Ben Simmons teaches talkative Nets a lesson in Playoffs 101

There is a lot for these young Nets to learn during this playoff series with the Sixers. The lesson they learned in Game 3 Thursday night at Barclays Center was to think twice before saying something that might motivate an opposing player. A day after Nets forward Jared Dudley said Sixers guard Ben Simmons was…
Sports | New York Post


DanceLogic Teaches Girls Dance and Computer Coding

DanceLogic, a unique S.T.E.A.M. program that combines dance and computer coding leading to the development of original choreography and performance, is continuing onto its second year. Girls ranging from the ages of 13 through 18 years participate in the program held at West Park Cultural Center in Philadelphia and learn the value of focus, dedication, and teamwork, as well as industry standard coding language.

Shanel Edwards, co-instructor of danceLogic, stated that “danceLogic is helping these girls have access to the arts realm and science world as possible career paths, it is allowing them to stretch their own boundaries of what success looks like for them.”

computer coding


During the dance class, led by instructors Edwards of D2D The Company and Annie Fortenberry, a performer with Ballet 180, the girls learn dance skills and movement techniques. This is followed by an hour of learning industry standard coding language under the direction of coding instructor Franklyn Athias, senior vice president of Network and Communications Engineering at Comcast. “I’m helping the kids see that someone, just like them, was able to use Science and Technology to find a very successful career,” Athias expressed in a press release.

The girls use coding to create their own choreography. “The combinations of dance and logic have good synergies. Learning something like dance requires practice, just like coding,” said Athias. “The dance is more physical, but it requires the students to try, fail, and try again. Before long, the muscle memory kicks in and the student forgets how hard it was before. Coding is really the same thing. Learning the syntax of coding is not a natural thing. Repetition is what makes you become good at it. After learning the first programming language, the students can learn other programming languages because it becomes much easier.”

computer coding


“My favorite thing about the program is that the students can explore leadership roles. By building their own choreography and supporting each other in coding class, they navigate creating and sharing those creations, as well as resolving conflict to make one cohesive dance. There’s a lot of beauty and bravery in that process,” stated Fortenberry.

The very first session of danceLogic culminated with the girls performing choreography and sharing what they learned through coding and how it has impacted their lives.

For more information, click here.

The post DanceLogic Teaches Girls Dance and Computer Coding appeared first on Black Enterprise.

Lifestyle | Black Enterprise


So Cute: Mariah Carey Teaches Her Twins Background Vocals to ‘All I Want For Christmas Is You’ [Video]

Mariah Carey’s twins might just have a career in music — if they so choose.

The singer shared a super cute clip of twins Moroccan and Monroe, 7, getting in the Christmas spirit by singing background vocals to her legendary hit “All I Want For Christmas Is you” are in the Christmas spirit!

“Roc & Roe have been practicing the background vocals to ‘All I Want For Christmas Is You,’ we’re gonna take this one step at a time— we’re very excited about it! It’s our first video doing this! It’s festive, Cmon!!” Mariah wrote alongside the video on Twitter adding a few Christmas tree emojis.

Get into the precious moment below.

The post So Cute: Mariah Carey Teaches Her Twins Background Vocals to ‘All I Want For Christmas Is You’ [Video] appeared first on lovebscott – celebrity news.

lovebscott – celebrity news


18 years later, Bring It On still teaches us about cultural appropriation

18 years later, Bring It On still teaches us about cultural appropriation

18 years later, <em>Bring It On</em> still teaches us about cultural appropriation

It seems unlikely that an early 2000s movie centered on the world of competitive high school cheerleading could teach a valuable, timeless lesson about cultural appropriation, but Bring It On does. Between witty dialogue and catchy cheers, the 2000 film provides an astute critique of white supremacy and colonization. Namely, it shows us how a privileged group of upper-class white students can easily infiltrate a largely Black inner city high school, steal their creative wealth, and benefit from it by passing it off as their own.

Starring Kirsten Dunst and Gabrielle Union, the movie focuses on newly appointed cheer captain Torrance Shipman (Dunst) on her quest to win another National Championship for her high school cheer team, the Rancho Carne Toros. However, her idealistic dream is quickly shattered: She discovers that the former captain, Missy aka “Big Red,” has been unabashedly stealing the team’s routines from their inner city rivals, the East Compton Clovers. The identity of the Toros has been built upon the physical and creative labor of the Clovers, who are entirely composed of women of color—mainly Black girls.

Torrance displays surface-level remorse for the injustice committed by Big Red, but the captain of the Clovers, Isis (Union), refuses to make her team a charity case. In an act that is representative of the white savior mindset, Torrance presents Isis with a large check to cover the Clovers’ competition fee at Nationals. Isis rejects Torrance’s financial compensation, asking if it’s “hush money.” Wanting to maintain the respect of her team, Isis lets Torrance know that her forgiveness can’t be easily bought, thus rejecting the idea that monetary amends alone is enough to fix the problem of cultural appropriation.

Bring It On tackles cultural appropriation without heavy-handed condemnation of Torrance, but it doesn’t exactly paint her as a guilt-free victim either.

