t working with her crew cleaning D.C. roadways, she’s attending fights as the Number One Boxing Fan, a title bestowed by the Boxing Along the Beltway blog. It’s a title she takes seriously. She works out to fit in flamboyant outfits, sits ringside and yells. “I travel all over the country in support of all the fighters,” she said.

Taylor originally planned to attend the Mayweather-McGregor fight, but she’s had a change of heart. “I support all fighters, but Mayweather is no longer fighting,” she said. “This is a one-time shot for Mayweather to come out of retirement” and make a lot of money.

Ask her about Mayweather and domestic violence and it’s complicated: “Well, a lot of times, you know, as the Number One Boxing Fan, I try not to get caught into their social lives. However, it is times like this when I’m faced with my opinion on it. In his case, my opinion of that is that Mayweather needs help. Domestic violence is an underlying issue that stems from childhood. That’s not something that was done overnight,” Taylor said. “And it’s sad because his wife or his significant other, she’s a victim, but he’s also a victim too.”

Taylor doesn’t believe court-ordered anger management counseling is sufficient to turn things around. “That’s not enough to get you through that pain and get you through that heartache. The same type of training that he is doing for boxing is basically the same type of training he has to endure to overcome that anger that was admitted into him with that domestic violence.”

Tyrieshia Douglas, a 28-year-old super flyweight from Baltimore and UBF world female flyweight champion, has strong opinions about domestic abuse. “I don’t support men putting their hands on women; I’m totally against that,” she said. “I believe he put his hands on you once, he gonna do it again. And again and again and again and after.”

And that’s why women should learn how to defend themselves, she says, although Douglas hesitates at what, if anything, the sanction should be for Mayweather. “It’s a good question,” she said, but she rejects the notion that, as a boxer, Mayweather might have a harder time turning off the aggression. “I don’t understand how it’s hard to turn it off. At the end of the day, you are a man, you are much stronger.”

Fight fans are fickle, Taylor contends. When the boxer is up they chant for him, but when he’s down, “they’re calling him dumb and saying he’s a nobody.” To her, a fan’s responsibility is to encourage fighters to make them better. Taylor respects the way other fighters admire Mayweather. They tout his craft and his philanthropy: supporting people around him and donating to charitable causes.

“As a fan, and hearing that about him, that means in my eyes, the good outweighs the bad,” she said. “OK, he has this negative thing that’s in the media, but that doesn’t outweigh what he do as a man. … Yes, he has his flaws, but he still is a great man overall, and that’s what I would tend to gravitate more to push him and uplift him.”

It’s that posture — that up-from-poverty, can’t-keep-a-black-man-down, bespoke suit-flaunting, look-at-my-damn-private-jet insistence on claiming his props — that Mayweather so expertly converts into benefit of the doubt and pay-per-view dividends. More than anything, that’s what “Money” is taking to the bank.

Russell Westbrook leads NBPA Players Voice Awards Oklahoma City guard captures three awards, including best dressed

Russell Westbrook got a dap of appreciation from his NBA peers on Friday.

The Oklahoma City Thunder point guard and reigning NBA MVP earned three trophies in the annual National Basketball Players Association Players Voice Awards on Friday: “Most Valuable Player,” “Hardest to Guard” and, no surprise here, “Best Dressed.”

It has been a banner year for Brodie, the fearless fashion maverick who graced the cover of Sports Illustrated‘s “Fashionable 50” in June. Westbrook has become as famous for his daring off-the-court style choices as his jaw-dropping on-court athleticism. Unlike many of the NBA’s taller players, the former UCLA Bruin has used his relatively small frame (6-foot-3, 200 pounds) to wear off-the-rack clothing that is at times adventurous, trendsetting or just plain weird.

Over the years, Westbrook’s high-concept style has even coined a phrase: “Westbrookian.” Ever see an NBA star wearing skinny jeans with an oversized ripped-to-shreds T-shirt before a game? Or colorful sunglasses to a news conference, or bleached denim or capri-length pants with slide sandals? That’s all No. 0. And while other athletes have dared to wear harem pants or a full-length fur coat, only Westbrook can really make it look effortless.

Billed as “the only awards voted on BY the players, FOR the players,” the annual Players Voice Awards are voted on at the end of the regular season.

The winners were announced Friday morning on the NBPA’s Twitter feed in a series of short videos. Hosted by former Miami Heat forward Chris Bosh, the lively clips were tweeted out every five minutes for nearly an hour, with the award categories getting breezy explanatory assists from an All-Star roster of the league’s biggest players.

