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Hayley Williams’ Acoustic ‘Find Me Here’ Is A Quiet Love Ballad

When Paramore’s Hayley Williams announced she would be releasing her debut solo album last December, she didn’t envision that she’d be stuck at home for its entire rollout. In order to cope with lockdown, the singer began sharing acoustic covers of some of her favorite songs. Now, she’s sharing even more music. Williams released the acoustic EP Petals For Armor: Self-Serenades Friday, and it also arrived with a brand-new song.

The three-track project boasts stripped-down covers of her songs “Simmer” and “Why We Ever,” but it also features the previously-unreleased track “Find Me Here.” The tender song arrives as a heartwarming love ballad, expressing her trust and devotion in another.

Speaking about the song’s inspiration in a statement alongside its release, Williams said she hasn’t spent this much time alone with a guitar since she was a teenager:

“I spent this year at home like everyone. I hadn’t spent that much time at home alone with my guitar since I was a teen, before Paramore hit the road. Once I realized I’d likely not be performing any of my new songs live for a while I guess it just felt right to play them for myself and re-imagine them, just a little bit lonelier. It wasn’t long before I started writing new songs again and one of the demos I made seemed fitting for this little EP. ‘Find Me Here’ is the feeling of surrendering your loved ones to their own, personal struggles; Letting them take their time and come to their own rescue. It’s a hard version of love to learn but it is an important lesson in loving someone well.”

Listen to “Find Me Here” above.

Petals For Armor: Self-Serenades is out now via Atlantic. Get it here.

Hayley Williams is a Warner Music artist. Uproxx is an independent subsidiary of Warner Music Group.

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How Lin-Manuel Miranda’s EduHam Uses Hip-Hop To Connect Students To History

“Who lives, who dies, who tells your story?”

That line is sung by the cast of Hamilton in the musical’s emotional final number — and it’s an important question to ask ourselves in our daily lives. Whose lens are we seeing history through? Who wrote the article we just shared on Twitter? Who’s telling the story?

“Young adults live in a world that bombards them with other people’s opinions and ideas,” Sasha Rolon Pereira, Director of the Hamilton Education Program, says. “This isn’t actually new, the technology has just advanced and made it overwhelming in a new way.”

The Hamilton Education Project, or EduHam for short — founded by Lin-Manuel Miranda in conjunction with The Gilder Lehrman Institute of American History — is keenly interested in who’s interpreting the history that students are learning. Does it reflect the neighborhoods and cultures they’re from or is it being told by someone with their own agenda? That’s why the program connects students to primary sources for research, because even textbooks are written through a distinct lens and are often inaccurate.

In short, EduHam encourages students to do just what Miranda did when he researched and wrote Hamilton — take back the narrative and then tell the story in their own style and voice.

“The truest way to find out what happened is to go directly to the voices –the letters people actually wrote to each other, the diaries they kept, the art and songs and speeches they made,” Rolon Pereira says. “Letting students interpret for themselves what all these primary sources mean lets them actively engage in history instead of being passive receivers of someone else’s version of it.”

The Hamilton Education Program

Started in 2015 to create education outreach to pair with the mega-hit musical, EduHam has connected thousands of students to history, whether participating online or in their classrooms, in a unique way — through their own experiences.

“This is a story about America then, told by America now, and we want to eliminate any distance — our story should look the way our country looks,” Lin-Manuel Miranda once told the New York Times.

Often in interviews, the actor, musician, and playwright has noted that when he began researching Hamilton he saw endless parallels to people today.

“I was like, ‘I know this guy,’” he told the Times. “Just the hustle and ambition it took to get him off the island — this is a guy who wrote his way out of his circumstances from the get-go. That is part and parcel with the hip-hop narrative: writing your way out of your circumstances, writing the future you want to see for yourself. This is a guy who wrote at 14, ‘I wish there was a war.’ It doesn’t get more hip-hop than that.”

Though it seemed radical to mirror and juxtapose the experience of people of color in America with those of the founding fathers, Hamilton‘s breakaway success proves that the idea worked. The musical speaks on both metaphorical and literal levels to the diversity of this nation while playing with how history is told. Similarly, EduHam urges students to mine the past for connection points to the present day.

“We encourage students to discover the diversity of experience during the founding era and connect it to current events,” Rolon Pereira says. “From Phillis Wheatley’s depiction of George Washington to Abigail Adams’s famous letter urging her husband to “remember the ladies,” students are drawn into the country’s contradictions as Americans aspired toward liberty.”

The Hamilton Education Program

EduHam features a wealth of materials on their website for students to access — with information on more than 45 Founding Era figures, 14 events, and 24 key documents, as well as 175 supporting documents, video clips from Hamilton, and more. Then they connect these materials to key moments in the musical and students are able to create their own original performances, inspired by the historical documents that most sparked their imaginations. These performances might be a rap or a song, but they also might be poems or scenes.

