Simone Biles nailed her signature move, The Biles, to win the gold medal in the floor exercise. (Credit: Dmitri Lovetsky/Associated Press) article by Victor Mather and Lela Moore via nytimes.com
RIO DE JANEIRO — For anyone who doubted her after a subpar performance on the balance beam, Simone Biles sent an emphatic message on Tuesday: She is unbeatable in the floor exercise.
Biles bounced back from a bronze medal performance on the beam to dominate the floor, completing her Rio Olympics with four gold medals and the bronze. She is the fourth American female gymnast to win five medals in a single Olympics, joining Mary Lou Retton (1984), Shannon Miller (1992) and Nastia Liukin (2008).
Biles scored a 15.966 in the floor, considered her best event.
Her signature floor move is the Biles, a double layout with a half-twist and a blind landing. She performed the move nearly perfectly, adding a stag leap, which she had left out of her performance in the team event but included in the individual all-around.
Her score dwarfed those of her competitors. Her teammate Aly Raisman won the silver medal with a routine slightly less difficult than Biles’s, sticking every landing on every tumbling pass. The bronze medal went to Amy Tinkler, the first female gymnast from Britain to compete in a floor final.
Raisman earned her sixth Olympic medal and her third at these Games. She won the team gold and the silver in the individual all-around, behind Biles, who also won the vault.
Tuesday’s victory put Biles in an exclusive club. Just three female gymnasts before her — Ecaterina Szabo of Romania (1984), Vera Caslavska of Czechoslovakia (1968) and Larisa Latynina of the Soviet Union (1956) — had also won four gold medals in one Olympics.
Akai Gurley’s family, including his mother, Sylvia Palmer, center, after Officer Peter Liang was found guilty of manslaughter in February. (BRYAN R. SMITH FOR THE NEW YORK TIMES)
New York City has agreed to pay more than $4 million to the family of Akai Gurley, the unarmed man killed in a Brooklyn housing project in 2014 by a police officer on patrol, according to a lawyer for Mr. Gurley’s family.
The city will pay the bulk of the settlement, $4.1 million, said Scott Rynecki, who represents Mr. Gurley’s domestic partner, Kimberly Ballinger, and their 4-year-old daughter, Akaila Gurley. The New York City Housing Authority will pay an additional $400,000, and the officer, Peter Liang, will pay $25,000, Mr. Rynecki said.
The settlement, reported by The Daily News, was finalized on Monday afternoon by Justice Dawn M. Jimenez-Salta of State Supreme Court in Brooklyn, after two months of negotiations. Efforts to reach a lawyer for Mr. Liang and the city’s Law Department late Monday were unsuccessful.
Mr. Gurley was killed on Nov. 20, 2014, by a ricocheting bullet fired by Mr. Liang, who was on a night patrol in a dark stairwell in the Louis H. Pink Houses in the East New York neighborhood.
Kim Drew has been photographed in all shades of lipstick.Chalk-white, indigo — like she’s just had a Slurpee. When she walked into the Black Art Incubator on a recent Thursday, it was with red lips and a navy dress fit for a tennis court. At her chest hung a white pipe fragment, bought in Miami. “I wish I could remember the artist who made it,” she fretted when I admired the necklace.
She looked punk and prep, red-white-and-blue speared with a pipe. It’s a tension that shapes Drew’s work. She runs social media for the Metropolitan Museum of Art, but she’s credited with starting a slow-burn revolution via Tumblr, arguably the lowest-fi gallery there is. Her high-traffic account Black Contemporary Art — a simple visual catalog of work by black artists — operates on the premise that black artists have been left out of art history. She slots them in without bitterness. “It’s either that people are recorded, or they’re not,” she tells me matter-of-factly.
That same current of low-key, savvy correction undergirds the Black Art Incubator, Drew’s new project, birthed with three other black women also in their twenties. Billed as a “social sculpture,” the incubator takes blackness — and all that racial identifier suggests about what a person might know or feel — as a given. To see the space as a critique, Drew says, is reductive. The project isn’t so much oppositional as an inversion of what we tend to expect. “Most art institutions are rooted in whiteness, but it’s implied, it’s this normalized thing,” she says. With the project, “we’re normalizing being rooted in blackness without beating people over the head with it.”
