Penny Hardaway reveals his plans for the team as University of Memphis head coach ‘Everything I do, I do it for the city’

Anfernee “Penny” Hardaway wants to see fans back in the stands at basketball games to cheer on his alma mater, the University of Memphis. And that’s one of his goals as the new head coach of the team, as he explained after addressing hundreds of attendees at Tuesday’s news conference in Memphis, Tennessee.

“The city raised me,” Hardaway told The Undefeated. “I’ve been very successful at basketball, and everything I do, I do it for the city, and I’m just excited to be in this position. I look forward to the fans coming back to the FedExForum, packing the house like we did in the Coliseum and in the Pyramid. I’m looking forward to those days coming back. I’m excited. I hope that everybody’s riding the waves, and I hope that I can put Memphis back on the map.”

The Mid-South Coliseum was home to the Tigers from 1966-91. The team moved to The Memphis Pyramid once it was built. It remained the home of Tigers basketball from 1991 until 2004, when the FedExForum opened.

Hardaway assumed the position vacated by Tubby Smith on the cusp of a three-peat victory with his East High School Mustangs. As the high school’s head coach, the NBA legend and local Memphis icon won his third straight state title (2016, 2017 and 2018) in Murfreesboro on March 17 at the Class AAA State Championship game. Hardaway focused on his team’s competition, never confirming plans to take on a new role until the school’s announcement on Monday.

Memphis Tigers cheerleaders handed out souvenirs celebrating their new head coach at a news conference and rally announcing Penny Hardaway’s new role for the University of Memphis men’s basketball team.

For many fans, Hardaway has returned home — a place he holds dear to his heart. It’s the same place where his hoop dreams became a reality that thrust him into NBA stardom, a place where fans cheered him on, teammates urged him to play harder and his former coach, the late Larry Finch, who was also once a player at the then-Memphis State University, believed that he would do great things in life.

For Hardaway, his job as Memphis’ new head coach is divine intervention.

“God ordained this whole process into being what it is today …,” Hardaway said. “I believe in all of that. The timing is perfect right now. The city needs it, and the city is responding. I feel great.”

Hardaway has a high level of respect for Smith and his coaching history. Smith’s two-season stint ended in his firing after closing out the 2017-18 season with a declining attendance for the sixth straight year, ultimately contributing to the need for a new plan. The announced average was 6,211 fans through 18 home games toward the close of the 2017-18 season at the FedExForum, which holds 18,119.

According to The Commercial Appeal, the school averaged more than 16,000 fans and ranked among the top 10 in the country in average attendance just four years ago. During former coach Josh Pastner’s final season, the announced team average was 12,028 (2015-16).

Hardaway’s success with Team Penny, his AAU program, gives him exemplary knowledge of new recruits and their talents. Although he has no college coaching experience, his passion for basketball lends a level of confidence for a hopeful resurgence of the Memphis basketball program.

Penny Hardaway hugs Vickie Finch, the widow of former University of Memphis player and head coach Larry Finch, after a news conference and rally announcing Hardaway’s new role as head coach for the University of Memphis men’s basketball team.

Hardaway said the hardest part of his upcoming journey is learning the NCAA rules and regulations.

“I have to make sure I don’t have any infractions or break any rules,” Hardaway said. “I have my compliance people on speed dial to make sure. I think that will be the hardest part. I’m focused, and there are so many rules and regulations.”

Hardaway is the university’s 19th coach and the third Tiger alum named head coach for the program, after Wayne Yates (1974-79) and Finch (1986-97).

Elliot Perry, Hardaway’s friend and former Tigers player and director of player support for the Memphis Grizzlies, thinks this is one of the biggest hires the program has made in its history.

“I’m in love with the hire,” Perry said. “I played for Coach Finch, one of the best players to ever play there. And the impact that he made and how much he poured into my life he’s poured into Penny’s life as well, and Penny will do the same thing for his players. You’re talking about a guy who played high school here and played in college at Memphis. [He’s] certainly one of the best players to ever play in our program, and now he’s the head coach. He will run the program, orchestrate the program, curate the program like it’s his own child. That’s why it’s so significant.”

Hardaway told the crowd of more than 100 at the news conference that his passion for Memphis basketball is what encouraged him to accept the position.

“You know it wasn’t easy to bring me here because of my experience with college basketball,” he said. “But I told everyone all I had to do was have the Memphis blood in me and the heart and the passion for winning basketball. As a coach, my style, we’re going to get after them. I know that’s what we love. We’re going to play hard-nosed basketball, running, jumping, pressing everywhere and winning games. Losing is not an option for us. I really want to hit the ground running. I know people are saying to be patient and to do this first and to do that first, but I’m not wired that way. I go all or nothing.”

Penny Hardaway speaks at a news conference and rally announcing his new role as head coach of the University of Memphis men’s basketball team.

Andrea Morales for The Undefeated

The two-time All-American and four-time NBA All-Star inherits a 40-26 record accumulated during the past two seasons under Smith. This season, the Tigers finished 21-13 after a American Athletic Conference Championship semifinal loss to top-seeded Cincinnati.

“I’m not just coming here to be a face,” Hardaway said at the news conference. “I’m coming here to make a difference, with the help of getting the fans back in the stands like it was back in the old-school days. I am dedicated to this team that just finished this season. Like I told those kids in the locker room, it was kind of unfair a little bit to them that nobody really showed up, but those days are gone. Also bringing some really good talent here that the city of Memphis would love to see on a nightly basis.”

Hardaway’s ongoing support of the University of Memphis is evident in his $1 million donation in 2008 to the Penny Hardaway Hall of Fame Building, which opened in August 2011. He graduated from college in May 2003 with a bachelor’s degree in professional studies.

Fans line the second-floor balcony at a news conference and rally announcing Penny Hardaway’s new role as head coach for the University of Memphis men’s basketball team. Photos of Hardaway line the balcony.

Hardaway was picked third in the 1993 NBA draft by the Golden State Warriors but was traded to the Orlando Magic for the rights to Chris Webber, the draft’s top overall pick.

The 6-foot-7 point guard played in the NBA from 1993 to 2008 with the Magic, Phoenix Suns, New York Knicks and Miami Heat.

Hardaway’s notoriety goes back to his senior year in 1990 at Treadwell High School in Memphis, where he averaged 36.6 points and 10.1 rebounds. His time at Memphis State University is in the books. He spent two seasons with the Tigers and led the team to two NCAA tournament appearances, including the Elite Eight in 1992. His achievements include two career triple-doubles, and he ranks 17th in scoring. Hardaway won a gold medal with the 1996 U.S. Olympic team in Atlanta.

Two for Tuesday: WNBA great Swin Cash and activist Coretta Scott King Recognizing women of accomplishment during Women’s History Month

During National Women’s History Month, The Undefeated will recognize two women every Tuesday. This week’s Two for Tuesday features basketball Olympic gold medalist Swin Cash and civil rights activist Coretta Scott King.

Swin Cash

Jennifer Pottheiser/NBAE via Getty Images

WNBA star Swin Cash retired from the game in June 2016 after completing her third season with the New York Liberty. Cash, who became one of the most influential players in the league, had a 15-year pro basketball career that included many titles, accolades and high scores that made history. Now she is director of franchise development for the Liberty, a post she’s held since 2017.

The McKeesport, Pennsylvania, native led the University of Connecticut women’s basketball team to national titles (2000 and 2002). She led two teams to three WNBA championships (Detroit Shock 2003 and 2006, Seattle Storm 2010). The 38-year-old boasts two Olympic gold medals (2004 Athens Games and 2012 London Games). Cash’s days on the hardwood included 5,119 points (15th in league history) and 2,521 rebounds (10th) in regular-season WNBA action.

The wife, mother and league executive was selected by the Shock in the 2002 WNBA draft, and she spent six seasons with that team. Besides playing with the Storm and Liberty, she spent time on the floor with the Chicago Sky and the Atlanta Dream.

Coretta Scott King (1927-2006)

Wally McNamee/CORBIS/Corbis via Getty Images

Activist, mother and civil rights worker Coretta Scott King owns many titles. Widely known for working alongside her husband, Martin Luther King Jr., in the 1960s, she labored for peace and justice organizations and fought for social and economic change before her death in 2006.

After the murder of her husband on April 4, 1968, in Memphis, Tennessee, King continued the fight on behalf of equal pay for sanitation workers and led her husband’s planned march through Memphis.