When the theater was still running, selected students were able to come together to perform these pieces. Giving many young adults the opportunity to see the show and interact with the cast.

“It has given hundreds of thousands of students access to a professional theater experience they might not otherwise have had, as both performers and audience members,” Rolon Pereira says. “Students are encouraged throughout the program to connect past people, ideas, movements to what they are seeing today. Especially regarding individual action, strength in diversity, and speaking up for civil rights.”

The Hamilton Education Program

After theaters closed, EduHam created an extensive program at home — something that was already in the works, but was accelerated by COVID-19. Now, students all over the country have access to the custom-designed education program that connects early U.S. history with hip-hop and other performing arts. And they can upload their performances into a National competition and lottery that will pick winners to come to NYC to see Hamilton in person when theaters are back up and running.

It’s all about empowering students to tell their country’s stories themselves, very much in the spirit of Miranda’s creative vision.

“Lin-Manuel Miranda wanted Hamilton to open the gates of theater as well as the American founding era to people of color,” Rolon Pereira says. “With a cast that is predominantly non-white, even in telling the stories of historical people who were white, the musical and the program celebrate the universality of American aspirations.”

The Hamilton Education Program

For more information on these programs, please visit gilderlehrman.org. To register for EduHam Online go to hamilton.gilderlehrman.org.

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Patty Jenkins Explains How She Came Really Close To Walking Away From ‘Wonder Woman 1984’

Despite Wonder Woman smashing box-office records and being a stunning success for the DC Cinematic Universe, which had hit a stumbling block with the lackluster reception to Batman V Superman and was about to face even more trouble with the release of Justice League, director Patty Jenkins ran into some interference when it came time to set up Wonder Woman 1984. In a new interview with the Happy Sad Confused podcast, Jenkins reveals that she came very close to walking away from the sequel after Warner Bros. seemed reluctant to pay her as much as her male counterparts even though she’d deliver a blockbuster hit.

“They got paid seven times more than me for the first superhero movie,” Jenkins said. “Then on the second one, they got paid more than me still.” Realizing she’d have to play hardball, Jenkins prepared herself to say “no” to Wonder Woman 1984 if she wasn’t afforded the respect she’d earned. Via /Film:

“I started to walk away. I was gonna’ walk away. I even said I’d be happy to go to another studio and make a quarter as much because it’s not a sequel, on principle, no problem. It’s interesting as someone who never made any profit in my career up until Wonder Woman, that I was always at peace with it. I was like, ‘Hey I get it.’ But now I was like, ‘Listen, I never made any money in my career because you always had the leverage and I didn’t,’But now the shoe is on the other foot so it’s time to turn the tables.”

Obviously, things worked out, and Jenkins delivered the sequel that’s set to hit theaters and HBO Max on Christmas Day. However, Jenkins is noticeably more reluctant to tout her involvement with Wonder Woman 3. Couple that with the bombshell news that she’s signed on to direct Rogue Squadron, making her the first woman to direct a Star Wars films, and it’ll be interesting to see if Jenkins might have just left DC Comics behind for a galaxy far, far away.

(Via Happy Sad Confused)

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Eminem’s ‘Music To Be Murdered By Side B’ Gives A Tiny Glimmer Of Hope

Upon perusing the tracklist for the recently released “B-side” version of Eminem’s 2020 surprise album Music To Be Murdered By, you might be tempted to press play on the track titled “Book Of Rhymes” on account of the fact it’s produced by luminary beatmaker DJ Premier. If you care at all about the legacies of either hip-hop elder statesman, I strongly advise against this course of action. I personally made that mistake and had to go listen to Da Ruckus’ “We Shine” to remind myself why I ever liked the rapper in the first place, followed by a full-on Gang Starr playlist so I could hear a rapper sound like they actually appreciated having the legendary producer bless the beat they rhymed on. But, a little persistence pays off on this one. Read on.

After rumors of a deluxe version of the already gargantuan album circulated online for nearly eleven months, it finally arrived to smash any glimmer of hope that just maybe one rapper would resist the siren call of an unnecessary reissue this year. After all, if anyone could survive 2020’s industry shutdown without taking a major loss, it should be Eminem, one of the most successful and handsomely-paid artists to pick up a mic. Considering how dense and tough-to-digest he considers his mouthy wordplay on the surprise album, you’d think he would want to give fans a little more time to chew on it before bonking them over the head with another full hour of tightly-packed double entendres.