Drew and her co-founders — Jessica Bell Brown, an art historian, and Jessica Lynne and Taylor Renee Aldridge, both art writers — took a year to build the space and its offerings. “We still have a running group text,” Drew notes wryly. “It’s very internet. Very 2016.”
In practice, it wends a little 1960s. The incubator lives through August 19 at Recess, a residency space on the Lower East Side. The feel is of a secret clubhouse, convivial with an insider edge. You get the sense that while anyone is welcome, Berkeley coffeehouse–style, there’s more fun to be had if you’re part of the group. At quieter times, those anxieties recede; the space charms. A bench hugs the front window. Plants flare against white walls. Ginger cookies, mint tea, and a soulful Spotify playlist are all on tap.
Black Art Incubator
Recess
41 Grand Street
646-863-3765, recessart.org
Through August 19
During structured hours, there are sessions: Talks fall into two genres (“art and money” or “archive”), while “office hours” and “open crits” mimic MFA programming — but with the expectation that “you know who Richard Wright is,” as the legendary East Village artist Sur Rodney (Sur), who recently gave a talk, puts it to me via phone. The incubator interests him for how it overturns expectations of knowledge, eschewing the usual canon in favor of one not often taught in schools. “There’s a certain standard, a bibliography of material that we’ve all had to study,” he says, citing Moby Dick and Charles Dickens. On top of playing that game, people of color “have to do all this other research to understand where they fit in.” Joshua Moton, a cellist who performed at an open crit last month, has experienced this firsthand. He explains the bodily discomfort his training in the European classical tradition gave him. In college, he found jazz. “Coltrane, Ayler, Silva, Davis,” he says. “I was able to heal,” to find “parts of the cello that I never really thought were there.” While crits are known as stress-bombs in academia, Moton says his — led by Adrienne Edwards, the dynamic curator-at-large of the Walker Art Center in Minneapolis, clad in metallic pants — felt like a “safe space.”
Therapeutic spaces face similar accusations as art schools over what their members tend to assume about their peers, whether to do with money, access, or personal history, and the incubator also addresses those issues. Moton, for one, returned the next day for a meditation hour. Here, too, he felt a difference. He drew a contrast for me, mentioning a yoga class he recently attended in which an Australian woman near him went on about “wage slaves,” throwing off his balance. “What does it mean to have a black space?” he asked. “When you can be a black person and breathe and not feel off.” To read full article, go to: http://www.villagevoice.com/arts/black-art-incubator-aims-to-invert-art-world-normal-8960371
Daryl Homer celebrates victory over Matyas Szabo of Germany in the men’s individual saber quarterfinal at the Rio 2016 Olympic Games at Carioca Arena 3 on Aug. 10, 2016 in Rio de Janeiro. (photo via teamusa.org) article by Rebecca Harris via teamusa.org
RIO DE JANEIRO — As he was being chased down, nearly tripping off of the strip entirely, American saber fencer Daryl Homer somehow snuck his blade into German fencer Matyas Szabo’s ribs for a point during his quarterfinal bout. The point was heralded with chants of “U-S-A” from the audience, with the painted faces and bodies usually reserved for American football games, not for what could be called modern-day dueling.
Homer lost the gold-medal bout to Aron Szilagyi of Hungary, 15-8. He became the first U.S. medalist in men’s saber since Peter Westbrook won a bronze medal in 1984 and the first U.S. men’s silver medalist since William Grebe in 1904.
The U.S. has never won gold in men’s saber.“I wouldn’t have found an access point to fencing without Peter,” he said. Homer’s journey into fencing was a happy accident and he owes partial thanks to Westbrook. Homer came across the sport in a book one day. He took one look at the shiny masks and vests and told his mom he wanted to fence. She wasn’t a fan of the idea until she saw Westbrook in a TV commercial. Westbrook actually gave Homer entrée into the sport through his Peter Westbrook Foundation, which teaches fencing to New York area kids of color. To read more, go to: Daryl Homer Scores Team USA’s First Men’s Saber Silver Since 1904
Simone Biles flying high during Olympic Vault finals in Women’s Gymnastics (photo via nytimes.com)
article by Bill Chappell via npr.org
With two main goals already accomplished – gold medals in both the team competition and in the individual all-around – Simone Biles turned to the vault to grab more Olympic gold Sunday.
Going last in a field of eight gymnasts, Biles needed an average score of more than 15.253 to claim gold. She unleashed a soaring Amanar on her first vault, taking only a small hop backwards as she landed. Score: 15.900.