King founded and served as president and CEO of the Martin Luther King Jr. Center for Nonviolent Social Change. She participated in demonstrations against apartheid in South Africa and fought for 15 years to formally recognize King’s birthday as a federal holiday.

Born on April 27, 1927, in Marion, Alabama, King received her bachelor of arts in voice and music from the New England Conservatory of Music in Boston in 1954. She was a member of Alpha Kappa Alpha sorority. The couple had four children: Yolanda (1955-2007), Martin Luther III, Dexter and Bernice. The surviving siblings are activists and manage the King Center and their father’s estate.

Migos madness: the ultimate bracket of Migos songs The best Migos song ever? Here’s the Skrrrt 16 — you decide

There’s no denying it at this point. If Quavo, Offset and Takeoff, collectively known as the hip-hop supergroup Migos, woke up tomorrow and decided they were done with rap, they’d already have more than enough material for a greatest hits album. We’re pleased to report they aren’t, but that doesn’t mean we can’t have fun with their extensive catalog anyway.

Sports and Migos go together like the Jheri curl and Soul Glo in Coming To America. Look no further than LeBron James’ Instagram Stories, Kevin Durant giving Quavo a game-worn jersey during the Golden State Warriors’ annual Atlanta stop, Los Angeles Laker Lonzo Ball’s playlist and, most importantly, Quality Control’s trophy case featuring Quavo’s All-Star Celebrity Game MVP award that he deservedly won last month in Los Angeles.

With the Sweet 16 tipping off this weekend, it’s only right, with the Three Wise Migos themselves, that we unveil the “Skrrrt 16.” It’s exactly what you think it is too: a March Madness-style bracket curated by us (The Undefeated) and them (Migos). And just like the actual NCAA tournament, there are a plethora of snubs — “John Wick,” “Say Sum,” “Slippery,” “Too Hotty” and more — but Migos just has too many dope records.

We need your help with narrowing down these 16 into the ultimate one. The conversation is happening at Twitter. Have your friends get with our friends and we can fill a bracket before the weekend. Without further ado, let’s get to it and break down the regions …

Culture I Region

  1. Bad and Boujee” (2016) — This is the top overall seed of the bracket — and for good reason. Despite all the surefire hits the Migos have to their name, “Bad & Boujee” is the only one that went to No. 1 on the Billboard Hot 100. The dynasty the track sparked all began in August 2016, when Quality Control got out of a deal with 300 Entertainment. “The rest,” the label’s chief operating officer, Kevin “Coach K” Lee, said recently, “is history.” The record took off and catapulted the group into another stratosphere of influence, complete with countless memes and an iconic shout-out from Donald Glover on the Golden Globes stage. “Bad and Boujee” is the undefeated heavy favorite to win this bracket.
  2. T-Shirt” (2017) — This was a tough one for the selection committee. We had to decide between making “T-Shirt” a No. 1 seed (which it probably should be) or placing the track as a No. 2 seed in the Culture region, with an epic matchup against “Bad and Boujee” in play for the Elite 8. Not to get ahead of ourselves, but “B&B” vs. “T-Shirt” in the second round would settle an often debated question that even the greatest of hip-hop connoisseurs have failed to settle: Which one is the best track on Culture? Perhaps its stunning The Revenant-meets-the-trap-themed video will give “T-Shirt” the slight edge.
  3. What The Price” (2017) — You can’t tell me Takeoff yodeling, “WHAT THE PRIIIICE” doesn’t sound like Mufasa from The Lion King. This is hip-hop opera, if we’re being honest with ourselves. It’s such a classic Migos cut, and superstrong 3-seed, setting the stage for a huge matchup with “T-Shirt” in the opening round of Skrrrt 16. Is a potential upset brewing? We shall see.
  4. Bando” (2012) — Fun fact: The Migos and the 2017 NFL Offensive Rookie of the Year, running back Alvin Kamara of the New Orleans Saints, all grew up together in Nawf Atlanta. And one story that Kamara always recounts is his memory of the then-up-and-coming rappers going to nightclubs every weekend to perform one song, and one song only, hoping to catch their big break. That song? “Bando,” which is where it all really began for the hip-hop trio. You’ve gotta respect how far Quavo, Offset and Takeoff have come since this early banger.

Culture II Region

  1. Stir Fry” (2018) — It’s a No. 1 seed for a reason. In what will likely go down as Culture II’s biggest hit, the Pharrell-produced number was also their third-highest charting single — No. 8 on the Billboard Hot 100. The wide appeal of “Stir Fry,” while still remaining true to the group’s eccentric dynamic, is undeniable; it was the NBA’s official theme song of All-Star Weekend. Hard to deny that résumé a No. 1 seed.
  2. MotorSport” (2018) — Cardi B’s aggression blended with her simultaneous public displays of affection for Offset. Nicki Minaj’s follow-up that (temporarily, at least) quelled rumors of long-standing beef between the two rap stars. The three Migos crafted a futuristic trap monster that set the stage for Culture II.
  3. Walk It Talk It” (2018) — The most intoxicating music video of 2018 has arrived, and we’re only three months into the year. On March 18, while teams in the NCAA tournament were fighting for spots in the Sweet 16, the Migos dropped the visuals for their Culture II track “Walk It Talk It” in the form of a Soul Train-themed masterpiece, which features Jamie Foxx as the Don Cornelius-inspired host of the fictional program Culture Ride, the hip-hop trio as a swaying band swagged out in ruffled suits on top of platform shoes, and the song’s featured artist, Drake, coming to the stage rocking a Jheri curl. Co-directed by Daps and Quavo, the video even features a version of a Soul Train line, down which Offset pops and locks. Everybody and they mama surely took a break from hoops to watch this when it was released Sunday. Foxx, Quavo, Offset, Takeoff and Drake — that’s a starting five right there, boy.
  4. Handsome and Wealthy” (2014) — Catch this in the club, day party or cookout and it instantly becomes a choir rehearsal that your church aunts and grandpas would likely not approve of. One of the group’s earlier smashes, it still goes, and bless Offset forever for his closing spiritual: I know why you came in this club tonight / Looking for a n—a that’s gon’ change your life. Those bars leading directly into Quavo’s hook? Glorious. Simply glorious. “MotorSport” might be in trouble.

NAWF Region

  1. Fight Night” (2014) — Seven months before the drop, and ensuing success, of “Handsome and Wealthy,” the Migos delivered an absolute smash with the certified gold “Fight Night” — the group’s highest-charting pre-“Bad and Boujee” single, which spent 16 weeks on the Billboard Hot 100, peaking at No. 69 in September 2014. Also, if you had any doubts about Takeoff’s abilities in the booth, he squashed all of them by absolutely floating on the intro, hook and first verse of “Fight Night.” He opens with four masterful bars — If you know me, know this ain’t my feng shui / Certified everywhere, ain’t gotta print my résumé / Talking crazy, I pull up, andale / R.I.P. to Nate Dogg, I had to regulate and carries the track the rest of the way. Don’t sleep on “Fight Night,” which has all the components of a deep run.
  2. Freak No More” (2014) — And now for the biggest sleeper in the pool: 2014’s club anthem “Freak No More.” This trap ballad, which never truly got the mainstream play it deserved (likely because of title and content), is the perfect combination of rapping and singing, with the choppiness of verses transitioning into Quavo’s suave crooning on the chorus. This is an early example of the now-proven fact that Quavo can carry a track not only as an MC but also as the ultimate hook man. You can’t tell us that you’ve never caught some twerk — or, for the of-age crowd, thrown some ones — while this served as the soundtrack to the moment. Watch out, “Fight Night” … “Freak No More” is a borderline No. 1 seed, coming for the upset.
  3. Wishy Washy” (2014) — If you go back and look at the video, in particular at Offset, here’s something you’ll never be able to unsee: He looks like a regular-height Joel Embiid. Same hairstyle and everything. True story. Regardless, this standout from the 2014 project Rich N—a Timeline didn’t get much radio play because, well, you hear the subject matter. But let’s just say it lived and thrived in the ecosystem of Atlanta’s (strip) clubs without a hitch.
  4. Cocoon” (2016) — There’s a prophetic aura that surrounds the Migos’ non-album single “Cocoon,” which dropped on May 5, 2016, before the August release of “Bad and Boujee” and the group’s magnum opus Culture in January 2017. Be myself at the top like a cocoon (aye, like cocoon) / … We the wave, we the wave, typhoon (wave, aye, typhoon), Quavo spits on the track’s hook as a quasi-prediction of the rapid rise to superstardom the three rappers would soon experience — and their need to protect themselves (like a cocoon) once they reached the top. Obviously, in the end, the Migos back up these braggadocious bars. While “Cocoon” might be a forgotten track that some consider a throwaway, it’s definitely worthy of a Skrrrt 16 bid.