But alas, here we are, once again offered a sumptuous, utterly rich meal of endlessly complex rhyme riddles to unravel despite still being gorged on the last one. I’ll give it this; it’s more consistent and cohesive with the theme of the original work than perhaps any other deluxe version to drop this year, with the exception of Lil Uzi Vert’s Eternal Atake add-on, LUV Vs. The World 2. Where that deluxe edition felt of a piece with its predecessor — perhaps owing to its fortuitous, next-week timing — so too does Music To Be Murdered By feel like a collection of songs that belongs on the original, rather than a series of tacked-on, salvaged cutting room floor tidbits.

The 16 tracks are kicked off with another Alfred Hitchcock sample dubbing them “music to be buried by,” and it’s, well, apt in more ways than one, as it befits Eminem’s gift for double meanings. Sure, Side B is a fitting postscript, or perhaps even sequel, to the original MTBMB, but it’s also just as suffocating as being buried alive. The metaphors and shock value raps and puns and complaints about mumble rap pile up until the listener is basically crushed under the weight of Em’s near constant-harping on the same subjects he always does and has since 2017’s Revival. He’s the angry, angsty teen who grew up into a similarly angry, crotchety dad, yelling at his kid about looking slovenly while missing the mustard stain on his own shirt.

Great rhymes, mediocre beats, and stale content are Side B’s trademarks, along with, of course, the pre-emptive strike at anyone audacious enough to ask for more on the aforementioned “Book Of Rhymes.” On “Black Magic” with Skylar Grey, he again fantasizes about murdering an ex-lover. He builds up an eight-bar set-up to a one-liner about being the “rap god” again on “Alfred’s Theme.” He raps over a Casio keyboard default rhythm on “Tone Deaf” (get it? get it? DO YOU GET IT?). He again lampshades his prior offensive shenanigans to undermine critics’ legit complaints on “Favorite Bitch” with Ty Dolla Sign — another utterly misplaced feature.

One of those features catches a stray on “Guns Blazing,” where he calls down rappers who utilize ghostwriters — on a track with Dr. Dre, whose last true solo hit single was written by Jay-Z. I imagine one, the other, or both were staring very intently at the mixing levels at the monitors during playback so as to avoid a knowing glance that would have short-circuited every synapse in both their brains. On “Gnat,” which at least has a modern-sounding beat, he spits a half-dozen coronavirus references in the space of as many bars, references a two-year-old rap beef he ostensibly won, and on “Higher,” he goes back to 2009 — again — with a plodding beat that sounds like the soundtrack to every post-apocalyptic war movie ever made at once.

About halfway through the album, we finally encounter a highlight. “These Demons” kinda bangs, and if Em had done a whole album like this — a much shorter one — this could have been a truly enjoyable album. He even gets topical in a more meaningful way than just sprinkling COVID references everywhere like anti-maskers sneezing in a grocery store. “This pandemic got us in a recession / We need to reopen America,” he reports. “Black people dyin’, they want equal rights / White people wanna get haircuts.” This is an astute summation of the situation and bears exegesis — an entire album’s worth, if possible. Em claims his pen skills are unrivaled by any other writer’s in rap, so personally, I’d be fascinated to see if they are equal to addressing real-life situations worth exploring rather than imagined slights from Twitter trolls.

“Zeus,” the track that seems to be drawing the most buzz for the album, is more or less the apotheosis of Side B, and the track that highlights everything it does wrong — and right. It’s got a strong beat courtesy of Luca Mauti and T-Minus, a solid chorus from White Gold (a sub-theme could be, “Why Eminem should stop doing his own hooks”), and an earnestness that bolsters its directionality. It points to something that isn’t just “I’m the best rapper and should never be criticized under any circumstances ever” or “Gee, I hate women so much. One lady did me wrong once and now I fantasize about murdering them all constantly.” He starts off in these places, yes, even opening the track with a complaint that someone compared him to Tekashi 69 — who, ironically, is only around because aggrieved old heads keep bringing him up.

But then, he does a thing on the track that I and so many other people wish he’d do in real life. He grows. He changes. He learns. He finds something to care about outside his solipsistic obsession with being universally loved. He warns his successors — Drake, Chance The Rapper, Future, Migos — that fame and love are temporary. He reminds listeners that he overcame a life of intense abuse, neglect, and self-sabotage to earn his 11-year sobriety chip. And he acknowledges and accepts — if only for a moment — the critiques we’ve leveled at him for so many years. “They keep wantin’ me to rap responsibly,” he confesses. “When I’m constantly passin’ the buck like the fuckin’ Dollar Tree / But I’ma always remind you that I came from poverty / Black people saved my life, from the Doc and Deshaun, and all that we want is racial equality.”

Hallelujah, pass the popcorn. Even though the verse ends ambiguously and seemingly refocusing inward, it feels like maybe, quite possibly, Em might be working his way toward realizing that his platform means something. It’s a baby step. But it’s in the right direction. Hopefully, Slim Shady is finally getting enough of making music to murder his demons and making up his mind to set about dismantling those of the world. That tiny glimmer of hope? Consider it provisionally, begrudgingly restored.