“The Player You Secretly Wish Was on Your Team” was awarded to LeBron James, the Cleveland Cavaliers captain who also nabbed “Global Impact Player.”

Other awards went to:

  • “Best Rookie” – Malcolm Brogdon, the former Virginia shooting guard who had a standout year with the Milwaukee Bucks.
  • “Best Defender” – Kawhi Leonard, the San Antonio Spurs forward and two-time NBA Defensive Player of the Year.
  • “Most Influential Veteran” – Vince Carter, the 40-year-old shooting guard currently signed with the Sacramento Kings, giving credence to his long-standing “half-man, half amazing” legend within pop culture.
  • “Comeback Player of the Year” and “Best Social Media Follow” – Joel Embiid, the Rihanna-loving, Lavar Ball-hating All-Star and Philadelphia 76ers center.
  • “Clutch Performer” – Isaiah Thomas, who led the Boston Celtics in the postseason despite personal tragedy.
  • “Best Home Court Advantage” – Golden State Warriors and the spirited fans who attend Dubs home games in Oracle Arena.
  • “Best off the Bench” – Lou Williams, the shooting guard who was traded last year from the Houston Rockets to the L.A. Clippers as part of the Chris Paul deal.
  • “Coach You Most Like to Play For” – San Antonio Spurs coach Gregg Popovich, who has won this award three years in a row.

The decision to announce award winners via Twitter came from “not wanting to interrupt the NBA’s Awards,” which was televised in June, said Jordan Schlachter, president of National Basketball Players Inc. “We also didn’t want to get caught up in the busy news of free agency, so we pushed it to August.”

Schlachter noted that this year’s winners will receive trophies early in the 2017-18 NBA season during halftime ceremonies at home games around the league.

Student-athlete and Olympian Micha Powell’s guide to thriving in college A weekly series from the sprinter on how she balances sports, school and life

Hey, all, Micha Powell here. Welcome to my video diary! I’m a recent University of Maryland graduate with a B.A. in broadcast journalism, three-time NCAA All-American and 2016 Canadian Olympian.

I have both my parents to thank for my athletic genes. My father is Mike Powell, UCLA alum and the long jump world-record holder, and my mother is the 400m hurdles Canadian record holder. I guess it’s kind of fitting that I’d end up a student-athlete in the States with roots in Canada.

If you’ve wondered what it takes to be a track and field student-athlete and compete at the international level, look no further. With this weekly video diary, you can follow my journey from training as a student-athlete at UMD to representing Canada at the World University Games in Taipei at the end of August. With my degree in broadcast journalism, I will use my reporting and editing skills to produce an in-depth look at the high-performance world of a 400m sprinter.


Week 1

I have never been afraid of a challenge. I switched sports my senior year in high school, going from hitting serves on green tennis courts to racing around a red rubberized track. I decided to embrace my parents’ Olympic genes and put them to good use in the 400 meters. After receiving a track and field scholarship to the University of Maryland, I then moved away from my family in Canada in pursuit of a higher education and with the hopes of leaving behind a legacy.

Looking back on my four years in college, I had to adapt to many changes, including attending two-hour classes right after running up hills at 5 in the morning, all the while maintaining a balanced social life and remembering to take a deep breath once in a while. The adjustment from living with my mom in a quiet apartment to moving in with five other college roommates was drastic, but I was able to embrace my new surroundings by developing these three key habits:

Time management

I enrolled in the Philip Merrill College of Journalism at the University of Maryland knowing that I was going to have to learn to work on deadline and take most of my assignments on the road with me when I traveled to track meets. The fast-paced nature of the program forced me to plan ahead and communicate with my professors. If I had a track meet that coming weekend, I knew I had to finish an assignment by Thursday to avoid any additional stress. I also made sure to add some downtime with my friends and go to D.C. for some sightseeing or just stay in and watch some of our favorite Netflix shows.

Sleep takes priority

I aim to get anywhere between seven and nine hours of sleep every night. If I can be in bed before midnight, I know that I’ll wake up the next morning motivated, rejuvenated and less stressed. However, I’m not perfect. During finals week, I had my fair share of “almost” all-nighters that left my mind drained. The best way for me to get a consistent amount of sleep is to keep a routine. As long as I continue to practice self-discipline, I’ll keep a healthy sleep habit that accelerates my muscle recovery and improves my mental health.

