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Gender: Male
Hometown: VA
Home country: USA
Current location: VA
Member since: 2003 before July 6th
Number of posts: 37,262

Journal Archives

FDNY v. NYPD: Bench-Clearing Brawl Breaks Out During Charity Hockey Game

There’s been much debate about abolishing the fistfight from hockey. If fighting becomes a thing of the past, will charity games follow suit?

The annual charity hockey game between the FDNY and NYPD saw some ugliness surface when New York’s Bravest and New York’s Finest engaged in a bench-clearing brawl for the ages. The NYPD won the game 8-5, but all anyone will remember from the 41st edition of the game will be this massive donnybrook that saw cops and firefighters beating the hell out of each other.

Read more at http://hypervocal.com/news/2014/fdny-v-nypd-fight-hockey/#6EoD2lWoWK3yFHAc.99

Too Black to Fail

The first African-American and female president of the Harvard Lampoon talks comedy, race, and hugging it out with Henry Louis Gates. —Alexis Wilkinson

Is it possible to smile and wince at the same time? It must be, because that’s what my face is doing against Henry Louis Gates’s blazer. He’s on a stage, and I’m standing on the floor below, but it’s not much of a stretch—short stage, short man, tall me—and my face is smushed into his jacket. “I’m so proud of you,” he tells me, squeezing. “Another Negro first!”

On the one hand, it feels great to be recognized by one of the nation’s preeminent African-American scholars. On the other hand, let’s be real: All I’ve done is become president of a college humor magazine.

But people keep telling me that this is a big deal—because the magazine in question is the Harvard Lampoon, the 138-year-old institution that has launched luminaries like Conan O’Brien, Andy Borowitz, and B. J. Novak. And I am its first president to be both female and black.

My election may have seemed like an even bigger deal because it happened just as the blogosphere was going nuts about comedy, gender, and race. Back in January, Saturday Night Live hired its first black female cast member in more than six years. Meanwhile, Jerry Seinfeld told a reporter he didn’t think diversity in comedy was important. Oh, and then Black History Month happened. It was a black-girl-comedy perfect storm, and I was in peak position to be swept up in it.

In all the dialogue, it seems there are three distinct roles people expect me to play as the first woman of color to lead this historically very white, very male organization. Some folks envision me as a glorious radical, Afro two miles wide, burning down every relic of white male patriarchal comedy. Other people are afraid I’ll come in as the PC police, turning the Lampoon into a humorless, Soviet-style-gulag. On the flip side, I could be a race traitor: Auntie Tom, a cog in the comedy machine, shucking and jiving my way to the top with no intention of shaking up massah’s status quo. The idea of taking up any of these roles is utterly unappealing.


Reception Honoring the 100th anniversary of Booker T Washington’s Riverside Visit

RIVERSIDE, CALIF. – The 100th anniversary of educator Dr. Booker T. Washington’s memorable visit to Riverside was Sunday March 23rd. During that visit he gave three unforgettable presentations: one at the newly built 1st Congregational Church, another at the Second Baptist Church, and the final one in the Cloister Music Room of the Mission Inn. Washington also found time to accompany Mission Inn owner Frank Miller to Mt. Rubidoux where the two men were photographed together. This iconic image is a lasting reminder of the impact Washington’s visit had on our community. When Washington passed away a year later, Miller arranged for a memorial service at the hotel. Washington’s 1914 visit remains an important part of Riverside’s history with the most visible reminder being a bust of Washington commissioned by the Black Voice Foundation and placed near the entrance of the Mission Inn.

The community was invited to a program Saturday, April 5 at the Mission Inn Museum located at 3696 Main Street in downtown Riverside, Calif.

The short program includes remarks by Kenneth Morris, Jr. Ken is the great-great grandson of Booker T. Washington, the great-great-great grandson of Frederick Douglass, and Founder & President of the Frederick Douglass Family Initiatives with a mission to end human trafficking and all forms of servitude, and advance freedom through knowledge and strategic action.

The exhibit features items on loan to the museum by Dr. Norman Towels from his collection of African-American books and historic artifacts. For more information email paulette@bpcmediaworks.com.


Oprah Winfrey Network Making Mini-Series on Tulsa Race Riot

The 1921 Tulsa Race Riot is the subject of a new mini-series on the Oprah Winfrey Network.

The network announced the mini-series on Thursday as a part of its upcoming line up.

The working title of the series is “Tulsa” and will star Octavia Spencer, known for her role in “The Help.”

“The mini-series centers on Mattie Clay (Spencer), a journalist from Tulsa, who moved to Chicago with the hopes of getting off the society pages and away from racism. Mattie's journey eventually brings her back home to Tulsa where she must face the demons of her past and decide where her future lies,” according to the network’s website.


Alonzo Mourning, Nolan Richardson, Gary Williams headline HOF class

The Naismith Memorial Basketball Hall of Fame unites the legends from the sport at all levels, making it one of the prestigious honors in sports. On Monday, the inductees for the 2014 class were announced.

Alonzo Mourning and Mitch Richmond headline the group of players selected in this year's class, each following their successful college careers with multiple NBA All-Star selections and a world title for Zo in 2006.