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A Fan Who Claims To Have Swae Lee’s Stolen Hard Drive Says They’ll Return It On One Condition

Swae Lee is an incredibly prolific artist. In fact, he turned in over 700 songs to producer Mike Will Made-It for his new album this July. So when he recently misplaced a hard drive containing his music at LAX, the rapper was at risk of losing a lot of work. After Lee offered $20,000 as a reward for the hard drive’s safe return, it didn’t take long for an anonymous fan to come forward and insist that they have it in their possession.

An Instagram account launched this week, claiming to be a fan who found Lee’s hard drive in a Louis Vuitton bag at the airport. Lee hopped on an Instagram Live with the account and was not convinced that the fan was telling the truth. But then, the fan began pulling out personal items that they found in the bag: a watch, an iPad, a handful of condoms, a stack of cash, a mask, and finally, the hard drive in question.

While the fan made it clear that they did, in fact, have Lee’s hard drive, they weren’t planning on giving it up so easily. “I know it’s corona, I know it’s a pandemic. I need more than 20k and then I’ll give you it back,” they said. “If not, I’ll leak some of your songs.” The person then issued a hefty demand: $150,000 or Lee won’t get his hands on the hard drive.

Shortly after the Live ended, the fan conceded. Rather than forcing Lee to pay up $150,000, the fan offered another way the rapper can have his things returned safely. Posting a message to their Story, they said they’d give back the hard drive if they could get a photo or a feature with Lee and Drake together.

Just a few days before his conversation with the fan, Lee expressed his frustration over those who were approaching his hardship as a money-making opportunity:

“This situation shouldn’t even be looked at like a money-making opportunity. It’s more like do the right thing. 80 percent of the songs on that hard drive are locked anyway, you can’t even get on them. So just, if you got it, contact me through Instagram, send a picture of the hard drive, because I see a lot of bullsh*t. […] I need this hard drive. I’ve been putting every thing I have into this album on this hard drive. Each of these songs are all my time. I stayed up 16 hours in the studio, 18 hours, two days at a time. This is priceless.”

Watch a clip of the fan showing off Lee’s hard drive above.

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A News Headline To An Almost Unbelievable Lawsuit Out Of Michigan Sounds Like An Homage To A Classic Beastie Boys Song

The Beastie Boys song “Fight For Your Right” is essentially a stereotype at this point, inserted into movies or TV shows where parents just don’t understand. The Licensed To Ill classic has inspired countless scenes of teenage tomfoolery, but it seems at least one lyric from the song has become a real thing that inspired a real lawsuit in Michigan. Several reports out of the gloved state detail a suit between a man who alleges his parents threw out his collection of pornography.

Full credit goes to MLive here for writing a Beastie Boys-inspired headline here. But it’s also a bit too on the nose, which is why it’s a good thing that the Detroit Free Press also covered it, so we know this is a real thing that happened. A 42-year-old man, David Werking, recently won a lawsuit he filed against his parents for throwing out his [Beastie Boys voice] “best porno mag” as the result of a dispute in the home where they all lived.

The MLive story described the case against Beth and Paul Werking as the judge did, who said his parents should not have tossed out “a trove of pornography and an array of sex toys”:

“This was a collection of often irreplaceable items and property,” Greengard said.

His client had moved into his parents’ home in late 2016 after a divorce. After he left for Muncie, Indiana, he expected them to deliver his belongings. He later realized that a dozen boxes of pornographic films and magazines were missing.

His father said in an email: “Frankly, David, I did you a big favor getting rid of all this stuff.”

The judge earlier rejected the parents’ request to dismiss the case.

Werking claims he’s owed $25,000 in damages, which is a lot of smut. But the case itself is very weird, to say the least. Apparently the “incident” stems from a 2017 matter where the parents asked Werking to leave the home for at least three days. According to the judge’s ruling, he tried to contact his parents and get back his illicit materials, but they weren’t happy about him even having all that porn in the first place:

The parents said they had told their son when he moved in that he could not bring pornography into their home or it would be destroyed. They also contended he had abandoned the property and said he could have mitigated his losses by removing it himself.

The judge said the parents would not allow him back and that they said they would ship his property to him.

The parents had kept some materials, described as the “worst of the worst,” in a safety-deposit box, concerned it could be illegal.

Authorities apparently reviewed the material to check for anything illegal like child pornography, and came up with nothing incriminating. Which must have been a very weird trip to the bank but, hey, a job’s a job.

