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mT SEPTEMBER 1ST - SEPTEMBER 12TH, 2016

THE VISUAL VOICE

HOW MOREHOUSE COLLEGE’S ART AND ART HISTORY DEPARTMENT IS CHANGING AND THE MEN BEHIND IT

By Jayson Overby, Jr

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The Visual Voice

by Jayson Overby, Jr.

Morehouse College is the poster institution for businessmen, theologians, politicians and scientists but it also has a long history of artists and art historians who have graduated from the institution. More specifically, the faculty and department of Art and Art History who have been a part of the faculty have build an under-the-radar level of brilliance that only adds to Morehouse’s legacy.

Preoccupied with their students, the department’s faculty, Louis Delsarte, Michael Roman and Cosmo Whyte, have gone unnoticed, at times, by the institution and student body.

Unlike its partnering institutions, Clark Atlanta University and Spelman College, Morehouse isn’t primarily known for its burgeoning arts program, faculty, or student alumni.

The faculty, indeed, have begun to change the scope of what it means to be an art major at Morehouse. The art major, made possible through a partnership between Morehouse and Spelman, typically requires studio art majors to take their intro courses, Basic Drawing and Design, at Spelman or Clark Atlanta.

However, thanks to its professors, Morehouse now offers both courses and even additional studio art classes. The institution, with the efforts of the Art and Art History department faculty, is moving towards a more refined definition of a “real” art department. Catalysts for change, the three professors have made strides with a vision of developing a reputable art program.

Forgoing The Figure With works large in scale and in even larger museum collections, Louis Delsarte, an Atlanta-based mix media artist and humanities professor, is soft-spoken and moves through campus often unseen. In his 12 years as an instructor at Morehouse, Delsarte, 72, has taught courses that include Survey of Visual Arts and most recently, African American Art: Mural Development, Life Drawing, Basic Design and Basic Drawing.

Surprisingly, with over 50 of years as an artist, Delsarte didn’t teach his first studio art class, African American Art: Mural Development, until Spring of 2015. Since then, Delsarte hasn’t taught a Survey of Visual Arts Course, but instead has added three additional classes to the course workbook.

“Many students requested that we have a program dedicated to the fine arts, art to practice,” said Delsarte. “Before, I was teaching Survey of Visual Arts, which was more history based.”

A painter, draftsman, muralist, printmaker, and poet, Delsarte’s work is representational in its visual makeup. Whether it’s Martin Luther King, Jr protesting with an “I Am A Man” sign, women congregating on a street in Brooklyn, or women dancing, his work references significant and important moments in history. The work, with its expressive and dramatic colors, still maintains a way to both captivate an audience and shift a narrative.

Brooklyn born and Pratt Institute educated, Delsarte is still a practicing artist. Even with several commissions around the world, Delsarte’s mural, Transitions, for New York’s Metropolitan Transportation Authority manages to still situate the once young boy back in Brooklyn, heavily rooted in African American culture.

“In the 12 years of being at Morehouse, I never considered I’d be teaching this class,” said Delsarte.

Delsarte’s work is featured in the collections of large and small cultural and art institutions around the world. These institutions include: The Studio Museum in Harlem, the Metropolitan Museum of Art in New York,

Louis Delsarte pointing and talking about one of his murals. Below, the mural Family Gathering, which is housed at the Helene Mills Center.

the Schomburg Center for Research in Black Culture in New York, and the Spelman College Museum of Fine Art at Spelman College.

Mentioning Messiah As the instructor of four Survey of Visual art courses, Michael Roman’s introduction to Morehouse in Fall of 2013 was met with 143 new and returning students. A required class, Survey of Visual Arts examined the broad canon of Art History. However, Roman, with an untraditional style of teaching, introduced students to what art was but also what it could do, not just the history Pushing back against the traditional Eurocentric gaze of art history, Roman familiarized his students with Black artists who were either left out or misrepresented in the text books administered for the course in particular.

Although it didn’t hit him until later, Roman realized at an opening convocation when speakers mentioned how the Dean of Chapel, Dr. Lawrence Edward

Carter, had influenced a great deal of religious and spiritual leaders throughout the country during his tenure at Morehouse.

For so many students, Roman is the first point of contact if they intend to study art at Morehouse. The position, truthfully, is astounding in more ways than he could have ever imagined.

“To be honest, in the middle of it I didn’t realize what was happening,” said Roman. “I didn’t recognize the significance of the moment; I just knew it was a lot.”