Nutrition & home cooking

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Nutrition is an essential part of my preparation not only for executing a great race but also for my overall well-being. Whenever someone asks me if I follow a strict diet, I explain that I don’t have to but I naturally gravitate toward leafy greens and lean proteins because it is simply what my body craves. I see eating healthy as the most beneficial way to reward my body for all of the hard work it does in one day. By eating fruits, vegetables, complex carbohydrates and protein, I train my body to expect nutrient-rich foods after a hard workout, which encourages it to recover at a faster rate and readies it to go through the entire cycle again.

Before practice and post-workouts, you can be sure to find me in my kitchen cooking up everything from spinach and turkey bacon-filled omelets to curried tilapia with steamed zucchini spirals. I always make sure my fridge is filled with whole foods and my spice cabinet stocked with seasoning. I’m known on my track team to always have a different meal on my Snapchat and often get messages that read “Pleassee send me the recipe!” or “You should write a cookbook!” Maybe I’ll consider it now that I’ve graduated and have a little bit more free time on my hands. Cooking is not a chore for me but rather a habit that guarantees my body will get enough nutrients for the week, and it also brings familiarity and the comfort of home back into my life.

My grandmother is originally from Nigeria, and I remember growing up in her house, back in Montreal, smelling the peppery air and immediately recognizing the thyme and cayenne fragrance that was brewing in one of her traditional and tasty Nigerian dishes. Although I can’t make as good an okra soup as my grandmother does, I consider myself fortunate enough to have inherited her cooking skills, which have helped me prepare the majority of my meals that fuel me for the day.

Comedy Central’s Rikki Hughes is the woman behind the big names The showrunner for Comedy Central’s ‘Hood Adjacent’ talks her favorite athletes and the influence of her late father

In the early 1990s, Rikki Hughes was headed to medical school. Her game plan was set. Life: all figured out.

Then she got an opportunity to spend a summer on the road with all of your favorite ’90s rappers. So she spoke to her mom and dad about going off on this adventure, with the promise to return to UCLA and go to medical school.

“Look,” she said to her parents back then, “I have the opportunity to go to take these artists on the road, and they’ve never been outside of Long Beach — it’s Snoop and Warren G and those guys. This is a tour we’re going on. I can come back, I can defer my enrollment, and I can still go back to UCLA for medical school.”

To her surprise, her mom agreed. “You know, this might be the only opportunity you have in your life to have someone else pay you to travel the world. Just know you can always come home.” That conversation was one of the most empowering things that has ever happened to her. It was life-changing.

“When I got back … my peers … and even my mentor at medical school, they’d graduated and had like $300,000 worth of loans, making like $80,000 a year. I, on the other hand, was at about $150,000 a year, no loans, no kids, so I was like, ‘Kind of made a good decision there!’ ” She ended up running the international department for Priority Records and left in 2001 to go produce TV. Another good decision.

And after a career in music, Hughes is now the “woman behind the laugh.” She is one of the few black female television producers, and certainly one of the very few in comedy — and she’s one of the most successful. Hughes is the showrunner for Comedy Central’s new Hood Adjacent with James Davis. Most recently, she was the executive producer for Dave Chappelle’s acclaimed Netflix specials. And this fall she has the All Def Comedy series premiering on HBO.


What’s your primary social media tribe?

I’m really an Instagrammer. I get lost in Snapchat at times, and so, like, sometimes I send the wrong thing to the wrong person. Twitter is so much information — I get overloaded.

What is your favorite throwback TV show?

Hart to Hart. I just love the glamour of this romance, and they’re out there doing stuff. There’s a murder every episode, and somehow they solve it within 44 minutes, which is brilliant. They stay glamorous the whole time, and he’s [Robert Wagner’s character] just totally in love with her [Stefanie Powers’ character]. It’s truly just fun-filled, fantasy stuff.

“I credit my dad for never allowing fear to be a part of our life, or conversation.”

What’s the last show you binge-watched?

Totally a binge-watcher. I go from, like, from House of Cards to Unbreakable Kimmy Schmidt. I love the cleverness of the writing. House of Cards, it reminds me of the old West Wing days of really clever characters that are complex and layered and all those good things. You can root for the bad guy and not feel guilty. Unbreakable is just a guilty pleasure. I love it because I don’t have to think.

What do you think about the binge-watching TV culture that we have right now?

It’s a good thing because it creates a scenario where we have to continuously create content … we have to keep feeding the beast. So as a content creator, I’m excited for it — and nervous. I get excited because … I’m constantly in demand to create content. And then the nervous energy is that I’ve got to continue to create at a certain level.

What will you always be a champion of?