(Via MLive)

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The Boulevardier Is The Perfect Holiday Cocktail, Here’s Our Recipe

Have you had a Boulevardier yet? Never? You’re in for a treat. If yes, then you know how good this is going to be. The Boulevardier is a Negroni variation that throws out the gin and replaces it with a solid Kentucky bourbon. It’s subtler, a little less bitter, and slightly sweeter than your classic Negroni.

It’s also the perfect Christmas, holiday, and New Year’s Eve drink. Perfect to learn how to make as 2020 comes to a close.

The Boulevardier harkens back to the Lost Generation in Paris and the “boulevardiers” or “men-about-town” who’d frequent spots like Harry’s Bar alongside creatives with the last names Fitzgerald, Hemmingway, and Dali. The titular boulevardier for whom the drink was named was a flaxen-haired American writer who ran a culture magazine back in those days called, you guessed it, Boulevardier.

Long story short, the American boulevardier preferred very American bourbon to botanical gin. And just like that, a new cocktail was born.

The beauty of this drink (and all Negroni variations) is its simplicity. The only thing you really have to dial in with this recipe is the balance. You want the bourbon to shine through with a bit of spice, sweetness, and oak. The Campari gets slightly muted by the brown liquor marrying to the sweet and herbal vermouth. Add some orange oils over the top, and you’ve got something truly special that feels like the holidays. Spice, sweet, bitter, dark, orange oils … add in some nuts and you’ve got a Christmas cake.

Let’s get mixing!

The Boulevardier

Zach Johnston

Ingredients:

  • 2-oz. bourbon
  • 1.5-oz. Campari
  • 1.5-oz. sweet vermouth
  • Orange peel
  • Ice

The base and key to this cocktail is bourbon. I’m using Woodford Reserve standard bourbon. It’s accessible, affordable, and stands up to cocktail mixing. Then there’s the sweet vermouth. Look, a lot of “drinks writers” will shit on Martini vermouth. Are there better vermouths out there? Sure. Does that make Martini bad? No.

Especially not in quarantine times, when the fact that Martini Rosso only costs $10 and is available at every liquor store feels like a significant perk.

While I wasn’t picky with vermouth for this recipe, I did get picky with my oranges. I wanted an orange with a thick skin, so I could get a good peel off of it. Sometimes oranges get what feels like really thin skin, and those tend not to be ideal when you’re aiming for a nice peel off the fruit.

You’ll Need:

  • Mixing jug
  • Barspoon
  • Strainer
  • Rocks glass
  • Knife or peeler
  • Jigger

Method:

Zach Johnston

The first thing I do is set up my station: Bottles at the ready, glass, jug, spoon, jigger, and orange.

I then use a knife (you can use a vegetable peeler too) to slice a thin peel off the orange. It should be about the size of your thumb and include as little of the pith (white stuff beneath the outer skin) as possible.

Zach Johnston

Next, I fill my rocks glass with ice to pre-chill. I then add all my ingredients into the mixing jug. Generally speaking, you’re going for three to five ounces in the finished cocktail. In this case, we’re aiming for a large, five-ounce cocktail that suits the holiday season we’re in and ushers in a New Year.

Zach Johnston

I top up the mixing jug with ice. Always fill whatever vessel you’re using to mix all the way up. I use the barspoon to then stir the drink until the outside of the jug starts to frost over — maybe 45 to 60 seconds, maybe more.

Zach Johnston

You’re adding water while also chilling the drink — in essence, finding balance.

I strain the drink into the waiting rocks glass that’s already filled with ice. It should come right to the top.

Finally, I gently bend the orange peel over the glass (orange-side towards the glass) to release the oils. I then rub the peel all around the outside of the glass and bend it slightly before dropping it into the cocktail.

Done.

The Bottom Line:

Zach Johnston

The beauty of this drink is the lightness that has bold flavors layered in. There’s a nice spice next to mild bitter botanicals, herbs, and real sweetness. The orange oils really make it all come alive. There’s a slight sense of almost a gingerbread with a distant echo of dark chocolate (thanks to that bourbon) that really amps up the holiday vibes.

A nice perk with this drink is that you really don’t need anything to make it besides a glass and a stirrer. If you want to make it on the fly, build it in the glass by adding ice, bourbon, vermouth, and Campari, stirring, adding the orange, and dive in. It’ll take about 15 seconds and it’s 100 percent worth it.

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LeBron’s I Promise School Lays The Blueprint For A Revolution In American Public Education

Any educator will tell you there’s a million obstacles to learning. Many of these are practical in nature and have little to do with a student’s intelligence or ability. For a kid from Akron, for instance, it’s hard to learn when you’re hungry or dealing with housing instability, or when there’s other kinds of trouble at home or in the community.

These things don’t just impact learning, they lead to behavioral issues that compound the problem. In the public school system, it’s nearly impossible to account for all these factors. Teachers are overworked and underpaid, and they simply don’t have the time or resources to provide the level of individualized attention necessary to reach so many students on the fringe and help them be successful.