As a student, Roman admits that he didn’t come into his own understanding of African American artists and art history until he took courses that focused exclusively on African American art. In those courses, he affirms that’s when he recognized and realized there was a lineage, or school, of African American artists to study and learn, he learned it.

“It’s about representation, just like everything else. It’s this idea that, ‘Hey! We’re here too and we make serious work.’ We don’t just make flyers and posters. We make deep thought provoking work that speaks to and shares

our experience with others of like mind.”

Along with introducing artists, Roman, along with Delsarte, presented two courses to the fine arts department. Those courses, African America Art: Graphic Novel and African American Art: Mural Development, have served as the foundation for what the fine arts department can and will do.

“My hope is one day to house the studio major here, but to be able to offer the studio courses with such a fantastic artist, Delsarte, who I learned about in art history is something,” he said. “To have him here as a resource for our students is fantastic, and I don’t think the students, even quite frankly the faculty, realize the magnitude of having someone like him on our staff.”

With the support of Dr. Mel Foster, Chair of the Division of Humanities & Social Sciences, Dr. Clarissa Myrick-Harris, who is no longer at Morehouse, and Garikai Campbell, Provost and Senior Vice President for Academic Affairs, everything came into fruition.

“It’s historic to be offering studio courses here at Morehouse,” he said. “I feel like what gets lost in the conversation is something of omission, in the sense that by not offering studio courses and by not allowing art majors to take art courses at their home institution, you’re essentially saying by omission that ‘Black men don’t make art,’ and it’s not a part of black male identity, but obviously that’s erroneous.”

As the central subject in his work, Black men have always arrived at a growing point in Romans trajectory as an artist. In particular, the series The Many Faces of Messiah Jones tells the story of boyhood to manhood and his [Messiahs] experience throughout.

So often, especially in the real world, we like to single out specific events and we like to little people down to this one moment.

Superimposed on historical religious iconography, the Black bodies are positioned within an up-to-date narrative. This narrative, both contemporary and timeless, speaks to the fact that Black bodies have been, and will continue to be, the subject of issues associated with Black identity.

The recurrent site of objectification, misrepresentation, fear, and terror, Black men are continually brought into focus at the hands of police brutality. With the thought-provoking collection of works, Roman, examines present-day racial constructs and ideologies in contemporary culture.

“Whether it was a mistake, or a highlight in their life. Often, we like to look at these things in a vacuum as if they just popped out. Obviously that’s not the case, we’re a product of our experiences and a product of growth. With Messiah, I really wanted to show that growth process because so often we look at it as only a finished product.”

On The Radar In early July, the Atlanta Contemporary Art Center announced the lineup of artists for the Atlanta Biennial (ATLBNL), and on that list was Morehouse professor of art, Cosmo Whyte. The biennial, which has been defunct for 7 years, includes artists from eight Southern states who are working in in the visual arts, and to be selected for to be a part of the show. Whyte is transcending as an artist.

Jamaican-born, Whyte attended Bennington College in Vermont for his Bachelor in Fine Arts, Maryland Institute College of Art (MICA) for his Post-Baccalaureate Certificate and the University of Michigan for his MFA, where he graduated first in his class.

It was at MICA where Whyte met Roman, both were students at the time, and two now work in the same department.

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© Cosmo Whyte

© Michael Roman At one point while he was finishing graduate school, Roman informed Whyte there was a position opening and encouraged him to apply. Whyte jumped at the opportunity and found himself teaching four sections of Survey of Visual Art in Fall of 2015 “Morehouse was an institution I knew about for several years,” Whyte said. “Even when I was applying for undergrad, Morehouse was a school that was on my radar.”

Whyte’s work, in many ways, explores post-colonial identity through the lens of tourism, diaspora, globalization and migration. In many ways, the increasingly complex composition and subject matter is what distinguishes his body of work from other artists interro-

Jayson Overby / The Maroon Tiger gating the same issues.

One work in particular, Stranger Than the Village, first appears as a man facing away from the camera with an image on his back and a talking device balanced on his head, but the real meaning is rooted in the works title. The image, of James Baldwin, an African American novelist and poet, assumes a relationship with his essay Stranger In The Village that was included in his collection of essays Notes of a Native Son in 1955.

The essay, which is an account of Baldwin’s experiences in Leukerbad, Switzerland, is similar to the experience Whyte had when living in a small town in Ghana, north of an area called Kumasi. The locals kept

calling him Obroni, which is the Asante Twi word for western white foreigner, and in colloquially terms “white person” or “white man”.

“It was jarring for me as a Black man to come to the continent and run into Africans who were calling you white man,” he said. “It was messing with my head and I found myself getting upset.”