For her next vault, Biles turned to a Cheng — a difficult vault that, compared to the Amanar, is worth an extra tenth of a point on the judges’ scale — and performed it nearly flawlessly. Her score was the highest of the group: 16.033.
In the final, each athlete performs two vaults; the scores are then averaged. For instance, while Switzerland’s Giulia Steingruber started strong with a 15.333, she scored a 14.900 on her second attempt, dropping her final score to 15.216. She held on for a bronze medal behind Maria Paseka of Russia.
As U.S. Gymnastics tells us, with today’s gold medal, Biles sets a U.S. record for the most gymnastics gold medals in one Olympics for a female athlete. She also becomes the first American woman to win gold on the vault.
If you’re unsure what an Amanar and a Cheng are, NBC can help clear that up:
“The Amanar consists of a round-off onto the springboard, back handspring onto the vault table and then a flip with two and a half twists in the straight body position. It’s the vault that McKayla Maroney made famous at the London Olympics and is worth 6.300 points.”
“The Cheng is worth 6.400 points. It consists of jumping onto the springboard, doing a half twist before pushing off the vault with your hands, then doing a flip with one and a half twists.”
U.S. Shot Put Gold Medalist Michelle Carter (photo via dailymail.co.uk) article by Shekhar Bhatia via dailymail.co.uk Michelle Carter, daughter of a former top American football player and Olympian, won the USA’s first-ever women’s shot put Olympic gold after a dramatic final twist.
The thirty-year-old Californian, whose father Michael Carter played for the San Francisco 49ers and won a silver in the shot put in the 1984 LA Olympics, struck gold with her final throw.
The American record holder gave everything as she hurled the shot 20.63 meters to snatch gold from New Zealand’s Valerie Adams. Bronze was secured by Anita Marton of Hungary. To see more, go to: Michelle Carter wins shot putt gold for USA with last throw at Rio Olympics | Daily Mail Online
Olympic All-Around Gold Medalist Simone Biles (photo via latimes.com) article by Lori Lakin Hutcherson (follow @lakinhutcherson)
You’ve surely heard about it by now, and likely seen it too – U.S. gymnast phenomenon Simone Biles easily captured individual all-around gold at the Rio Olympics Thursday by out-performing the best of the world’s best and fulfilling what many felt was her long-awaited destiny. Teammate Aly Raisman won the silver and Russian gymnast Aliya Mustafina took the bronze, repeating her finish in London four years ago. It was the second time the U.S. women went 1-2 in the all-around, having also done so in 2008.
But what I find to be challenging about the major media coverage of Biles beyond the footage of her feats (which I could watch all day every day) is how much it focuses primarily on three things: 1)her “humble beginnings” family story 2)how “girly” she is and 3) how she is preternaturally genetically gifted for the sport she so clearly dominates. If you need to see examples of any or all of this, simply turn on NBC to catch whatever package is running on her as they show the gymnastics competitions (I’ve personally seen the footage of her at the nail salon three separate times), go to nbcolympics.com, read pretty much any major newspaper’s feature on her (many with some tagline about what a “giant” the 4′ 8″ teen is), or heck, just click through the internet.
In addition to hearing about her once-in-a-generation, God-given talent or her twitter crush on Zac Efron, can’t we please hear, see, read and learn more about how Biles’ team crafts her routines to capitalize on her strengths? Or how exactly did she and/or her coaches come up with her signature move for the floor routine – the Biles? (Okay, I just found that one – it’s on inc.com – a business site!).
If I Google and scour a bit, I do find what I want – coverage of Biles’ discipline, work ethic and what kind of discrimination, if any, she faces as a black gymnast in a predominately white sport – like this very strong piece published in deadspin.com. I do believe, however, this should be the standard of mainstream media coverage on a sports superstar of Biles’ caliber, particularly from the official network covering the Olympics she is currently crushing. (Yes, it’s cute to see her dance to “Uptown Funk” with Hoda and reveal her and her teammates’ Kellogg’s cereal box on “The Today Show”, but c’mon Peacock – there is so much more to this athlete!)
Hopefully this weekend during the broadcast of the individual skills events, NBC will step it up – way up – because Biles surely will, and she deserves nothing but the best as she gives us all her best.