The achievement gap in America is one that mirrors its economic gap. Poverty is among the biggest predictors of academic success: Students who live below the poverty line are significantly less likely to finish high school and more likely to score lower on standardized tests, and students with parents who have little or no college education are also much less likely to overcome those generational traumas.

In Ohio, nearly half a million children live in poverty. It’s the sixth highest rate in the nation, and their achievement levels reflect those trends. So when LeBron James — a product of that very public school system — talks about how he could’ve been a statistic, about how he’s not even supposed to be here, those statements are a lot truer than they might seem on the surface. Overcoming those early obstacles wasn’t the foregone conclusion it now seems to be with the benefit of hindsight.

The memory of those struggles is a big part of what keeps LeBron grounded. It’s precisely why he helped open and fund the Akron-based I Promise School, a public learning institution that focuses on giving opportunities to the area’s most at-risk youth. In 2018, with a combination of public funds and money from the LeBron James Family Foundation, the I Promise School opened its doors with a whole new approach to what a public school education might look like when armed with the right resources.

I Promise serves more than 450 students in grades three through six, with the goal of adding a grade level each year. According to demographic breakdowns from Akron Public Schools, 59 percent of those students are Black, 10 percent are English Language Learners (ELL), and approximately 30 percent have a documented disability. The school uses a STEM curriculum (Science, Technology, Engineering, and Math), but its approach to education reaches far beyond standard classroom learning objectives.

At I Promise, educators and administrators abide by a “We Are Family” philosophy. In action, it means that a student’s entire family can use a wide array of resources designed to ease the many real-world burdens that make learning difficult for at-risk youth. For instance, parents have access to a Family Resource Center, which provides legal aid, job services, financial literacy courses, GED and ESL classes, mental health support, a fully-stocked food pantry, and more.

“We deliver curriculum in a very different way,” says LJFF Executive Director Michele Campbell. “Understanding that all of our students are coming to us living in trauma. So if you’re living in trauma, you just can’t sit and be like, ‘Okay, let’s get ready to learn math.’ You’ve got to peel back the layers and figure out what’s going on, and service those basic survival needs before you can even begin to learn. We believe that to be successful in education, you can’t just focus when the student is sitting in your classroom from 8 a.m. to 3 p.m. or whatever time it might be. You need to look at that student holistically, and that student’s whole family unit. So, that is built into our school.”

It’s a philosophy that isn’t necessarily based on any other learning models, but rather on LeBron’s own individual experience as an inner-city youth with a single mom trying to make his way through a public school system that was ill-equipped to help his family navigate those challenges. When designing the school’s wrap-around services, LeBron and his mother Gloria worked closely to ensure families like themselves would have more opportunities.

So how do students qualify for admission? Eligibility is partly based on second-grade assessments for students in Akron Public Schools in reading and math. Students scoring in the bottom 20th percentile in these areas are then entered into a lottery. The number of eligible students varies each year, but I Promise has been able to accept between 20-30 percent of the students they’ve identified as high-risk since they opened. When students arrive at I Promise, they are afforded access to the many resources mentioned above for the duration of their time there, and beyond.

There are a number of ways I Promise goes above and beyond what’s feasible in a traditional public school setting. Yet, as part of the Akron Public School system, it’s subject to the same educational benchmarks as every other school, and in the state of Ohio and elsewhere around the country, that means student progress is evaluated via standardized test scores.

But within those confines, I Promise keeps to its vision of measuring success using a more holistic approach. From that perspective, it often entails helping students overcome the kind of practical everyday challenges that create barriers to education for youth in at-risk situations.

“For us, success looks really different. And quite honestly, it’s on an individual basis because every single one of our students comes to us at a different level of learning,” Campbell says. “And for some, it’s literally getting them to come and sit in a classroom and engage. So it’s very individualized, but again, it starts from whether it be attendance, behaviors, academic success; we’ve got to get those first things done first. And then we move forward with how do we help them learn and progress on the educational spectrum.”

For a school where it can be a big win just to get students to show up to class, it requires a different approach to behavioral issues as well. At I Promise, students aren’t suspended or expelled they way the would be at most public schools for behavioral problems. Instead, administrators believe that the trauma associated with an unstable home life is at the root of these issues and must be addressed first — students exhibiting these issues work closely with an in-house trauma specialist.

There are many issues that can lie at the root of these problems, but one area I Promise focuses on specifically is families who are experiencing homelessness or housing instability. That’s where the I Promise Village comes in. Located just a few blocks from the school, the Village opened its doors in late July of this year to provide rent-free transitional housing for these families. In partnership with Graduate Hotels, LJFF worked for more than a year to renovate the current building, which features 20 units varying in size from studios to one and two-bedrooms. Each includes a bathroom and kitchen. Two of those units are reserved for families experiencing emergency situations such as fires, evictions, etc.