The device balanced on his head, which has replaced drums in Ghana’s public setting, are widely seen in the market places. Instead of drums, the device serves an integral function. It has a USB port and a cassette player, but no CD-ROM—that technology escaped.

“It’s exciting, and it’s also a part of me thinking of

how I fit into the narrative of the south and where do I belong here. What does it mean to be southern and how do I fit into all of that? My migration, if we’re taking it from a starting point to where I am now, common south to the capital letter South, it’s an honor.”

The 2016 Atlanta Biennial is on view through December 18, 2016 and is curated by Victoria Camblin, ART PAPERS’ editor and artistic director; Daniel Fuller, Atlanta Contemporary curator; Aaron Levi Garvey, independent curator and co-founder of Jacksonville’s Long Road Projects; and Gia Hamilton, director of the Joan Mitchell Center in New Orleans.

“It’s historic to be offering studio courses here at Morehouse,” he said. “I feel like what gets lost in the conversation is something of omission, in the sense that by not offering studio courses and by not allowing art majors to take art courses at their home institution, you’re essentially saying by omission that ‘Black men don’t make art,’ and it’s not a part of black male identity, but obviously that’s erroneous.”

– Michael Roman

Mentioning The Marginalized For one student, Terrick Gutierrez, being a studio art minor means more than just a number in a department. It means being aware of art practices and methods on a collegiate level, both through experience and guidance from professors.

As an incoming freshman, being at Morehouse he was discouraged, or more so he wasn’t empowered, to pursue art as a minor. This was primarily because wasn’t even aware a fine arts major existed, and all of the courses students take are either offered at Spelman or Clark.

Jayson Overby / The Maroon Tiger

“In the more recent years, specifically last year, we’ve had more courses offered for studio art,” said Gutierrez. “One of the first cours-

es I took was the mural painting course. It was transformative because and gave me inspiration to start believing in my craft.”

With professors like Professor Roman and Delsarte, Gutierrez understood the extent of having both professors on staff as advisors and mentors. However, the support of an institution for a student means more than administrators and advisors realize.

“We’re supposed to be a liberal arts institution, but for a lot of people who are into forms of creative expression, more specifically art, we’re left out and marginalized.”

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MT Staff SENIOR MANAGEMENT Jayson Overby, Jr. Editor-in-Chief jayson.overby@morehouse.edu Chad Rhym Managing Editor chad.rhym@morehouse.edu Justin Carter Business Manager justin.carter@morehouse.edu MT EDITORIAL TEAM Javon Wilson Campus News Editor javon.wilson12@gmail.com D’Shonda Brown Arts and Entertainment Editor dbrown86@scmail.spelman.edu

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The GOP is falling; you need to vote

by Chad Rhym

Whether it be Donald Trump’s unconventional, yet extraordinary trek to obtaining the Grand Old Party’s (GOP) nomination, or Hillary Clinton’s Email-gate - the 2016 presidential election has been nothing short of a political Twilight Zone. A sharp, blatant and appropriate negative light has been shined upon Trump throughout his climb to political power. He is the evident antagonist of this storybook election. In contrast, Clinton has had so many controversial holes in her family’s 20-year empire, it’s still hard to make her out to be America’s next political hero.

Yes, Clinton and Trump both have blemishes, but to even consider putting the two potential chief-executives in the same category in regard to presidential-readiness, nobility or even intelligence is absurdly scorning Clinton.

On July 27, President Barack Obama delivered a speech during the second-to-last day of the 2016 Democratic National Convention. When the incumbent mentioned the DNC’s foe, Trump, the crowd erupted in wave of boos. In response – Obama off-script, uttered the simple, but powerful three words - “don’t boo, vote.”

Like mentioned earlier, the 2016 election has been illusory. It is more than crucial, but pivotal that you vote and have your voice count. Obama is correct, arguing on Twitter with “Make America Great Again-ers” is not going to count for anything in the election. Facebook sharing New York Times and Washington Post op/ed’s is not going to count for anything in the election. Having the confidence that – ‘there is no way Trump will when this election, so why bother even voting”, is not going to count for anything in the election.

“Don’t boo, vote.”

This is also not a call for the millennials, or even the Atlanta University Center to reclaim democracy with the power of youth. This is literally an endorsement for Hillary Clinton. Trump’s hurtful rhetoric in correlation to the United States of America’s beautiful diversity is not what this country needs as a representation of what we are as a collective.