I’m always a champion of creativity and of protecting the creative voice. Voices are so important, and they’re distinctive. I’ve battled throughout my career for the voice to be there. And it’s not like, ‘Oh, I want to give a voice to the voiceless.’ It’s not that. It’s more of … I don’t have to agree with your politics or whatever, but I feel like voice is necessary. I would hate for us to be monolithic, a one-tone culture where everyone just kind of buys in to the same thing.

“I went to a Richard Pryor concert when I was really young. Because my uncle has worked at The Comedy Store.”

Who was your childhood hero?

My dad. He passed in 2007. My dad was one that always instilled in me that you have a choice: ‘You can always choose, Rikki.’ And no one can ever put you in a box, because all you have to do is stop, and you can stop at any point in time. It helped me navigate, in a fearless way. … I can look at a situation, but I don’t have to be in that situation. I credit my dad for never allowing fear to be a part of our life, or conversation.

Is that where your courage comes from?

It really does go back to my dad. There’s never been a ‘no’ for me. ‘No’ is just not a thing we say. It’s just another opportunity for a ‘yes’ somewhere else.

What was the first comedy concert you attended?

I went to a Richard Pryor concert when I was really young. Because my uncle has worked at The Comedy Store. I wasn’t supposed to be in there. I remember sitting on the side, and I had to sit in the hallway. I remember hearing — it was just electric, the way he could move people.

Is that what did it for you?

That definitely made me fall in love with the tale of telling stories on stage … engaging an audience in that way.

Is your life like a constant game of “make me laugh” once people know who you are?

Comics … more than anything, they always say, ‘If you can get Rikki to actually laugh, you’ve really won on stage!’

“I’m an L.A. girl, born and raised in L.A., so I just grew up around him. Fast breaks and Magic Johnson!”

Favorite athlete of all time?

Magic Johnson. He was so excited just to be in the game. It wasn’t about fame and money. I’m sure those things were great for him, but I always felt the genuine excitement, that he was just happy to be in the game, happy for people to be there, loved the fans. I felt like I always smiled when I watched him play. I’m an L.A. girl, born and raised in L.A., so I just grew up around him. Fast breaks and Magic Johnson!

Do you have a favorite athlete who’s playing right now?

I kind of like LeBron … I really appreciate the way he moves. I love integrity. It’s one of my biggest things. It’s the most attractive thing to me. So I feel like he has integrity and is able to speak boldly and clearly, and just own it, and I love that about him.

This conversation has been edited for length and clarity.

Why the hot black bodies on ‘Insecure’ are more revolutionary than you think The sex looks like what humans actually do

We have to talk about the sex on Insecure.

The hit HBO comedy from creator and star Issa Rae has a lot to say about it — specifically, the sex between black people.

The bug-eyed reaction to Lawrence’s (Jay Ellis) sex scene at the end of season one wasn’t just because viewers identified with Lawrence’s emotional pain after Issa admitted to cheating on him. It’s because it looked familiar in a way that black sex on TV or in film rarely does. Lawrence’s revenge sex closely resembled the way people actually have sex.

For one, Lawrence is completely nude, and so is Tasha (Dominique Perry), the woman whose back he’s blowing out. Tasha’s the flirty teller from Lawrence’s credit union who’s had her eye on him since before he was single. They’re in an apartment that’s appropriate for her salary. It’s outfitted with dingy mini blinds and a metal bed frame that could easily be a thrift store find or a hand-me-down. Tasha’s at the edge of the bed, bent over, and Lawrence is pulling her hair. The sex is … vigorous.

“Watching those sex scenes makes me feel aroused and uncomfortable at the same time,” said Numa Perrier, who, as co-founder of the subscription-based network Black and Sexy TV, collaborated with Rae on some early web-based content ventures. Perrier is also the writer-director of Jezebel, a film based on her experiences experimenting with internet porn. She expects it to hit the 2018 festival circuit. “It’s uncomfortable because I feel like I’m peeking into a very private moment that I shouldn’t be watching, and I think that is what great art does.”

After seeing Chi-raq two years ago, I had a giggle-filled conversation about how the early sex scenes in the film felt real in a way they rarely do on screen. Chi-raq was devoid of actors covered in sheet forts, dragging their top sheets with them to the bathroom, or women sleeping in their bras and full makeup.