YRN Region

  1. Versace” (2013) — The most incredible aspect of this song is its staying power: The song’s flow influenced the entire game. A Drake feature, in 2013, was like the Bermuda Triangle. He annihilates the feature so effectively that the song becomes his, and the original artists are left to wonder where they go from here. Drake undeniably put the remix in the figure-four leglock with one of the standout verses of his career — and one of the better features of the decade, if we’re really keeping it a bean. But Migos absorbed the publicity and became stronger. They really are the rap Voltron. If that’s not No. 1-worthy, then nothing is.
  2. Hannah Montana” (2013) — If you’ve ever seen them perform this song live, especially at a festival, then the reaction this still gets a half-decade later is nothing short of amazing. Miley Cyrus (aka Hannah Montana) has since handed her struggle-twerk card in, giving the title a different context now. But the allusion to “Hannah Montana” as a drug reference was brilliantly cunning. The fact many outside of rap didn’t get the reference was the closest (and most unintentionally funny) hip-hop magic trick since Dave Chappelle’s revelation about “skeet skeet” in the early 2000s.
  3. Pipe It Up” (2015) — “Look at My Dab” didn’t make the cut in the field of the Skrrrt 16, but “Pipe It Up” (which actually dropped first) is certainly puttin’ on for the Migos-created dab — the hottest dance in the past decade. It even inspired the group’s own brand of potato chips. Back in 2015, it was hard to find a highlight during Carolina Panthers quarterback Cam Newton’s MVP-winning season without the second single off the group’s debut studio album, Yung Rich Nation, playing over top of it. That’s a winning formula from the song that features the refrain “Pipe It Up” 92 times. Far from lyrical genius, yes, but the track sure does make you wanna dab.
  4. One Time” (2015) — A strong 2015 for the Migos brought us the culture-shaking dance records “Look At My Dab” and “Pipe It Up,” but it all began with “One Time,” which features a repetitive party hook: Smoke one one time (smoke one) / Drink some one time (drink, drink) / Lemme f— some one time (smash) / Tear the club one time (turn the club up). Opening with all three members of the group passed out on the couch after a night of Lord knows what, the music video is definitely inspired by 2009’s The Hangover and brings a similar infectious energy.

I’ve got a new NFL catch rule: ‘2-Feet-Plus Rule’ Go ahead, National Football League, steal this great idea

NBC color commentator Cris Collinsworth, during the broadcast of the Super Bowl last month, told an audience of 103.4 million people that he couldn’t explain the NFL’s catch rule. A league flailing for years at defining what constitutes a catch has reached an impasse and now confronts a dilemma: When those entrusted with the duty of interpreting the game for viewers openly admit their inability to do so, someone has failed.

In this case, it’s someones: the NFL’s decision-makers. They need to put forward a definition of a catch that announcers can articulate, fans can understand, referees can evenly enforce and players can tailor their behavior toward.

League commissioner Roger Goodell understands the league must correct the issue, saying the matter has left him “concerned.” And, equally important, he appreciates that the league should create a new rule instead of fixing the old one, saying, per, “From our standpoint, I would like to start back, instead of adding to the rule, subtracting the rule. Start over again and look at the rule fundamentally from the start.” Reports surfaced a few weeks ago that the NFL competition committee is investigating alternate rules; thus, we should expect to see the league enforcing a different catch rule next season.

When people malign the current NFL catch rule, three plays ruled non-catches inevitably dominate the discussion:

  • Detroit Lions wide receiver Calvin Johnson’s non-catch in 2010 against the Chicago Bears;
  • Dallas Cowboys wide receiver Dez Bryant’s non-catch against the Green Bay Packers in the 2014-15 playoffs;
  • Pittsburgh Steelers tight end Jesse James’ non-catch against the New England Patriots during the 2017 regular season.

These plays, nearly everyone agrees, should have been ruled catches, and whatever rule the NFL devises should also come to that conclusion.

I think I have the solution, what I’ll call the “2-Feet-Plus Rule”: A catch is completed when a player catches the ball and gets both feet down, plus another action. Here is a list of the other actions that satisfy the “plus” requirement: body part, football move, controlled reach, or catcher sustains possession of the ball when going to the ground. I’m open to adding to this list.

A few explanations or caveats:

  • A knee or body part equals two feet as always.
  • This is a sequential rule, meaning one must get two feet down (or body part) then the plus must occur. So if a player gets one foot down, then a knee, the sequence starts with the knee and the foot doesn’t satisfy the plus requirement.
  • If the sequence starts with a body part first, neither another body part nor a foot can satisfy the plus requirement (unless the player stands up). The player must maintain possession of the ball or perform a controlled reach.

Calvin Johnson’s play

Detroit Lions wide receiver Calvin Johnson (81) is unable to maintain possession of a ball in the end zone while defended by Chicago Bears cornerback Zack Bowman (35) during the second half at Soldier Field. The Chicago Bears defeated the Detroit Lions 19-14.

Mike DiNovo-USA TODAY Sports

Johnson jumps up for the ball and comes down on both feet, satisfying the two feet portion of the sequence. Then he falls down on his left hip, satisfying the plus portion and completing the catch. That he loses the ball afterward means nothing. The catch and touchdown stand. This is a catch under the 2-Feet-Plus Rule.

Dez Bryant’s play

Dez Bryant #88 of the Dallas Cowboys attempts a catch over Sam Shields #37 of the Green Bay Packers during the 2015 NFC Divisional Playoff game at Lambeau Field on January 11, 2015 in Green Bay, Wisconsin. Initially ruled a catch, the call was reversed upon review.

Mike McGinnis/Getty Images

Here, Bryant catches the ball then gets two feet down, satisfying the two feet portion. Then, he gets a foot down again, completing the sequence. For good measure, his forearm strikes the turf, then performs a controlled reach. He obviously completes the catch under the 2-Feet-Plus Rule.

Jesse James’ play

New England Patriots Devin McCourty (32) and Duron Harmon (30) look for a call after Pittsburgh Steelers tight end Jesse James, left, lunged over the goal line during the fourth quarter of a game against the New England Patriots at Heinz Field in Pittsburgh, Pa., Dec. 17, 2017. After official review, it was ruled an incomplete pass.

Jim Davis/The Boston Globe via Getty Images

Here, James gets a knee down, satisfying the two feet portion of the sequence. Then, with the ball fully under control, James performs a controlled reach toward the goal line, satisfying the “plus” portion and thereby completing the catch before the ball comes free. This is a catch under the 2-Feet-Plus Rule.

I think the 2-Feet-Plus Rule solves the NFL’s problem. It’s easy to communicate — Collinsworth wouldn’t have stuttered and stammered trying to explain this during the league’s showcase game — and the rule, if enforced, would have resulted in a catch for three of the most obvious blown calls in the past few years.

The NFL is commonly called a copycat league. Go ahead, NFL, steal this.

The Stop: Racial profiling of drivers leaves legacy of anger and fear From ministers to pro athletes, they all get pulled over for “Driving While Black”

An idyllic afternoon of Little League baseball followed by pizza and Italian ice turned harrowing when two police officers in Bridgeport, Connecticut, stopped Woodrow Vereen Jr. for driving through a yellow light.

A music minister at his church, Vereen struggled to maintain eye contact with his young sons as one of the officers instructed Vereen, who is black, to get out of the car and lean over the trunk, and then patted him down. Vereen could see tears welling in the eyes of his 7- and 3-year-old sons as they peered through the rear window. He cringed as folks at a nearby bus stop watched one of the officers look through his car.

He never consented to the 2015 search, which turned up nothing illegal. The American Civil Liberties Union of Connecticut sued on behalf of Vereen, alleging that police searched him without probable cause. Last year, two years after the incident, he received a settlement from the city. His tickets — for running a light and not carrying proof of insurance — were dismissed.

Yet the stop lives with him.

Traffic stops — the most common interaction between police and the public — have become a focal point in the debate about race, law enforcement, and equality in America. A disproportionate share of the estimated 20 million police traffic stops in the United States each year involve black drivers, even though they are no more likely to break traffic laws than whites. Black and Hispanic motorists are more likely than whites to be searched by police, although they are no more likely to be carrying contraband.