“When Mexico sends its people, they’re not sending the best. They’re not sending you, they’re sending people that have lots of problems and they’re bringing those problems with us. They’re bringing drugs. They’re bring crime. They’re rapists… And some, I assume, are good people,” Trump said.

“Our great African-American President hasn’t exactly had a positive impact on the thugs who are so happily and openly destroying Baltimore,” Trump said.

“26,000 unreported sexual assaults in the military-only 238 convictions. What did these geniuses expect when they put men & women together?” Trump said.

His appeal to ethos targets the conscience of American inequality. This is all not to even mention the numerous lawsuits against Trump University, a proposition to ban Muslims in America and a subtle hint for second amendment supporters to “deal” with Clinton. Donald Trump is in no way fit, but more importantly - no way deserving to be President of the United States. This isn’t politics anymore It’s a spectacle of embarrassment. America can’t afford four years of vacuous leadership, not now, not ever.

DeShay Kidd Features Editor deshaykidd@gmail.com Isaiah Smalls Sports Editor Claude.smalls@morehouse.edu Clarissa Brooks Opinions Editor clarissabrooks152@gmail.com STAFF WRITERS Brandon Welcome Staff Writer brandon.welcome@morehouse.edu Javonna Robinett Staff Writer javonnarobinett@gmail.com Robert James Staff Writer robert.james@morehouse.edu Jordan Mulkey Staff Writer Jordan.Mulkey@morehouse.edu Nick Clemmons Staff Writer

Nicholas.Clemmons@morehouse.edu

Laura Eley Staff Writer eley1@scmail.spelman.edu Taylor Roberts Staff Writer trober24@scmail.spelman.edu Clyde Davis Staff Writer Clyde.Davis@morehouse.edu Lee Williams Jr Staff Writer lee.williams@morehouse.edu Zuri Cheathem Staff Writer Zuri.Cheathem@morehouse.edu

A Black Woman to Play Mary Jane in Spider-Man

by Javonna Robinett Recently, the world was informed of the possibility of 19-year-old Zendaya Coleman playing Mary Jane-Watson in Spiderman Homecoming, set to release July, 2017. Zendaya has been gracefully rising to stardom since her 2013 Disney debut as a pre-teen on Shake It Up.This role, however, will be her first major gig on the big screen.

While Black Twitter is oozing with black girl magic and excitement; other parts of social media are not so thrilled. Let’s face it, black women playing white fictional characters is something that deserves a few twitter threads, and 10 think pieces. It’s no surprise dog-avi twitter (@ricozolton1991) is upset that Mary Jane Watson isn’t a red-headed white woman. But this is not the first time Zendaya is the topic of conversation for something she can’t control—her blackness, and her talent. This is also not the first case of black women being criticized simply for being gifted and black.

Colorism is at play here, too. Zendaya’s lighter complexion gives her an advantage to grow as a public figure. Her story cannot be compared to someone like Leslie Jones’, for example. Her more European features soften the hateful blows of internet trolls, but does not completely save her from racist Spiderman stans. From accusations of Zendaya being under0qualified, to complaints about the entire cast being “too diverse”, to the demand for the “respect for originality,” America shows its racist colors once again.

So, let’s get down to the real question: why shouldn’t Zendaya be Mary Jane? For those who argue that Mary Jane is supposed to be a redhead, let’s look at the past 3 Mary Jane’s. Kristen Dunst, Shaline Woodley, and Sara Ballantine—none are natural redheads. There are also those concerned about her skill level. Stan Lee, comic book legend and creator of Spiker-Man, said in an interview with the Toranto Sun, that he thinks “she’ll be absolutely wonderful” and goes on to say, “The color of their skin doesn’t matter, their religion doesn’t matter, all that matters is that this is the right person for the role.”

Lee’s comments should put the debate to rest. It says a lot he has no objections to a black woman playing Mary Jane. Those who object to Zendaya possibly playing Mary Jane-Watson are failing to realize that it doesn’t matter if a made-up character is white in comic books, and black in the actual movie.