It would be wrong to say that Torrance’s crime is being a white, well-off, blonde woman. Rather, her complicity makes her an agent of cultural appropriation. For example, when Torrance initially informs the team that Big Red stole their cheer routines from the Clovers, they all vote to keep the routine. At first, Torrance sides with her peers instead of exercising her power to make things right. She understands that Big Red’s actions were unjust, but she won’t go against the status quo of her overwhelmingly white team.

When discussing cultural appropriation in real life, (white) people often use their ignorance as an excuse, calling their actions “cultural exchange” and dismissing the very real consequences of intellectual theft. In the film, Torrance uses her ignorance of Big Red’s transgressions, along with her own inherent sense of entitlement, as justifiable reasons to initially forge ahead with the stolen routine. Unfortunately for her, this decision spectacularly backfires.

In the context of the film, Big Red’s consistent swiping of routines and cheers means that the legacy of the Toros is built upon a fragile lie. This is painfully apparent when Isis and members of the Clovers attend a football game at Rancho Carne. While the Toros perform a routine on the field that was stolen from the Clovers, Isis and her team members simultaneously perform it from the bleachers. Torrance is mortified, and it is this public calling out that persuades the Toros to change up their routine for Regionals—not the acknowledged weight of their actions.

The Toros’ initial dismissal of their cultural theft is identical to the dismissal we see time and time again in our collective cultural landscape.

The line between cultural exchange and cultural appropriation can be incredibly blurred, as pointed out by actress Amandla Stenberg in her 2015 viral video, “Don’t Cash Crop My Cornrows.” But Bring It On suggests that cultural exchange becomes cultural appropriation when the colonizer erases the origins of the work in question. However, let’s be clear: Intentions are a non-factor.

To say that the Toros innocently “borrowed” the Clovers’ routines would be a vast understatement. Borrowing implies a transaction founded upon mutual consent between parties with similar social standings—and that’s not what happens in Bring It On, or in the many instances of cultural appropriation we see in the real world everyday.

Since Bring It On‘s theatrical release 18 years ago, the theft of the Clovers’ work still mirrors the cultural appropriation we regularly see in mainstream media—especially in the fashion industry.

Styles that originate from Black culture are dismissed as low-brow, yet praised when worn by white women. In 2014, Marie Claire crowned Kendall Jenner as an innovator for wearing “bold braids” (aka cornrows), and then, four years later in 2018, Vogue styled the white model in an afro hairstyle that Black women are shamed for. Kim Kardashian has been accused of cultural appropriation more than once, wearing cornrows multiple times and inaccurately calling them “Bo Derek” braids. Similarly, designers such as Marc Jacobs have faced immense criticism for styling non-Black runway models’ hair into dreadlocks. As a response to the backlash, Jacobs took to Instagram to issue a defensive and tone deaf answer, commenting “funny how you don’t criticize women of colour for straightening their hair.” As if white women face discrimination for having straight hair the way Black women routinely face discrimination for wearing their hair in natural styles.

A November 2018 Twitter thread by writer Wanna Thompson revealed the numerous white women influencers pose as Black women online with the help of makeup, hairstyles, clothing, and Instagram filters—taking profitable content creation opportunities from the actual Black women who originate these styles.

I’m also reminded of a rather obvious example of Black cultural appropriation involving the white Australian rapper Iggy Azalea. Azalea’s image is undeniably crafted on a shallow caricature of Blackness, from her “blaccent” to her lyrics that aim to project the aesthetics and backstory of an Atlanta trap star, rather than a blond, white woman from a small, working-class town in Australia. When responding to criticism, Azalea has used her proximity to Blackness (i.e. her ex-fiance, Nick Young) as a get-out-of-jail-free card. Like the Toros, Azalea’s success is directly connected to a whitewashed iteration of Black ingenuity.

These instances are not harmless borrowing; they are an exercise in commodification and theft of Black culture in order to repackage it into something palpable and profitable for the white mainstream.

Part of the charm of Bring It On lies in the fact that the Clovers beat the odds; they not only defy expectations of making it to Nationals, but they dominate. Despite their considerable effort, the Toros place second at Nationals, while the Clovers claim first place. Ultimately, the film decides that Torrance, and by extension, the Toros, will not be rewarded for their well-intentioned but delayed attempts at reparations. The film’s conclusion provides a sense of relief that seems rarely witnessed in the real world. If only such outcomes were commonplace in everyday life.

The post 18 years later, <em>Bring It On</em> still teaches us about cultural appropriation appeared first on HelloGiggles.



Judge Napolitano Teaches Basic Civics to Desperate ‘Fox & Friends’ Hosts

via Fox and Friends

Judge Andrew Napolitano, Fox News’ longtime senior judicial analyst, appeared on Fox & Friends early Thursday to teach the hosts a basic civics lesson in light of President Trump’s announcement this week that plans to end birthright citizenship through an executive order.

Though hosts Brian Kilmeade and Steve Doocy appeared eager to find a method to carry out Trump’s proposed policy, Napolitano dashed their hopes with a sit-down worthy of a 7th-grade classroom.

“Look, the president can’t change the plain meaning of the Constitution with the stroke of a pen,” Napolitano said.

Read more at The Daily Beast.

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