Across the country, law-abiding black and Hispanic drivers are left frightened and humiliated by the inordinate attention they receive from police, who too often see them as criminals. Such treatment leaves blacks and Hispanics feeling violated, angry, and wary of police and their motives.

“You’re pulled over simply for no other reason than you fit a description and the description is that you’re black.”

Activists have taken to the streets to protest police shootings of unarmed black people. Athletes, including NFL players, have knelt or raised clenched fists during the singing of the national anthem at sports events to try to shine a light on lingering inequality.

Vereen had always told his children that the police were real-life superheroes. Now that story had to change. “Everything I told them seems to be untrue,” said Vereen, 34. “Why is this superhero trying to hurt my dad? Why is this superhero doing this to us? He is supposed to be on our side.”

The first time my now-28-year-old son was stopped by police, he was a high school student in Baltimore. He was headed to a barbershop when he was startled by flashing lights and the sight of two police cars pulling up behind him. The stop lasted just a few minutes and resulted in no ticket. It seems the cops just wanted to check him out. My son’s fear morphed into indignation when an officer returned his license, saying, “A lot of vehicles like yours are stolen.” He was driving a Honda Civic, one of the most popular cars on the road.

“A very familiar feeling comes each time I’m stopped. And that’s the same feeling I got the first time I was stopped, when I was 17 years old.”

Shaken by cases in which seemingly routine traffic stops turn deadly, many black parents rehearse with their children what to do if they are pulled over: Lower your car window so officers have a clear line of sight, turn on the interior lights, keep your hands visible, have your license and registration accessible, and for God’s sake, let the officer know you are reaching for them so he doesn’t shoot you.

Drivers of all races worry about running afoul of the rules of the road. But blacks and Hispanics, in particular, also worry about being stopped if they are driving a nice car in a modest or upscale community, a raggedy car in a mostly white one, or any kind of car in a high-crime area. It affects everyone, from ministers and professional athletes to lawyers and the super-rich.

“It’s been more times than I care to remember,” said Robert F. Smith, 55, a private equity titan and philanthropist, when asked how often he thinks he has been racially profiled. Smith, with a net worth of more than $3 billion, is listed by Forbes as the nation’s wealthiest African-American. Yet he still dreads being pulled over.

“A very familiar feeling comes each time I’m stopped,” he said. “And that’s the same feeling I got the first time I was stopped, when I was 17 years old.”

Rosie Villegas-Smith, a Mexican-born U.S. citizen who has lived in Phoenix for 28 years, has been stopped a couple of times by Maricopa County sheriff’s deputies, who are notorious for using allegations of minor traffic violations to check the immigration status of Hispanic drivers.

In 2011 federal investigators found that the department pulled over Hispanic drivers up to nine times more often than other motorists. The stops were part of a crackdown on undocumented immigrants ordered by Joe Arpaio, the Maricopa County sheriff from 1993 to 2016.

Courts ruled the stops illegal, but Arpaio pressed ahead and was found guilty of criminal contempt in July 2017. President Donald Trump — who has stoked racial tensions by bashing immigrants, protesting athletes, and others — pardoned Arpaio the following month. Arpaio recently announced plans to run for a seat in the U.S. Senate.

The statistics on traffic stops elsewhere are spotty — neither uniformly available nor comprehensive — but they show the same pattern of blacks and Hispanics being stopped and searched more frequently than others. The disparity spans the nation, affecting drivers in urban, suburban, and rural areas. Men are more at risk than women, and for black men, being disproportionately singled out is virtually a universal experience.

A 2017 study in Connecticut, one of the few states that collect and analyze comprehensive traffic-stop data, found that police disproportionately pull over black and Hispanic drivers during daylight hours, when officers can more easily see who is behind the wheel. Many police departments have policies and training to prevent racial profiling, but those rules can get lost in day-to-day police work.

“One reason minorities are stopped disproportionately is because police see violations where they are,” said Louis Dekmar, president of the International Association of Chiefs of Police, who runs the Police Department in LaGrange, Georgia. “Crime is often significantly higher in minority neighborhoods than elsewhere. And that is where we allocate our resources. That is the paradox.”

Too often, officers treat minorities driving in mostly white areas as suspect, Dekmar said. “It’s wrong, and there is no excuse for that,” he said.

“I felt embarrassed. Emasculated. I felt absolutely like I had no rights.”

Robert L. Wilkins was a public defender in 1992 when he and several family members were stopped by a Maryland state trooper while returning to Washington, D.C., from his grandfather’s funeral in Chicago. The trooper accused them of speeding, then asked to search their rented Cadillac. “If you’ve got nothing to hide, then what’s your problem?” the trooper said when they objected to the search on principle.

The trooper made them wait for a drug-sniffing dog. As Wilkins and his family stood on the side of the highway, a German shepherd sniffed “seemingly every square inch of the car’s exterior,” Wilkins recalled. Before long, there were five or six police cars around them. At one point, Wilkins, now a judge on the U.S. Court of Appeals for the District of Columbia, noticed a white couple and their two children staring as they rode by. He imagined that they thought the worst: “They’re putting two and two together and getting five,” he said. “They see black people and they’re thinking, ‘These are bad people.’ ”

Wilkins filed a class-action suit alleging an illegal search and racial profiling, and the state of Maryland settled, largely because of an unearthed police document that had warned troopers to be on the lookout for black men in rental cars, who were suspected of ferrying crack cocaine. The settlement required state police to keep statistics on the race and ethnicity of drivers who were stopped. A second suit forced police to revamp their complaint system. Those changes brought some improvement, and racial disparities in traffic stops in Maryland were cut in half.

What lingers, though, is the indignity and anger that drivers feel over being singled out. “There’s a power that they want to exert, that you have to experience. And what do you do about it?” Smith said. “There’s an embedded terror in our community, and that’s just wrong.”

About this story: The Undefeated teamed up with National Geographic to ask people of color across the U.S. what it’s like to be racially profiled during a traffic stop, and the ripple effect such incidents can have on families and communities. This report also appears in the April issue of National Geographic Magazine and online at

How LeBron James plays when his most famous fans are at the game Beyoncé, Jay-Z, Diddy, Rihanna and Drake all bring out a very different LBJ

So we’re courtside when LeBron get a f— ring/ Yeah, I bet I be there / I be there.

Drake, from his 2010 “You Know, You Know

A man of his word, Drake was in fact present in 2013 at Miami’s American Airlines Arena when LeBron James captured his second ring with the Heat, beating the San Antonio Spurs in a dramatic Game 7. Whether Drake was actually there with someone else’s girlfriend, as the song alludes, is a discussion for another time. But the line is powerful because sitting courtside for a LeBron game, especially a championship game, is as big a status symbol as there is in all of sports. How does he do, though, as a player when Drake and other big stars are courtside?

Does the je ne sais quoi of being courtside, so central to the allure of the NBA, affect James’ stat line? Actually, it kind of does. This is relevant because the league flaunts courtside culture — especially during the Cavaliers’ annual two-night Hollywood extravaganza. It kicks off in a few hours with the Clippers playing host, and then on Sunday with Lonzo Ball and the Lakers (both part of a six-game road swing). With both games televised and taking place at Staples Center, where he captured his third All-Star Game MVP last month, chances are more than a handful of stars will be courtside for The King’s annual Tinseltown pilgrimage.

LeBron’s love for music and music’s love for him is a well-documented two-way street. But how does ’Bron hold up when his most famous musical fans are in attendance? By cross-referencing photo archives and box scores, what we have here is a very unofficial representation of LeBron’s performances when Beyoncé, Jay-Z, Diddy, Rihanna, Drake and Usher (and their combined 62 Grammys) pull up on him at his places of business. It’s good to be The King. And apparently, it’s just as good to watch him — up close and personal.


Rapper Jay-Z and Beyonce look over at LeBron James #6 of the Miami Heat and the Eastern Conference during the 2013 NBA All-Star game at the Toyota Center on February 17, 2013 in Houston, Texas.