The Village isn’t considered a permanent solution, however. How long a family stays depends on the plan they’ve outlined with the foundation prior to moving in. As with the school, the Village provides resources related to financial literacy, adult education, and trauma counseling, all with the goal of helping the families become more independent.

The innovative approach at I Promise doesn’t just apply to student learning. It informs teacher support, as well. At I Promise, the class sizes are smaller, but the demands of teaching students living in trauma are much greater. To address this, they’ve partnered with the University of Chicago’s TREP Project (Trauma Responsive Educational Practices), which educates and supports teachers who work in communities with high levels of poverty and crime.

“It’s a demanding experience,” Campbell says. “Their day looks different than their counterparts in Akron Public Schools, because we build so much professional development support into that. All of our students are at the lowest 25 percent in our district, and I know a lot of them come with behavior challenges, which is more demanding on teachers. So the TREP continual professional development and the STEM professional development for that curriculum is really important. So we fund all that, and we help advocate for those changes with our teacher’s union, because our school, they need to look different.”

Because there isn’t much precedence for this in terms of learning models that provide this level of support, there’s naturally been some skepticism about the efficacy of this approach. Though the sample size was small — approximately 250 during their first year of operation — that data on student growth showed plenty of reason for optimism.

On their district-wide MAP assessments (Measures of Academic Progress), 93 percent of students met or exceeded their individual growth targets in reading and math. I Promise also received an A on their Progress Measure report card, meaning students are exceeding average growth rates compared to other students around the state. Additionally, students are subject to high stakes, state-level tests in English Language Arts for third graders that determine whether they pass to the next grade, and so far, no students at I Promise have had to be retained.

Part of what makes the school unique is that, unlike other alternative or charter schools that operate on private funding from high-profile individuals, I Promise is part of the public school system in Ohio and has to be able to demonstrate in tangible ways that what they’re doing is working. To aid in that, they’ve employed an in-house researcher from the University of Akron to track the data on student performance.

For I Promise, their relationship with the Akron Public School system isn’t just about proving that at-risk students can thrive when you ease the extracurricular burdens that negatively impact learning. It’s aimed at influencing public schools to adopt some of their philosophies, integrate similar programs and resources, and to reconsider what’s possible in public education in general. That’s a tall order for schools and districts that don’t have the backing of one of the biggest sports icons of his generation.

Even then, there are gigantic challenges associated with an endeavor like this. LeBron isn’t the first athlete or celebrity to help found a learning institution in their community, armed with money and good intentions. Many have tread this territory before, to varying degrees of success. One example is Spurs legend David Robinson, who founded the Carver Academy in San Antonio in the early 2000s. What started as a private, faith-based institution has since evolved into a not-for-profit charter school that is part of the IDEA Public School network in Texas. As with I Promise, Robinson wants to show what’s possible in public education when you have the right resources.

“I think we want to try to make public education as good as possible,” Robinson says. “We can come up with some things that maybe can be learning points and learning lessons for the public schools … just to show what’s possible and hopefully get some best practices that maybe can be transferable to public school. So I think that there is value there to try to do things a little bit differently than the way we’ve been doing it. Because in many neighborhoods, many communities, these kids are not getting a proper education. So they’re not getting exposed to what they need to, and how can we be more efficient and more effective at providing that for every single kid and not just some districts and some communities.”

For as much progress as I Promise has made in the two years since it opened, the pandemic has brought new challenges, just as it has for so many schools around the country. I Promise students transitioned to online learning in mid-March and will continue to do so for the foreseeable future. As part of Akron Public Schools, students are provided a Chromebook and continue to have access to the school’s many resources, but given the unique obstacles that so many families face, administrators have had to adjust their priorities.

“It was all about, yes, our students are online learning, but that wasn’t the priority,” Campbell says. “The priority was, are they safe? Do they have food? Do they have the place to lay their head at night? It was about survival. And as we got into this in March and continue today, that’s what it continues to be. We have a 24 hour hotline. They have access to medical care if they need it. We’re all about survival.”

Despite these challenges, LeBron and his foundation continue to look toward the future. This week, they broke ground on House Three Thirty in Akron, which is slated to open in 2022 and will act as hub for I Promise families and others in the community, offering access to family programs, financial literacy courses, job training, youth sports, a space for group gatherings, and much more.

For I Promise and LJFF, it’s just the latest part of a bold and ambitious mission to redefine what it means to be a community and take responsibility for one another’s success and well-being.