Mary Jane’s race does not alter the storyline in any way, so ideally it shouldn’t matter. In a society like ours especially, the diversity in casting is important. Representation matters and the possibility of Zendaya as Mary Jane Watson is yet another win for black girls everywhere

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MT Staff Copy Edit Tyra Seals Copy Editor tseals2@scmail.spelman.edu  Irayah Cooper Copy Editor rayah.cooper@gmail.com Photography Austin Wychye Photographer Austyn.wyche@morehouse.edu Kai Washington Photographer TIGER TV Paul Brister Associate Producer paul.brister@morehouse.edu BUSINESS TEAM Kylan Kester Project Manager Kylan.Kester@morehouse.edu Chris Morris Marketing chrismorris1995@gmail.com Kailyn Brooks Marketing Kbrook10@scmail.spelman.edu Administration Ron Thomas Advisor Ron.thomas@morehouse.edu David Dennis Advisor davidjdennis@gmail.com

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WEEK OF SEPTEMBER 1ST ARTS AND ENTERTAINMENT

Listening and Expanding Your Music Palette

Frank Ocean, a reopening of sorts

Establishing An Audience How Drake and Future Set off Atlanta During The Two Day Tour

by Chad Rhym

Frank Ocean elated the world of music with his sophomore album Channel Orange, released on July 10, 2013. Although, after a positive wave of critical reviews from world-renown critics, a Grammy award for Urban Contemporary Album of the Year and a multitudinous amount of analyzations of what Channel Orange is, as art, Ocean disappeared. Critics and fans alike interrogated and critiqued Ocean on his absence, and created questions on if the talented artist would ever return, or if that, be capable of producing a product to the caliber of Channel Orange.

After four years of silence, speculation and insinuations of his return, Frank Ocean stopped the world’s orbit and released “Blonde” on Aug. 20.

There’s a fighting urge to compare and contrast Channel Orange and Blonde. There are blatant similarities between the two: the production is very distinct, and his voice still coincides with his precise instrumentals as well as anyone in musical history. He coexists with the production, both extremely dependent on one another. His baritone and tenor hybrid vocal range still floats elegantly through tracks as the melodies create homely imagery.

However, there’s a similar and polar urge to not compare the two whatsoever. It’s impossible to interpret the meaning of Blond this early. There have been four more years of attempts to comprehend what Channel Orange is, understanding Blond shouldn’t even be in the question. With scattered themes of growth, sexuality, fluidity, darkness and happiness, the album is too intricate for ripe interpretation However, maybe it’s not about understanding, but enjoying Ocean’s gifts. Standout tracks such as “Ivy”, “Pink + White” and “Seigfried”, are listening experiences- miniature audio odysseys, Ocean has a similar power only movie composers withhold while scoring films, putting the audience in new worlds through the bridge of sound.

Comparison kills, but it is transparent that even after the release of Channel Orange, Blond is a fresh work of art that the world has never witnessed before. Frank Ocean is special, and will only improve from here.

by Robert James and Brandon Welcome Arguably the most anticipated tour of the summer, Summer Sixteen, headlined by Toronto-native Drake and Atlanta-native Future, recently stopped at Atlanta’s own Philips Arena. The tour so far has included guest appearances from A-list artists such as Kanye West, J. Cole, Rihanna, Lil Wayne, and Eminem.

Drake and Future alone could have put on a stellar concert, but with Future returning to his hometown, Atlanta, and such an amazing list of artists that Atlanta has produced who could make appearances, the expectations were high.

The Atlanta leg of the tour kicked off Thursday, August 25th. The consistent opening acts Roy Woods and DVSN were a great introduction to the tone of the concert. Performing hits from both of their new albums, the two showcased the new talent organized

by Drake, a very good sign for the future. As in most concerts, there was a wait for the main acts, but Drake’s explosive entrance definitely made up for it.

He jumped right into “Views,” and repeatedly yelled to the crowd that this was Atlanta, one of his favorite cities, so he would be setting the tone with his faster paced songs in the beginning, and saving his slower ones for the ending.

His performance was excellent; however, he signaled several times that Lil Wayne or Rihanna could make an appearance, but neither of them ever came out. Future’s set was also impressive, though noticeably shorter than Drake’s. Once he finished, Drake came back out to perform some songs from “What a Time to be Alive”. Only after this, were guest stars introduced. Drake stood alone as Atlanta native, Gucci Mane’s “Back on Road” began to play.

Gucci Mane went on to perform two more songs.

Next, Drake entered the stage as “Big Amount” began to play, and 2 Chainz joined him. Overall, the concert was a success, but it felt like Future was always out-shined by Drake, as he did not perform with any of the guests.

The second show of Summer Sixteen’s stop in Atlanta was held the following day, Friday, August 26. Though the opening acts and show headliners were the same as on the previous day, Drake made it

glaringly obvious to the audience that the atmosphere was very different from the Thursday show. The second and last show of the tour’s stop in the city featured performances from hometown stars Usher, Young Thug, and Gucci Mane.