U.S. swimmer Simone Manuel ties for gold in women’s individual 100M freestyle race at 2016 Rio Olympic Games (photo via dailymail.co.uk) article by Lori Lakin Hutcherson (follow @lakinhutcherson)
First and foremost, the headline above is the main story. Team U.S.A. member Simone Manuel made Olympic and U.S. history by becoming the first African-American female to win gold in an individual swimming event when she tied Canadian swimmer Penny Olesiak for first place in the 100-meter freestyle at the Rio de Janeiro Olympics Thursday night, with a time of 52.70. We congratulate her heartily, and are as proud as we can be of and for her.
According to theroot.com, Manuel used her time and her platform afterwards to speak on the ongoing racial issues the United States grapples with as she addressed the importance of her historic win. United States’ Simone Manuel shows off her gold medal during the medal ceremony for the women’s 100-meter freestyle final during the swimming competitions at the 2016 Summer Olympics, Friday, Aug. 12, 2016, in Rio de Janeiro, Brazil. (AP Photo/Michael Sohn)
“It means a lot, especially with what is going on in the world today, some of the issues of police brutality,” the young swimmer said. “This win hopefully brings hope and change to some of the issues that are going on. My color just comes with the territory.”
Manuel acknowledged that her race does carry a bit of weight, especially as a swimmer, given the stereotype that black people cannot or should not be able to swim well.
“It is something I’ve definitely struggled with a lot,” she said. “Coming into the race, I tried to take [the] weight of the black community off my shoulders. It’s something I carry with me. I want to be an inspiration, but I would like there to be a day when it is not ‘Simone the black swimmer.’
“The title of black swimmer suggests that I am not supposed to win golds or break records, but that’s not true because I train hard and want to win just like everyone else,” Manuel added.
The ensuing story surrounding this momentous event and its coverage has also been historic in its own right. Thanks to social media, the calling out of the faulty, biased reporting by the mainstream media on this unprecedented triumph has been equally thrilling to behold. Not only was NBC’s lack of coverage been taken to task by colorlines.com and scores of twitter fans, so has the San Jose Mercury News‘ initial insulting headline of “Michael Phelps Shares Historic Night with African-American” been dragged via a great Huffington Post article.
Personally, I am very satisfied to see a growing trend on speaking out against systemic racism in mainstream reporting and for apologies having to be publicly made and headlines re-written. Please click through the links above and enjoy the tweets and comments in their entirety.
In the meantime, I’m setting my DVR for Manuel’s next race tonight in the 50-meter freestyle to see if NBC, etc. can do better by this undeniable champion for the ages.
Roosevelt Thompson (photo via arktimes.com) article via jbhe.com Calhoun Residential College at Yale University has been in the news a great deal lately. The college was established in 1932 in honor of John C. Calhoun, who graduated from Yale University in 1804. He went on to become vice president of the United States, serving under both John Quincy Adams and Andrew Jackson. A native of South Carolina, Calhoun was a major defender of the institution of slavery.
In February 2016, Yale University announced that it was removing a portrait of Calhoun that was displayed over the fireplace in the dining hall in the residential college. In June, a worker used a broom handle to break a stained-glass window in the dining hallof the college that depicted slaves carrying cotton on their heads.
Now the university has announced that the dining hall at Calhoun Residential College will be renamed to honor Roosevelt L. Thompson. A resident of Calhoun College, Thompson was killed in an automobile accident during his senior year at Yale, after he had been selected as a Rhodes Scholar to study at Oxford University.
A documentary film on Roosevelt Thompson was produced by PBS. A trailer for that documentary can be viewed below:
NBA Legend Michael Jordan (photo via biography.com) article via theurbandaily.com
Following his generous contributions of $1 million to the Institute for Community-Police Relations and $1 million to the NAACP Legal Defense Fund, Michael Jordan is doing a lot more sharing these days.
According to reports, Jordan has donated $5 million to the National Museum of African American History and Culture Museum. Officials revealed that the gift is the largest from a sports figure to the 19th Smithsonian museum and pushes private donations to $278 million. Including federal aid, the museum, which President Obama will open in September, has raised more than $548 million.
The NBA legend said in a statement, “I am grateful for the opportunity to support this museum. I also am indebted to the historic contributions of community leaders and athletes such as Jesse Owens, whose talent, commitment and perseverance broke racial barriers and laid the groundwork for the successful careers of so many African Americans in athletics and beyond.” Source: Michael Jordan Donates $5 Million To African-American Museum | The Urban Daily