There’s not a lot of art that reflects how people actually have sex, period, and that’s even less true for black people. So Insecure joins a short list that’s otherwise occupied by film: Baby Boy, Chi-raq, Sweet Sweetback’s Baadasssss Song, A Good Day to be Black and Sexy, How to Tell You’re a Douchebag, Love and Basketball, Jason’s Lyric, Set It Off and Belly. (This is by no means a comprehensive list, so feel free to email me with others.)

“We’re telling the story of these women’s real lives and sex is a real aspect of being a 30-something-year-old woman … Instead of leaving that part out, we’d like to explore it and capture it in a unique way,” said Melina Matsoukas, an executive producer who frequently directs on the show. “What you find so unique about it is that it feels real.”

In Hollywood, who gets naked on screen often indicates something about the power dynamics of gender. So does who we see having sex, and the type of sex they’re having. It also says something about the power dynamics of race. And in Insecure, we get implicit commentary on all of it.

For starters, we see a lot of Ellis and that’s not by accident.

Courtesy of HBO

His, er, visual presence reminded me of an interview actor Tony Goldwyn, who plays President Fitzgerald Grant in Shonda Rhimes’ Scandal, did with Stephen Colbert on The Late Show.

In Hollywood, who gets naked on screen often indicates something about the power dynamics of gender.

“The rule, exactly as quoted to me, is, in Shondaland, the women can do whatever they want and the boys have to take off their clothes when Shonda [Rhimes] tells them to,” Goldwyn explained after Colbert held a still of a shirtless Goldwyn embracing a fully clothed Kerry Washington. It was noteworthy precisely because Rhimes’ rule is such an anomaly.

So it’s significant that the first bare butt to appear on Insecure was Ellis’. In 2012, Rae was tapped to develop a show for ABC with Rhimes called I Hate L.A. Dudes. The network ultimately passed on the show, but Rae’s time in the Shondaland incubator clearly had some influence on her. So did her tenure as an actor, collaborator and fan of Black & Sexy TV. Mix all that with the aesthetic of Matsoukas, and the show’s approach to sex starts to make sense.

“We just wanted to flip the script a little bit and there’s always an expectation that we just have to be like, t—–s and a– out,” Rae said at a Television Critics Association panel discussion about season one. “I think with this we had an opportunity with two female leads to be like, ‘There’s going to be a lot of sex in this show. Our guys are game, so let’s just have them bare all.’ And they did. They were great about it.”


There’s nothing inherently wrong or shameful about nudity. The actors and actresses who make the decision to disrobe are doing what their stories and characters require of them, and that’s also true on Insecure, where the women show just as much skin as the men do. But in television and film, the expectation to disrobe falls disproportionately to women.

Premium cable is notorious for encouraging nudity. That’s part of what you’re paying for: freedom from Federal Communications Commission censure to deploy F-bombs, bare chests and lots of sex. There’s an unspoken ethos of “If we can do it, then we should.” But there’s a difference in the way nudity is used for male and female actors. Seth MacFarlane’s number at the 2013 Oscars titled “We Saw Your Boobs” provoked intense reaction, but it was basically a song and dance celebrating how little power women have in Hollywood. Everyone loves to talk about Game of Thrones, but think about The Sopranos and its use of the barely clad women of the Bada Bing as wallpaper for whatever happened to be taking place in Tony’s life. Ballers uses women’s bodies in a similarly dismissive way, and New Yorker critic Emily Nussbaum tore HBO a new one for perpetuating this practice in the first season of True Detective. In season three of the Starz comedy Survivor’s Remorse, a trip to a strip club featuring older women is played for laughs and disgust: How dare these women show us bodies that aren’t taut, hairless and wrinkle-free? For men, full frontal is generally reserved for comedy, and that’s true across television and film, from Jason Segel in Forgetting Sarah Marshall to the hobo who exposes his junk in Girls Trip.

For men, full frontal is generally reserved for comedy.

“The way we usually capture sexual experiences on our show — we depend more on the male figure for nudity,” Matsoukas said. “It’s not something you normally see. It’s usually about the female body and capturing the male gaze, and we somewhat reverse that, I think, and like to focus on our very handsome male leads. We show the stuff that we find sexy, which is Jay’s [Ellis] butt half the time.”

Having female directors, Matsoukas said, engenders a special level of trust on the set when sex scenes are shot. Rae told her she feels “protected,” in part because the women on set are working to make sure Rae, or Perry, or Yvonne Orji, who plays Molly, feel comfortable. That’s also contributed to another anomaly in television: “We have a very diverse crew,” Matsoukas said. “We have a primarily female camera crew this season … I’ve literally never seen it.”