Scott Halleran/Getty Images

Research conducted on 17 games from April 14, 2004, to June 16, 2016

LeBron’s record: 11-6 (.647)

LeBron’s averages: 31.5 points, 5.9 rebounds, 6.0 assists, 1.9 steals (52.3 FG%)

LeBron’s biggest game: Game 6 of the 2016 NBA Finals vs. Golden State Warriors (June 16, 2016) — 41 points, 8 rebounds, 11 assists, 4 steals and 3 blocks on 59.3 FG% (W)

Beyoncé and Jay-Z attend a lot of games together, but it was more revealing to break the stats down separately — especially as Jay-Z attended some of his games solo. The 11-6 record is slightly misleading, as five of those six losses came early in LeBron’s career. LeBron has actually won nine of his last 10 games with Blue, Sir and Rumi’s mom courtside. There’s the 49-point masterpiece he unleashed on Brooklyn in the conference semifinals that she witnessed firsthand, husband by her side, on May 12, 2014 (only hours after footage was released of the now-infamous elevator scene). There was the royal meeting seven months later when she and Jay-Z again visited the Barclays Center to watch ’Bron (who’d returned to Cleveland earlier that summer), along with Prince William and his wife, Kate Middleton, Duchess of Cambridge, nearby. And the aforementioned decisive Game 6 win over the Warriors in the 2016 Finals.

All jokes and tinfoil hat conspiracies aside, one thing’s for sure and two things for certain. The King, at least as the past decade has shown, nearly always puts on a show and walks away victorious when The Queen is nearby. Rumors of an On The Run 2 tour with Beyoncé and Jay surfaced this week. Just judging by the Cavs’ erratic play pretty much all season long (aside from an early winning streak), ’Bron might want to persuade the couple to hold off on the running until the summer.


LeBron James #23 of the Cleveland Cavaliers shakes hands with Jay-Z during the game against the Brooklyn Nets on December 8, 2014 at the Barclays Center in the Brooklyn borough of New York City.

Jesse D. Garrabrant/NBAE via Getty Images

Research conducted on 30 games from November 5, 2003, to June 1, 2017

LeBron’s record: 19-11 (.621)

LeBron’s averages: 30.5 points, 7.4 rebounds, 6.9 assists, 1.7 steals (49.2 FG%)

LeBron’s biggest game: Game 6 of the 2016 NBA Finals vs. Golden State Warriors (June 16, 2016) — 41 points, 8 rebounds, 11 assists, 4 steals and 3 blocks on 59.3 FG% (W)

JAY-Z is the celebrity who has been linked to LeBron James for the longest length of time. The two are so close Jigga once recorded a diss song on ‘Bron’s behalf—aimed at DeShawn Stevenson and Soulja Boy during a 2008 playoff series versus the Washington Wizards. We first learned of their friendship when James visited (but never played at) Rucker Park in 2003 as a guest of Jay’s Reebok-sponsored team at the Entertainers Basketball Classic (EBC). The championship game against Fat Joe’s Terror Squad team actually never happened due to a blackout in New York City. The infamous moment became fodder for the 2004 smash record “Lean Back.” Dating back even further, an 18-year-old pre-draft LeBron allowed ESPN’s The Life into his Hummer as he rapped, word for word, JAY-Z’s “The Ruler’s Back.” Jay-Z also attended LeBron’s first home opener in November 2003, a loss against fellow rookie Carmelo Anthony and the Denver Nuggets.

In his 2001 Blueprint manifesto “Breathe Easy” Jay-Z raps that he [led] the league in at least six statistical categories / best flow, most consistent, realest stories, most charisma / I set the most trends and my interviews are hotter … Holla! A decade and a half later, add a likely seventh: Most LeBron Games Attended by an MC. As with LeBron when Beyoncé attends, the majority of the losses Jay-Z witnessed came early in James’ career, as he lost five of the first seven. But since the start of the 2008-09 season, LeBron is 12-2 in 14 games with Jay nearby. And Jay-Z has been on hand for several LeBron classics, including two 50-point games at Madison Square Garden and a mammoth 37-14-12 triple-double in Game 5 of the 2009 Eastern Conference finals (a series LeBron and the Cavs lost in six). Interestingly enough, both Jay-Z and Bey were at Game 3 of the 2010 Eastern Conference semifinals on the road against the Boston Celtics. That was the last game that James won as a member of the Cavaliers until his return in 2014.


LeBron James #6 of the Miami Heat speaks with Recording Artist Sean P. Diddy Combs prior to the New York Knicks , Miami heat game on December 6, 2012 at American Airlines Arena in Miami, Florida.

Issac Baldizon/NBAE via Getty Images

Research conducted on six games from Feb. 4, 2009, to June 12, 2017

LeBron’s record: 4-2 (.666)

LeBron’s averages: 32.7 points, 8.0 rebounds, 7.7 assists, 1.5 steals, 1.3 blocks (54.4 FG%)

LeBron’s biggest game: Feb. 4, 2009 @ New York Knicks — 52 points, 9 rebounds, 11 assists on 51.5 FG% (W)

If I were a once-a-century basketball player with a flair for the dramatic, it’s difficult to imagine a celebrity more fun before whom to put on a light show than Sean Combs. Barack and Michelle Obama, maybe? Maybe. Diddy has never not been on the pop cultural scene since he became a household name in the early ’90s jump-starting artists like Jodeci and Mary J. Blige (and, of course, The Notorious B.I.G. — who was tragically murdered 21 years ago today). So it seems odd the Bad Boy Records founder hasn’t been to more LeBron games.

Although King James lost the last two games that Diddy attended, LeBron absolutely puts on a show in front of the man who invented the remix. Yes, it’s the smallest sample size, but James averages the most points in front of Puffy, a man no stranger to putting numbers on the board himself. Diddy was in attendance on James’ legendary night in Madison Square Garden nine years ago, only 48 hours after Kobe Bryant’s 61-point masterpiece, when The King set one of the gaudiest stat lines of his career: 52 points, 9 rebounds and 11 assists. But really, the whole evening was only a subplot for the real story: One of the all-time great memes was born that night — and even if by proxy, we have LeBron to thank.


Rihanna watches as LeBron James #23 of the Cleveland Cavaliers plays against the Golden State Warriors during Game One of the 2015 NBA Finals at ORACLE Arena on June 4, 2015 in Oakland, California.

Ezra Shaw/Getty Images

Research conducted on nine games from Jan. 16, 2010, to June 1, 2017

LeBron’s record: 4-5 (.444)

LeBron’s averages: 30.6 points, 8.1 rebounds, 5.8 assists, 0.9 steals (52.9 FG%)

LeBron’s biggest game: Game 1 of 2013 opening round vs. Milwaukee Bucks (April 21, 2013) — 27 points, 10 rebounds, 8 assists on 81.8 FG% (W)

I went back and verified these numbers at least five times. The math just wasn’t adding up. And, to be honest, it’s still not. For one, Rihanna, the most famous King James celebrity superfan on the planet, had to have sat courtside at more than nine games. Then again, it’s not like Rihanna’s work ethic doesn’t put her on the same plateau as James — so maybe it’s due to scheduling conflicts? There’s no way The Bad Girl sports a sub-.500 LeBron record. But that’s what the archives reveal.

The last two games she attended were the Game 1s of the 2015 and 2017 Finals. The former was an Oakland thriller soured by Kyrie Irving’s series-ending knee injury. The latter was also in the Bay, but new to the scene was a (near) 7-foot pterodactyl named Kevin Durant — with whom RiRi engaged in some in-game banter. The 2017 battle has also since become known as “The Jeff Van Gundy Goes Rogue” game, thanks to Rihanna. She missed the 2016 Finals preparing for the international leg of her ANTI tour. Photo archives show she hasn’t attended a Cavs game this season, although she may be saving her mojo to right the wrongs of playoffs past. She has, however, name-dropped The King in her and N.E.R.D.’s recent “Lemon”: The truck behind me got arms / Yeah, longer than LeBron. So, yes, the support very much remains.


Drake talks to LeBron James #23 of the Cleveland Cavaliers during an NBA game between the Cleveland Cavaliers and the Toronto Raptors at the Air Canada Centre on November 25, 2015 in Toronto, Ontario, Canada.