Contrary to the general viewpoint that Drake overshadowed Future at the Thursday evening show, Future contributed a great deal to the overall effervescence of the show, performing most if not all of his hits, including “Stick Talk,” “Commas,” “Move That Dope,” and “March Madness.” He also went on to perform several songs from his and Drake’s collaborative album What a Time to Be Alive.

Though Future’s set was shorter than Drake’s, it seemed to reflect nothing more than the difference in the artist’s catalogues and the hits they have acquired since they each arrived on the music scene. Overall, Drake and Future, along with the other artists that performed, put on a spectacular show that kept audience members on their feet from the beginning of Drake’s performance to the end of the show.

Drake Set List: “Summer Sixteen” “Still Here” “Started From the Bottom” “9” “U With Me?” “Feel No Ways” “Headlines” “Trophies” “HYFR” “0 to 100”/”The Catch Up”/”6 God”/”No Lie”/”Versace”/”Over”/”I’m On One”/”Up All Night”/”Miss Me” “With You” “Child’s Play” “Fire & Desire” “Come and See Me” “Faithful” “Hotline Bling” “Hold On, We’re Going Home” “The Motto” “Right Hand” “For Free” “My Way” “Grammys” (with Future) “Scholarships” (with Future) “I’m The Plug” (with Future) “Big Rings” (with Future) “Jumpman” (with Future) “Diamonds Dancing” (with Future) “Work/Too Good” (verses) “Controlla” “One Dance” “Back to Back” “Pop Style” “Hype” “Know Yourself ” “Energy” “Legend”

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HUMP WEDNESDAY The Return of The Atlanta University Center, And The Begining Of A New Era

Rae Sremmurd, MIGOS, Skippa Da Flippa

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What You Need To Know!

Student Government Association Gets New Brand Identity As the college approaches the 150th anniversary in 2017, the Student Government Association (SGA) is celebrating the with a new brand identity. While much of this work has happened behind the scenes, one very visible aspect of this identity change feature the opening of Hope Park behind Kilgore Hall. Although the original logo has changed considerably over the colleges history, the newly-introduced logo looks like it’ll be around for a while.

Fraternal Benches Moved from in Front of Residential Halls Synonymous with Homecoming photographs, the fraternal benches, which once sat in between Hubert and White hall, have been moved and displaced around campus. Untraditional in every aspect, the benches, with the exception of Alpha Phi Alpha Fraternity, Incorporated, have been moved in front of Douglas Hall. The Alpha Phi Alpha Fraternity, Incorporated bench has been moved on Century Campus Green and positioned alongside the Alpha Phi Alpha Fraternity, Incorporated obelisk.

DCB’s have dropped Contrary to popular belief, DCB’s have always been an entry point to Men of Morehouse.

An alternative form of spending money, DCB’s are available to be spent at Papa Johns, Which Wich, and Chick-fil-A. Students, in the following weeks, you’ll be tested, finessed, and even lied to all in the name of DCB’s. Stay strong and push through because only the strong prevail.

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The Visual Voice For more work, visit the websites of all three artists listed below

Michael Roman / mistermroman.com Cosmo Whyte/ cosmowhyte.com Louis Delsarte / www.louisdelsarte.net

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Are Black Girls Winning?

Criticism shadows athletic feat in Olympic games

by Laura Eley It was the medal ceremony for the 100m hurdle finals and Brianna Rollins, Nia Ali, and Kristi Castlin, three black women, stood proudly representing the United States in the first ever 100-meter hurdle sweep. An Olympic official handed Rollins her prize and whispered “black girls rock”, in which Rollins exclaimed, “Black girls rock, they do. Yes!”.

With black female athletes winning more than two dozen of America’s 120 medals, it’s easy to say that African American women took center stage at the year’s Olympics. However, their presence was much more important than winning medals, it gave America’s black women representation on a platform that rarely considers her relevant. But with representation comes criticism.

Spelman Sophomore and former figure skater Salley Baxter explains that while representation is important for the “babies”, these Olympics just showcased America’s prejudice for black women on a bigger stage.

“In these Olympics whenever you hopped on social media and entered any athlete’s tag, there was the good, the bad, and then there was the racist, and I don’t think in the 2012 Olympics it was nearly that bad. I also think it’s because in 2012, we just had Gabby”, said Salley.

Gabby Douglas, the first black women to win gold in the all-around event, receives constant criticism over her hair, sportsmanship, and “overall Olympic attitude”. Because she chose to not put her hand over her heart during the national anthem she is called “unpatriotic, but when three white male American athletes fail to do the exact same thing, it isn’t a problem. Furthermore, when Michael Phelps laughs during the anthem, it is considered endearing.