Layer on top of that the history of how black nudity, black sex and black romance have been depicted on screen. Images of black intimacy and sexuality faced censorship from the early days of the film industry, while films starring white actors were heavily marketed using romance.

Courtesy of HBO

The prevailing attitude in Hollywood was that black romance would be disgusting to white audiences, UCLA professor Ellen C. Scott told me. Scott, who specializes in media history, African-American cultural history, and the history of censorship and cultural studies, is the author of Cinema Civil Rights, which examines Hollywood’s foot-dragging on civil rights issues and the way it was manifest both within the industry and in the films it produced.

Scott said white Southerners worked with Hollywood self-regulation offices to ensure such images didn’t appear.

“Censorship of Black romance onscreen begins most clearly [in 1929] with Hallelujah — King Vidor’s film — where the Hollywood self-regulator Jason Joy feared that white audiences would be disgusted by two Black characters kissing,” Scott said in an email. “In early cinema — Black romance is treated as the subject of humor and stereotype rather than as a center.”

But this censorship wasn’t just about the absence of black intimacy on screen. It was also about the narratives that sprung up to fill those gaps.

“Often Black romantic relationships onscreen existed primarily by implication rather than any case in point — and were not, unlike white romances, tied to a marriage trajectory,” Scott said. “Often this marriage trajectory was abandoned or impossible because of the stereotypical assumption that Black men were always ‘good-for-nothings’ when it came to many things — hard work, keeping a job, and staying with a woman.”

While representation of black intimacy is arguably better now than it’s ever been, that’s not necessarily saying much.

“It looks better but not good enough,” Scott wrote. “In my opinion many of the so-called ‘black films’ that treat Black romance are still mired in the world of defined by Blaxploitation style sexuality.”


Recognizing that the physiques of its male stars are part of Insecure’s appeal, the show’s second season features liberal doses of Ellis’ toned back, shoulders, pectorals, triceps, biceps … I’m losing focus here.

On some level, that’s to be expected. Insecure is a show about sex and relationships, chiefly filmed by Matsoukas, who made her name directing music videos for Rihanna (“We Found Love,” “You Da One,” “Hard,” “S&M”), Lady Gaga (“Beautiful, Dirty, Rich,” “Just Dance”) and Beyoncé (“Diva,” “Formation,” “Pretty Hurts”).

Matsoukas is a pro at helping women sharpen and articulate their attitudes about on-screen sex. “Melina, as a director, comes from a very sensual place,” Perrier said. “With all of the work that she’s done in the music videos landscape, she was always kind of etching out what intimacy and sexiness looked like for black women.”

Courtesy of HBO

Her penchant for the sensual is especially evident in her work with Beyoncé. She’s the director behind “Suga Mama,” “Kitty Kat” and “Green Light,” all songs from B’Day. In the album, released in 2006 just before Beyoncé’s 25th birthday, the singer writhed in fetish heels and latex minidresses in “Green Light,” offered herself up as a gender-flipped benefactress in “Suga Mama” and spurned the attentions of a sometimey lover in the not-so-obliquely-named “Kitty Kat.” Similarly, Matsoukas helped Rihanna develop an answer to the media coverage of her assault at the hands of her ex-boyfriend Chris Brown in the 2010 video for “S&M.” The video depicted members of the press as identically dressed, ball-gagged automatons.

“I enjoy capturing sexual freedom visually … without being limited by what society feels and what that should mean,” Matsoukas said. “I don’t think it’s a demeaning act. I think it’s a very loving act and it’s very freeing and having control of your sexuality is something that I think is important for me as an artist and as a woman.”


Insecure occupies the Sunday night time slot formerly held by Sex and the City, another show praised for its depictions of the many ways women discuss sex and have it. It’s one of the few to entertain the possibility of a M-M-F (male-male-female) three-way, when the word almost automatically implies F-F-M.

We’re experiencing something similarly revelatory with Insecure. It’s just that these women are black, and there’s nowhere else on television that shows their lives in this way. Girlfriends and Living Single might have come the closest, but they were both network comedies, with their bundle of standards-and-practices-imposed restrictions.

Furthermore, Rae is just the third black woman to create and star in her own television comedy, after Wanda Sykes (Wanda at Large) and Whoopi Goldberg (Whoopi). When it comes to exploring this ground through the eyes of women of color, television is still in its infancy.

As for the sex in Insecure? “Things are going to jiggle and things should jiggle,” Perrier said. “I think we’re at a point now where we want to see a real representation of everything across the board.

“When it gets hot, it’s like an electric jolt. And we need that.”