Former Arkansas coach Nolan Richardson and former Maryland coach Gary Williams give the college game two well-respected names into the hall, along with the 1972-74 Immaculata University women's teams; winners of the first three Association for Intercollegiate Athletics for Women (AIAW) national championships.

Bob "Slick" Leonard (American Basketball Association), Nat "Sweetwater" Clifton (Early African Pioneers), Sanunas Marciulionis (International), Guy Rodgers (Veterans) and former NBA commissioner David Stern (Contributor) were the direct election inductees from each committee.


Billy Jones reflects on breaking ACC's color barrier in basketball

On occasion, Billy Jones' granddaughter reminds him of what he'd as soon forget.

"Pop-Pop, you are old," Cleo Pounds will say. That's Jones' cue to dig out his scrapbooks, curl up on the sofa and regale the 8-year-old with sporting tales of yore — from the time he led Towson High to a state basketball championship in 1963 to his college days at Maryland to his run as men's basketball coach at UMBC.

"Because I'm a senior, my grandchildren struggle imagining me to be very active," said Jones, 67, who lives in Orlando, Fla. "They love hearing stories, and I love sharing them. It's important that they know their history."

Grandpa wasn't just any player. When he signed with the Terps 50 years ago Monday, Jones became the first African-American to earn a basketball scholarship in the Atlantic Coast Conference. A year later, on Dec. 1, 1965, he broke the league's color barrier by playing in a game at Penn State. Three days after that, the 6-foot-1 Jones scored his first basket on a running layup in a victory over Wake Forest as 11,300 fans in Cole Field House — then the largest crowd ever for a Maryland home opener — saw history made.

Off the court, he faced blatant racism on trips down Tobacco Road. More than once, the Terps walked out of hotels and restaurants that refused Jones service.

"One night we were to take a late train home from Durham, , after a game at Duke," teammate Gary Williams remembered. "At the station, we all piled into the snack bar to eat before boarding. But when they wouldn't serve Billy, we all left."


African American Music Museum on track to be built in Nashville

NASHVILLE, Tenn. — Construction on the National Museum of African American Music in Nashville could start as early as next year.

Project leaders told The Tennessean the construction will be one component of a larger redevelopment on the site of the old Nashville Convention Center in downtown.

The wheels were put in motion to build a museum to honor African American culture in 2000 when the Nashville Area Chamber of Commerce created a task force to study the issue.

Initially, the project had a fundraising goal of more than $43 million, but that was reduced after the city offered up the convention center. In 2006, the city committed $10 million toward the project, and Nashville Mayor Karl Dean said the city's commitment still stands.

"I believe there is strong interest and demand for this type of museum, and the planned location is in a vibrant section of our downtown," he said.

Known best for country music, some say, Nashville's original "Music Row" was Jefferson Street, which until the 1970s was a vibrant corridor of live music venues where iconic musicians like Little Richard and Jimi Hendrix built their careers and where local legends like Frank Howard, Jimmy Church and Marion James earned a living.


"How DU still doesn't get it", episode number 36,328


Even after the post near the bottom explaining how this is standard procedure, and even after I called everyone out on their latent racial assumptions, the derpitude in that thread is boiling over...

Who knew we were such a violent people with such little regard for the rule of law?

I don't know who this "Deadmau5" character is, I just want him dead

Who turns a Ferrari 458 Italia into this?

The Most Powerful Piece of Film Criticism Ever Written

Who's the greatest American movie critic?

A lot of folks probably would say Pauline Kael or David Bordwell or Manny Farber; some might argue for more academic writers like Linda Williams, Stanley Cavell, or Carol Clover. For me, though, it's an easy question. The greatest film critic ever is James Baldwin.

Baldwin is generally celebrated for his novels and (as Ta-Nehisi Coates wrote recently) his personal essays. But he wrote criticism as well. Mostly this was in the form of short reviews. There is, though, a major exception: his book-length essay, The Devil Finds Work, one of the most powerful examples ever of how writing about art can, itself, be art.

Published in 1976, the piece can’t be categorized. It's a memoir of Baldwin's life watching, or influenced by, or next to cinema. It's a critique of the racial politics of American (and European) film. And it's a work of film theory, with Baldwin illuminating issues of gaze and identification in brief, lucid bursts. The dangerous appeal of cinema, he writes, can be to escape—"surrendering to the corroboration of one's fantasies as they are thrown back from the screen" And "no one,” he acidly adds, “makes his escape personality black."

The themes of race, film, and truth circle around one another throughout the essay's hundred pages, as Baldwin attempts to reconcile the cinema he loves, which represents the country he loves, with its duplicity and faithlessness. In one memorable description of the McCarthy era midway through the essay, he marvels at "the slimy depths to which the bulk of white Americans allowed themselves to sink: noisily, gracelessly, flatulent and foul with patriotism." It's clear Baldwin believes that description can often be applied to American cinema as well—whether it's the false self-congratulatory liberal Hollywood pap of The Heat of the Night or Guess Who's Coming to Dinner or the travesty made of Billie Holiday's life in Lady Sings the Blues, the script of which, Baldwin says, "Is as empty as a banana peel, and as treacherous."

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