In an article for Bustle, Casey Cipriani writes, “It’s a clear double standard that folks are criticizing Douglas, a tremendous athlete, for simply standing respectfully, while Phelps’ flub is only considered adorable,”.

The Olympic stage showcased each country’s elite athleticism, but for America’s black sportswomen it delved into personal factors that had nothing to do with their performance.

Simone Biles, a five-time Olympic medalist, sailed through every gymnastics event she competed in, even going on to set a new American record for most gold medals in women’s gymnastics at a single Games.

Instead of her stellar performance being the main focus, it was shadowed by commentary on her adoption.

In a since-deleted tweet, NBC commentator Al Trautwig wrote “They may be mom and dad, but they are not her [Simone Biles] parents”.

Black women in this year’s Olympics held a responsibility that meant more than gaining victory for the United States. These athletes walked the fine line of race and gender. Performing with the full understanding that they will never be considered as solely athletes because their race and gender would always come into play.

Simone Manuel, gold medalist in the 100-meter freestyle, told reporters, “I would like for there to be a day when it’s not ‘Simone the black swimmer’”.

Despite the constant examination, African-American female athletes made history at this year’s Olympics and proved to the world that black girls really are magic. One can only hope that this thinking translated when these athletes returned home.

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WEEK OF SEPTEMBER 1ST SPORTS

Black basketball coaches converge on Morehouse for clinic

by C. Isaiah Smalls, II It is no secret that there exists a disparity in the hiring practices of white and minority coaches at all levels of athletics. At the collegiate level, however, the absence of minority coaches is more apparent than ever with 88.8 percent of coaches being white, according to the 2015 College Sport Racial and Gender Report Card (RGRC).

In order to combat this lack of representation, the National Association For Coaching Equity and Development (NAFCED) was created. On August 23rd and 24th, Morehouse College hosted the NAFCED for a two-day clinic designed around improving coaching strategy.

“We are an association that is owned and governed and founded by racial and ethnic minority coaches,” Dr. Merritt Norvell, the NAFCED’s executive director, said. “One of our major goals is to give them a national voice on all the issues and policies that concern them.”

Dr. Norvell, along with prominent minority coaches such as Texas’s Shaka Smart, Georgetown’s John Thompson III and Memphis’s Tubby Smith, founded the NAFCED in 2015 after the dissipation of the Black Coaches Association. In addition to giving minority coaches a voice, the NAFCED focusses on three pillars: education/ professional development, employment and advocacy.

In a sense, the purpose of the NAFCED is to get coaches at all levels, from Division I down to AAU, in a space to exchange trade secrets.

“In this particular profession, you kind of got to be like a sponge: you got to absorb education and opportunity wherever you find it,” Norvell said. “You got to continue to learn because even the veteran guys continue to learn.”

Although the association’s home is in Lansing, MI, Norvell thought it was important to bring this clinic to Atlanta because of the numerous colleges in the area. Additionally, he felt it was critical that it be held at an HBCU:

“I think it’s historically significant that because our constituents are racial and ethnic minorities, it would be appropriate for us to come to an HBCU,” Norvell said, “And we’d like to have more meetings around the country on campuses as supposed to going off to the Marriott or the Hilton.”

The biggest takeaway from an event such as this is the importance of relationships. To be able to sit in a room with over 100+ years of coaching experience is an honor in itself. Taking full advantage of this experience, however, involves making a connection with someone else.

“Coaching is all about relationships,” Morehouse basketball Coach Grady Brewer said. “Making friendship an art is what we are trying to bring to the forefront of coaching.”

This applies to not just coaching but in every career. The phrase ‘it’s not about what you know, it’s about who you know’, however cliché it may be, has once again found relevance.

What to expect this upcoming NFL season

by C. Isaiah Smalls, II With the end of summer in sight, most students are not ready for the doldrums of fall. Some have yet to wear that new bathing suit. The ‘back-to- school’ ads are everywhere. The days are getting shorter. It is almost too much handle.

Despite the multiple disadvantages associated with the end of summer, many find solace in the fact that the NFL season is right around the corner. With the season kicking off on September 8th, here are this year’s top storylines:

The Return of Football to LA The Rams 21-year tenure in St. Louis came to an effective end on January 12th, 2016 after NFL owners approved the team’s relocation to Los Angeles. In true Hollywood form, the Rams first move was a blockbuster trade to acquire the number one pick from the Tennessee Titans.