Vaughn Ridley/Getty Images

Research conducted on 18 games from Oct. 28, 2009, to Jan. 11, 2018

LeBron’s record: 12-6 (.666)

LeBron’s averages: 30.4 points, 8.7 rebounds, 6.5 assists, 1.7 steals (50.7 FG%)

LeBron’s biggest game: Game 5 of 2016 NBA Finals @ Golden State Warriors (June 13, 2016) — 41 points, 16 rebounds, 7 assists, 3 steals and 3 blocks on 53.3 FG%

They’ve partied together, worked together and made music together. Aubrey Drake Graham and LeBron James have been connected ever since Graham released the genre-bending 2009 mixtape So Far Gone. Since then, Ebony and half-Ivory are lightning rods in a pop culture universe in which both are kings of their crafts. Given Drake’s love of basketball, and the seemingly endless LeBron mentions in his catalog, 18 games feels like a lowball, although Drake has been courtside for two games that altered the narrative of James’ career: the aforementioned 37 points and 12 rebounds in Game 7 vs. the Spurs in 2013 and the robust 41-16-7-3-3 he unleashed on the Warriors in Game 5 of the 2016 Finals, a win that sparked the greatest comeback in NBA history.

Drake and LeBron have fun at each other’s expense in the moment. During the 2016 Eastern Conference finals, Drake openly mocked the Cavs via Instagram. Of course, the trolling proved short-lived, and to be quite honest, Drizzy probably should have left ’Bron alone. By the end, all that was left was LeBron taunting Drake during a game and the Cavs advancing to their second consecutive Finals. Fast-forward a year later, after a Cavs sweep of the Raptors, James asked Drake where the margarita move was afterward. The Cavs and Raptors have played only once this season, a 34-point blowout by Toronto, and Aubrey was there to see the drubbing. The two squads square off again in Cleveland on March 21. Only “God’s Plan” knows whether the Toronto rapper/singer/actor will bring More Life to the seasonal rematch with his courtside presence.

Jack Nicholson

Jack Nicholson hugs LeBron James at a basketball game between the Miami Heat and the Los Angeles Lakers at Staples Center on March 4, 2012 in Los Angeles, California.

Noel Vasquez/Getty Images

Research conducted on seven games from February 15, 2007, to March 19, 2017

LeBron’s record: 6-1 (.857)

LeBron’s averages: 30.7 points, 6.7 rebounds, 5.9 assists, 1.7 steals (55.4 FG%)

LeBron’s biggest game: January 17, 2013: Heat @ Lakers — 39 points, seven rebounds, eight assists, three steals on 68.0 FG% (W)

You’d think Nicholson—the West Coast equivalent of Spike Lee at Madison Square Garden —would be at every game, but alas. And here’s the thing, if you’re a faithful Lakers fan making preparations for The Great LeBron Chase of Summer 2018, you absolutely need Jack. Of everyone on this list, LeBron has the highest winning and field goal percentages in front of Nicholson. I’m pretty sure a call from him would work better than engaging in billboard warfare with Cleveland and Philadelphia.


LeBron James #23 of the Cleveland Cavaliers celebrates in front of musician Usher in Game One of the Eastern Conference Semifinals against the Boston Celtics during the 2010 NBA Playoffs on May 1, 2010 at Quicken Loans Arena in Cleveland, Ohio.

David Liam Kyle/NBAE via Getty Images

Research conducted on 28 games from March 8, 2005, to June 7, 2017

LeBron’s record: 15-13 (.536)

LeBron’s averages: 28.9 points, 7.9 rebounds, 7.9 assists, 1.7 steals (43.7 FG%)

LeBron’s biggest game: Game 7 of 2016 NBA Finals @ Golden State Warriors (June 19, 2016) — 27 points, 10 rebounds, 11 assists, 2 steals and 3 blocks on 37.5 FG%

By organization hierarchy, Usher has technically been LeBron’s boss for nearly a decade. The man who gave the world the greatest back-to-back album rollout in R&B history with 2001’s 8701 and then his magnum opus, 2004’s Confessions, became a minority owner of the Cavaliers in 2005. Usher’s been present for a handful of dynamic LeBron performances: 47 points against Dwyane Wade, Shaquille O’Neal and the Heat in 2006; the infamous “crab dribble” game in Washington that same year; the game-winning 3 against Orlando in the 2009 Eastern Conference finals; and the signature defensive play of ’Bron’s lifetime, aka “LeBlock” in Game 7 of the 2016 Finals.

Unexplainably true, though, is LeBron’s field goal percentage with Usher courtside. It’s way lower in comparison to the other five. At 43.7 percent, the next closest is with Jay-Z present, at 49.2 percent. However many times I looked at the games, stats and factors involved (road games, playoffs, defensive matchups, etc.) there’s no other reason than the fact someone had to be the odd A-lister out — though Raymond is the only one on this list who can say they won a ring with LeBron.

Ava DuVernay on the importance of images, having a voice — and why she flipped the script in ‘A Wrinkle In Time’ ‘There was no black woman I could call to say, “How does this go?” Because she doesn’t exist.’

“I didn’t pick up a camera until I was 32,” says Ava DuVernay. “So you finally get to pick up a camera and do these things and it’s like, ‘Wow. I get to say something. I get to make something, and people will pay money to sit down and see and consume,’ and it becomes a part of the culture.”

DuVernay is making a statement — and if you’ve been paying attention for the past eight years or so, you’ll know that she has been making a statement. Film enthusiasts finally got put on to her brilliance in 2012 when her indie film Middle of Nowhere was a Sundance delight and captured the directing award for U.S. dramatic film at the 2012 festival. In that film, she took viewers on a journey of self-discovery, wrapped in a very important story about incarceration — and love. That film was a follow-up to her first indie classic, I Will Follow.

What would this indie-directing darling do next? Tell the story of tennis superstar Venus Williams and her fight for pay equity by way of 2013’s “rousingVenus Vs. (ESPN). DuVernay expertly guided viewers through Williams’ 2005-07 battle for gender-equal prize money at Wimbledon.

The documentary helped establish what DuVernay would give us moving forward. She wants to work on things that say something, and things that mean something. And she’s doing it again with A Wrinkle In Time, which opens in theaters on Friday.

“I’m happy to be in this place. Some people think it’s a risky endeavor, but I’m happy. [The films] go beyond box office, they go beyond reviews.”

“I put my blood into these films,” Duvernay says in a recent interview with The Undefeated. “This is what I do. I’m not a workaholic, I just love this. I think workaholics are like chain-smoking, chained to their death. Yes, I work all the time, but I love it … and I don’t want to be frivolous with that, and I don’t want it to lose meaning. I want it to be worth my time and my energy and my effort. My name is on this.”

And what a name. In a relatively short time, DuVernay has established herself as a visionary director, a big name in Hollywood who delivers nuanced projects that inspire academic conversations. She rightly earned an Oscar nomination in 2017 for her 13th documentary (Netflix), which examined America’s prison system and how it exposes our country’s history of racial inequality. The top prize ultimately went to Ezra Edelman for his “O.J.: Made in America.” But DuVernay was victorious in the best way possible.

That moment gave her a bigger voice in culture overall. Often, she sparks much-needed social media conversations, and the work that she creates is often central to those conversations. The global headlines she grabbed when the Los Angeles Times reported that her adaptation of A Wrinkle in Time would make her the first woman of color in history to direct a movie with a $100 million budget were massive. “When I was making this film,” says DuVernay, “as a black woman and I was handed this budget by Disney, there was no one that I could call. There was no black woman I could call to say, ‘How does this go?’ Because she doesn’t exist.”

And her poignant reply back to the news at the time was so Ava. “Not the first [black woman] capable of doing so,” she tweeted. “Not by a long shot.”

DuVernay just believes that it’s incredibly important that we’re having all kinds of people rendering images that focus and concern women and people of color. “You know, 92 percent of the directors that are making the top films people see in theaters … are Caucasian male directors,” she says. “Only 8 percent of the films that you consume are made by women or people of color, or women of color. And that is a percentage that is untenable as it is unacceptable, and yet it’s what we have accepted as an audience, as a culture and as a society for decades.”

She reminds us how powerful film is. “They were draining pools when kids with HIV got in pools,” she says. “It wasn’t CDC [Centers for Disease Control and Prevention] reports that changed that. It wasn’t politicians that changed that. It was a story that changed that — it was Philadelphia, that film. It was Angels in America. … It was film that started to help people. It was images [that] people watched … that made them think. These images mean something … and to be able to be a black woman director and be in charge of budgets of this size, render images … about a black girl?”

DuVernay pauses — because, whew. In A Wrinkle In Time, she changed the young protagonist from a young white teen to a young teen of color. In the film, Meg Murry, the main character in Madeleine L’Engle’s beloved 1962 fantasy novel, is the daughter of two scientists, a black mom played by British actor Gugu Mbatha-Raw and a white dad played by Star Trek’s Chris Pine.