In exchange for Tennessee’s top pick, the Rams traded away six picks including one first- (No.15) and two second-round selections (Nos. 43 and 45). Additionally, the Rams also received the Titans’ fourth- (No. 113) and sixth-round (No. 177) picks. The Rams went on to select Cal quarterback Jared Goff with the first pick.

In a sense, the Rams mortgaged the future of their franchise for a talented yet unproven quarterback. Suprising? Yes, however, what is a LA team if it doesn’t make blockbuster moves?

Saying Goodbye to Familiar Faces This past offseason, three future Hall-of-Famers announced they

were hanging up their cleats for good. The retirement of Calvin Johnson, Marshawn Lynch and Peyton Manning left their respective teams with giant shoes to fill.

With the untimely retirement of Johnson, the Detroit Lions will have to move on without the best receiver in their franchise’s history. Since being drafted in 2007, Johnson led the league in receiving yards and touchdowns as well as 100-yard games, according to Fox Sports.

After choosing not to draft a receiver, the Lions signed multiple in the offseason including Marvin Jones, Anquan Boldin and Andre Caldwell. While there is no replacing Johnson, expect former No. 2 receiver Golden Tate to become quarterback Matt Stafford’s new favorite target.

Similar to Johnson, Lynch’s decision to retire took fans by surprise.

Lynch undoubtedly left his mark on the game as one of the hardest players to tackle since the turn of the century. During his nine year career, Lynch ran for over 10,000 yards with 530 broken tackles, over a hundred more than Adrian Peterson, according to profootballfocus.com.

Despite losing such a great talent, the Seattle Seahawks have already found their replacement in Thomas Rawls. Before fracturing his ankle in Week 14, Rawls had rushed for 830 yards with 4 touchdowns while averaging 5.6 yards per carry, according ESPN. Unlike Johnson and Lynch, fans welcomed the news of Manning’s retirement after a dismal final season. Although Manning’s last year was underwhelming, throwing for only 2,249 yards with 9 touchdowns and 17 interceptions, The Sheriff went out on top as the Broncos defense carried him to a Super Bowl 50 win.

Manning, who, according to pro-football-reference.com, threw for an NFL record 71,940 yards and 539 touchdowns during his 18 year career, will be missed in the Broncos locker room as they search for

his replacement. After trading for Mark Sanchez in March of 2016, the Broncos selected Paxton Lynch of Memphis with their No. 26 pick in the first round. In addition to Sanchez and Lynch, the Broncos still have Trevor Siemian, a second year quarterback out of Northwestern.

The Panthers Look for Redemption In a disappointing 24-10 Super Bowl 50 loss that was highlighted by the Broncos’ dominant defense, Cam Newton and the Carolina Panthers have something to prove this upcoming season. With the return of receiver Kelvin Benjamin, who missed the entire 2015 season with a torn ACL, the Panthers’ already powerful offense just got even stronger.

Despite Newton’s MVP 2015 season, there was still room improvement. Newton, who completed 18 of his 41 attempts for 265 yards with no touchdowns and one interception in their Super Bowl loss, is looking to refute the claim that he’s not passing a quarterback. According to nfl. com, Newton spent most of the offseason working on his footwork and decision-making with quarterbacks coach Ken Dorsey.

Although the Panthers lost Pro Bowl cornerback Josh Norman to the Washington Redskins in the offseason, there defense is still as strong as ever. While Norman brought a sense of swagger to the Panthers’ secondary, his career high four interceptions were a result of the team’s exceptional defensive line and linebacker core.

The Panthers’ defense, led by linebackers Luke Kuechly and Thomas Davis, were ranked sixth in total yards per game, according to nfl. com. The duo combined for 223 tackles, 6.5 sacks and 8 interceptions.

Their 223 combined tackles accounted for over 20% of the team’s total, according to the Panthers website.

GENERAL EDITION THE MAROON TIGER

Morehouse College Maroon Tigers Football Schedule, 2016 Sat, Sept 3 @ Edward Waters, 7PM Sat, Sept 10 vs Kentucky State, 2PM Sat, Sept 17 @ Elizabeth City State, 4PM Sat, Sept 24 vs Miles, 2PM Sat, Oct 1 @ Clark Atlanta, 2PM

Sat, Oct 8 @ Tuskegee, 2PM Sat, Oct 15 vs Albany State (GA), 2PM Sat, Oct 22 @ Benedict College, 2PM Sat, Oct 29 vs Fort Valley State, 2PM Sat, Nov 5 @ Lane College Dragons, 2PM Home Game

Away Game

For more information, visit www.athletics.morehouse.edu

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