DuVernay presented her vision to Disney, that her dream was that Meg was a young black girl, and they bought in. Asking for that change — a very big, important and remarkable change at that — was courageous. But DuVernay said she approached asking the studio about that as if she had nothing to lose.

“It’s kind of like living in the Hollywood Shuffle, where the mother always told him, ‘You can go out and audition, but you can also have a job at the post office. You can always fall back on the post office.’ Independent film is my post office.” She says she feels like she can walk into any meeting and ask for what she wants, because if they say no, she can go make something else. “I don’t feel like I live and breathe all of [this] … Academy Awards … studio approvals. None of that stuff is my heart’s desire.”

She said she has this take on things because she started being a filmmaker when she was in her early 30s. “Ryan Coogler is 31, and he’s made three films. I look at that and I think I started late. My story’s not just race and gender. It’s age. … Beautiful women filmmakers have made films, but it’s been a challenge for them to have certain resources and support. So it just makes me feel like, ask for what you want. … They’re probably going to say no, but you can still ask and you can still push, and if their answer’s no, you say yes to yourself in a different way.”

It’s a good thing she asked.

There’s an important moment in A Wrinkle In Time where Calvin (Levi Miller) turns to Meg (Storm Reid) and tells her that he likes her hair, which at the time is in its natural, curly state.

“These images don’t exist. People told me early on, ‘This book is unadaptable, this is a very hard book, it’s unadaptable.’ I said, ‘You know what? [Let’s] make Storm Reid fly as a little girl, and boys can see that.’ [Real] Caucasian boys seeing a Caucasian boy on screen say [to a young black girl], ‘I like your hair. You are beautiful with that natural hair, and I will follow you.’ Those are the kinds of things that if some of these boys that I deal with out here in Hollywood, in these boardrooms and on these sets, had seen that when they were young, maybe I’d be treated differently when I walk in the door,” DuVernay says. “When I have the opportunity to do it, I say, ‘I’m going to take this big swing. This is important to me, to just … put this stuff out into the world, and I’m happy to be in this place. Some people think it’s a risky endeavor, but I’m happy. They go beyond box office. They go beyond reviews.”

And it goes beyond black and white — she makes sure of that. Originally from Compton, California, right on the edge of Lynwood, DuVernay talks about how culturally rich her neighborhood was: black, Latino and Filipino. “Me and my friends would put our hands next to each other, and we were all the same shade of brown,” she says. “There’s a lot of people who don’t see themselves.”

One of DuVernay’s stars is actor/creator Mindy Kaling, who first gained notoriety as Kelly Kapoor of NBC’s classic The Office. “Mindy said to me yesterday, and it really got me … ‘I was a chubby Indian girl with glasses who loved sci-fi, but sci-fi never loved me back. I could never, ever find myself on screen …’

“Girls will see this, [and] if I had seen a brown girl doing these things, I would say, ‘Oh, it loves me back!’ It’s an emotional thing. That’s why I did it, [and] that’s why I chose to do this.”

But here’s the good news — because there is good news. DuVernay is actively working to ensure that the headlines she’s grabbing now — especially the ones proclaiming her to be the first black woman this, or the first woman of color that — won’t be wasted.

DuVernay, after all, doesn’t just walk through a door — she holds it open. And she builds a new door — a new house, even — to make sure that other people can come in. In 2010 she founded ARRAY, a grass-roots film distribution collective that focuses on projects by people of color and women. And amid the promo tour for A Wrinkle In Time, she announced that she and Los Angeles Mayor Eric Garcetti are launching a diversity initiative that will fund internships in the entertainment industry for young people from underserved communities.

“I will be there for whoever’s next,” she says, “because they’re coming. They’re coming. I feel proud that I can call them and that they can call me. That I’ll be able to talk to them about everything I experienced. … We can’t be safe in our boxes. That’s how we don’t move. We have too many freedom fighters and too many sisters that have gotten out there and gone into the darkness. Harriet Tubman had it in her front yard, and she said, ‘There’s something else out there, right?’ Not to compare myself, but you know what I mean? Rosa Parks. Or Amelia Boynton. All of these women who said, you know, ‘I don’t know how this goes, but I’m going to walk over there and see how it is — over there.’ ”

She mentions Steven Spielberg, Mike Nichols, Michael Mann, Ridley Scott and Ron Howard. “These men … have been able to make film after film after film,” she says. “Some work, some don’t. They got another one, another one, another one. Women don’t get that. Black directors don’t get that. And black women directors surely don’t get it.

“So the idea that you can say, ‘I want to be Spielberg, I want to be able to move [between] genres,’ go from E.T. to Schindler’s List to The BFG to The Post … make intimate character dramas and historical dramas. But to also make fantasy? Is that possible for us? It remains to be seen, but we have to try. And so, I try.”

Oscars 2018: Kobe Bryant’s win exposes the limits of #TimesUp NBA great wins an Academy Award for best animated short film

If anything demonstrates the limits of #TimesUp and our collective ability to process allegations of sexual assault and what to do with them, it’s Kobe Bryant winning an Oscar for Dear Basketball.

On Sunday night, Bryant, who wrote and starred in the animated short film, ascended to the stage with director Glen Keane to accept his award.

#TimesUp and #MeToo were industry-shaking movements that have brought real change to the way we discuss sexual harassment and assault. They’ve helped bring about the resignation of a sitting U.S. senator and multiple elected officials. The movements even had an impact on who appeared on the stage at the Oscars. Casey Affleck, who was accused of sexual harassment, declined to present the Oscar for best actress, breaking with tradition. Affleck won the Oscar for best actor in 2017 for Manchester by the Sea. Jodie Foster and Jennifer Lawrence were tapped to present in his stead.

But as much as Hollywood talks about cleaning up its own ranks, going so far as to kick alleged serial predator Harvey Weinstein out of the Academy of Motion Picture Arts and Sciences, an accusation of sexual assault from 2003 was not enough to prevent academy voters from honoring Bryant and his film. (After lengthy pretrial maneuvering, including an appeal to the U.S. Supreme Court, prosecutors in Colorado dropped charges against Bryant after the woman who had accused him of sexual assault decided she was unwilling to testify.)

On the night where the movement was clearly visible, whether through “Time’s Up” pins or mentions by Oscars host Jimmy Kimmel, Bryant’s win leaves a big question: Has change truly swept through Hollywood?

See The Undefeated’s Kelley Carter interview Bryant here.

Experts dish moneymaking advice to future entrepreneurs This CIAA conversation was to help attendees build legacy businesses

CHARLOTTE, North Carolina — A power-packed panel of three African-American business titans served a heaping helping of wealth-building advice during the business luncheon portion of the NEXT Level: 2018 CIAA Minority Business & Leadership Symposium.

“For those people complaining about millennials, stop complaining about them and partner with them,” said Kimberly Blackwell, CEO of PMM Agency. “I surround myself with a team of millennials.”

PMM is the agency of record of some of the world’s most recognized brands and includes automotive, insurance and financial services.

The panel also included Tirrell Whittley, CEO of Liquid Soul, whose marketing portfolio includes the movies Black Panther, Guardians of the Galaxy, 42, Red Tails and others; and Joel Stone, vice president and wealth management adviser for Fifth Third Bank, which sponsored the event along with Black Enterprise.

The discussion was attended by about 200 people, most who indicated they were business owners and listened raptly as the best and the brightest spoke.

“If you leave this room and you have not found someone to collaborate with,” Whittley said, “you have failed. I come to events like this looking for partners.”

However, Whittley cautioned the audience to not look at building an empire but, instead, look to build a legacy.

Don’t try to wear every hat, create a fancy business card and have a long title; look to find partners who can help you grow to the next level.

Whittley also said that too many young filmmakers believe that “if I can just hook up with your company,” they will be successful.

That’s not the case, he said. “I say go out and make your own film.”

Stone said business owners should have a personal “board of advisers you can lean on and have a personal CFO.”

“Know what you want your business to do for your family, your community and your employees,” Stone said.

The business owners were also urged to demand the appropriate price points for their work and products.

“Come in the door, bring past performance and know your worth,” Blackwell said. “I don’t rest on laurels.

“I eat what I kill, and I’m on the hunt every day.”

The leadership symposium was part of CIAA 2018 and was an expansion of the 2017 entrepreneurs panel.

The event was restructured, according to CIAA commissioner Jacqie McWilliams, to “become a more inclusive and progressive business and education resource platform.”

The event kicked off in the morning with a fireside chat with Earl “Butch” Graves Jr., CEO of Black Enterprise, who was queried by Fifth Third Bank senior vice president Byna Elliott.

Graves discussed following in his father’s footsteps and ascending to his post, only to realize “most people aren’t reading magazines and newspapers anymore.”

The business had to adapt to the habits of the new consumer, particularly millennials.

“I have millennial children,” Graves said. “If I call them, they will text me back. … We had to evolve to what the marketplace is doing.”

He says he now refers to the company as Black Enterprise, leaving off the former “magazine” moniker.

Besides its digital media products, Black Enterprise includes events centered on professional development, entrepreneurship and women’s empowerment.

How Big Papi’s ‘Sports Illustrated’ cover captured Boston’s journey from tragedy to triumph Ortiz put on for his city when it was most needed

April 20, 2013, at Fenway Park — it was the most Boston of all days.

Just five days before, two young men had left bombs near the iconic finish line of the Boston Marathon. In those five days, the city had endured the deaths of three people at the blast site, injuries to 264, a controversial “shelter in place” order and a massive manhunt. Later came the deaths of two police officers.

April 20 was the Red Sox’s first home game since all of that. The Sox were sitting on a record of 11-4 before the first day game in a series against the Kansas City Royals, but it was the city that needed a win. The last game the Sox finished at Fenway had been on the day of the bombings. Something positive to hold up after so much chaos. Before the two-hour, 58-minute game commenced, as dozens of uniformed police marched off the field and a gigantic American flag was unfurled in front of the Green Monster, 10-time All-Star David Ortiz spoke into the handheld microphone.

“All right, all right, Boston. The jersey that we wear today, it doesn’t say Red Sox. It says Boston.” That’s what the then-two-time World Series champion said. “We want to thank you, Mayor Menino, Gov. Patrick and the whole Police Department for the great job they did this past week. This is our f—ing city, and nobody gonna dictate our freedom. Stay strong, thank you!”

The Red Sox would go on to win that game 4-3. In front of 35,152 people, Ortiz had two hits and an RBI. Big Papi’s comments kicked off what was a turnaround season for the Red Sox. They would go on to win the pennant and the 2013 World Series, making Ortiz a three-time World Series champion.

That day’s win, and the eventual World Series victory at the end of October, brought some joy back to a city that desperately needed to feel normal. And Sports Illustrated needed to illustrate the city’s tribulations for the Nov. 11 cover shot. They needed Big Papi, who was also named MVP of the 2013 World Series. There are many moving parts when it comes to a multiperson photo shoot, let alone a cover shoot. And this one needed police officers too. Officers Javier Pagan and Rachel McGuire were chosen, as well as Detective Kevin McGill because of their appearance, in action, on the April 22, 2013, cover of SI the week of the bombing.

Planning the new cover started immediately after the series was settled in six games. The police officers’ appearance needed to be OK’d with the police commissioner, and access to the ballpark was required. “The photo editor at the time, Brad Smith, called after the Sox won the championship, and they needed to close a cover,” said cover photographer Joe McNally. “You gotta get Fenway Park on board, you gotta get Big Papi on board and the Boston Red Sox and the public relations people — and all of the sudden everything cracked open, and we got a time with Big Papi.”

It wasn’t that it was surprising that he agreed, but that he had time. “At that point,” said McNally, “he was the most famous baseball player on the planet.”

Soon McNally headed to an empty Fenway Park. “It’s always cool to get out on a major league baseball diamond,” he said. “It’s vast, and always just cool to be there when the crowds are not. And Fenway has so much history.”

“It’s vast, and always just cool to be there when the crowds are not. And Fenway has so much history.”

The setup was hectic. “They let me in like two hours before Big Papi would be available,” McNally said.

“I shot four distinct cover possibilities. You can’t go back to SI with just one option.” Obviously. “So I had a backdrop set up under the stands, sort of a studio feel. Then I did three different solutions in the outfield.”

One of the “solutions” in the outfield would be used for the cover. In that shot, Pagan, McGuire and McGill stand in uniform together with Ortiz, who is wearing a black suit and red scarf and holding a bat. The configuration seems a bit odd at first for a story that would be about the importance Ortiz had played in the history of the Boston Red Sox. But McNally said it was the “only way” the picture worked.

“Because Big Papi … he’s not called Big Papi for nothing. He’s a big man,” he told me with a chuckle.

Not only were the sizes of everyone involved a problem, but also there was the issue of the lack of color in everyone’s clothing. “I had to deal with the fact that Big Papi was not in uniform. I wanted him in uniform, and of course he showed up in a Hugo Boss suit and that was it. Thankfully he had the scarf, which gave me a little bit of color to work with,” McNally said. “Because the police officers were in dark blue … I was like, What the hell am I going to do for a little bit of color here? Those are the challenges that go along with the turf.”

While the outfield provided a great backdrop, Fenway is an iconic stadium. Why not shoot toward the Green Monster? “It’s legendary, of course, but it’s kinda faceless too,” McNally told me. Later, he did turn Ortiz toward the nearly 38-foot-tall wall, where the graphic for “Boston Strong” was on display.

“A big Boston Red Sox ‘B’ out there … and underneath it said, ‘STRONG,’ so I wanted that in the picture,” he said. The photo didn’t end up making the cut, but McNally also put the three officers together, with Big Papi to their right, in a studio setting, which was used inside the issue.

The police officers weren’t used to being photographed like Ortiz, but they were good sports about it. “They knew the police commissioner had blessed this, so everything was cool … relaxed,” he said. “All of the sudden, you’re on the cover of Sports Illustrated. That’s pretty cool for a cop on the beat.”

As for Ortiz, he was in high spirits. “I’d never worked with him before and asked him, ‘Big Papi, how much time I got?’ He said, ‘I’ll give you 20 minutes.’ I was like, ‘All right, all right.’ I fudged it. I kept looking at my watch and being like, ‘We still have 15 minutes left.’ And he was like, ‘No way, man!’ I was saying that, and of course had burned my 20 minutes. He knew I was bulls—-ing him, but he was in a good mood,” McNally said.

And why wouldn’t he be? After a long, hard season, Ortiz had, according to Sports Illustrated, become the first non-Yankees player to win at least three championships with the same club in the past 30 years. “He was the hero,” McNally said, “and the cops represented Boston. It was kind of a big deal.”

Nearly three years later, the cover feels like an anomaly. In August 2016, Colin Kaepernick started kneeling during the national anthem to protest police brutality against people of color. He was quietly joined by other football players and Olympic gold medalist Megan Rapinoe, and slowly more and more athletes knelt, held up a fist or locked arms during the national anthem. All in protest of police brutality. While this cover isn’t an exact comparison — working with police during a terror attack versus regular interactions with citizens, which Kaepernick was getting at — it does seem like this cover wouldn’t happen with a black athlete in 2017. This is to say nothing about how the Take A Knee protest has evolved (and gentrified) since President Donald Trump’s outsize reaction to NBA champion Stephen Curry expressing his resistance to simply attending a White House ceremony.

I got a chance to briefly talk with Ortiz in January when he was promoting his new docuseries, Fusion’s Big Papi Needs A Job. The conceit: Ortiz wants to do something new with his retirement and sets out to try a variety of jobs to varying levels of success — and let’s just say Big Papi as a manicurist is a hoot. While he wouldn’t speak to the particular Sports Illustrated cover, Ortiz spoke frequently about the empathy he developed doing a job he didn’t previously understand. “When you don’t know about things, you just fly through. You don’t know,” he said. “I think everybody has different things to do in life, different jobs. Now I give people the credit they deserve.”

Reflecting on that turnaround season was pleasant all around; for McNally, it meant shooting a celebratory cover. “As a photographer for many years, you prepare for disappointment. You just hope Mr. or Mrs. Big Time Athlete is not a Big Time Jerk, which they can be. But Big Papi was great,” he said. “I have to say that was the pleasant outcome. He’s enjoying himself and is massively talented, and he was cool to be around.”

McNally also remembered the “our f—ing city” speech while photographing Ortiz and the three police: “He went out onto the Fenway pitcher’s mound and he was on loudspeakers at the stadium, and he actually said, ‘This is our f—ing city!’ It takes some guts to curse in front of 50,000 people. He’s real.”