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Weekend Preview: Chadwick Boseman’s Last Turn In ‘Ma Rainey’s Black Bottom’ And ‘The Mandalorian’ Season Finale

Ma Rainey’s Black Bottom (Netflix film) — Chadwick Boseman left this world far too soon, but before he departed, he left us a lasting performance alongside Oscar winner Viola Davis. She portrays the legendary “Mother of the Blues,” and he’s her ambitious trumpeteer, Levee. Together with his fellow musicians, they will conquer a blazing hot 1920s Chicago recording session, and Levee will help inspire his colleagues to unleash truth-revealing stories that will alter their lives and, possibly, history itself. It’s a testament to the blues’ transformative power and adapted from two-time Pulitzer Prize winner August Wilson’s play of the same name with Denzel Washington onboard as producer.

The Mandalorian: Chapter 11 (Disney+ series) — The season finale arrives with Baby Yoda meeting an iconic character from the Star Wars universe and a post-credits scene that’s causing some panic in the fandom. However, Baby Yoda still has a Christmas Day present, so check in for that as well.

The Flight Attendant (HBO Max series) — It’s Season 1 finale time, y’all, so who’s the murderer? Kaley Cuoco busts away from the The Big Bang Theory with a fun flight of (darkly comedic) fancy. She plays portrays an airline stewardess whose international jet-setting lifestyle includes falling into bed in various countries with various handsome men. During the course of one particularly fateful encounter, Cassie wakes up next to the dead body of a one-night stand. She spends the rest of the series attempting to clean sh*t up. It is such a blast, truly.

The Stand: Premiere (CBS All Access) — Constant Readers will appreciate this fresh take on Stephen King’s epic novel, which is widely regarded as one of the greatest post-apocalyptic works of fiction. Those who are afraid of checking into pandemic land can rest assured that the show feels like an unlikely antidote to the hellish things that humanity has seen this year. The show also goes non-linear in order to avoid wading through the superflu like the book did, since this isn’t really a “pandemic” story but one about the rebuilding of society and the archetypal battle between good and evil.

Small Axe (Amazon film collection) — It’s week five of five for this batch of Steve McQueen-directed movies. The stories, set in London’s West Indian community, will explore the endurance of the human spirit despite setbacks from discrimination and rampant racism, all set from the late 1960s to the 1980s.

Here’s the rest of this weekend’s notable programming:

SNL (Saturday, 11:29 p.m.) — Host Kristen Wiig and musical guest Dua Lipa.

Supermarket Sweep (Sunday, ABC 8:00 p.m.) — Leslie Jones and every bit of her enthusiasm will host contestants in this revival of the grocery-shopping game show.

The Outpost (Sunday, CW 9:00 p.m.) — Falista’s angry, Janzo’s a detective, and Talon’s also digging deep into what happened with her father. And what’s going on with Tobin?

Your Honor (Sunday, Showtime 10:00 p.m.) — This week, Bryan Cranston is Panic-Cranstoning all over the place while fixing up details about his son’s hit-and-run while the mob family’s working toward revenge, and Lt. Nancy Costello is having suspicions.

Shameless (Sunday, CW 9:00 p.m.) — Franny ends up with Frank all day, and it doesn’t go exactly as expected! Well, there’s weed, too, but other than that a lot of focus ends up on Ian and Mickey’s constant squabbling, along with another crisis for Tami’s family. Yep, the Gallaghers are dealing with the pandemic in their own way on Chicago’s South Side, and I still have wishes for this final season.

In case you missed these recent picks:

Adult Material (HBO Max) — Hayley Squires stars as a well-known British porn star who lives in the spotlight while also juggling motherhood. Rupert Everett plays her old colleague, with whom she navigates the Internet’s porn revolution, and they search for innovative ways to put a fresh spin on all things erotic. WarnerMedia’s streaming service acquired this drama series, which is currently airing on the U.K.’s Channel 4, from Banijay Rights.

The Prom (Netflix film) — Ryan Murphy’s relationship with Netflix keeps on giving, this time with a neon-bedazzled Broadway adaptation, which stars Meryl Streep, Nicole Kidman, and James Corden. The three help shake up the prom at a small Indiana town after a teen faces bigotry while attempting to attend her high school’s biggest dance with her girlfriend. Also, glitter, glitter, and more glitter, all in service of inclusion.

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Hilary Swank Plays A Vegas Hook-Up Gone Wrong In The Wildly Eventful ‘Fatale’

Going into Fatale, the new Lionsgate movie from director Deon Taylor, all I knew about it was that it starred Hilary Swank as some kind of Fatal Attraction/hook-up gone wrong alongside a mostly black cast.

Hilary Swank in a movie about a crazy white woman? I thought. Sign me up.

Swank is one of those actors so acclaimed that she rarely gets to do anything fun. As it turns out, Fatale never skimps on the action, but it doesn’t entirely deliver on the promise, either. It’s one of those rare movies where “too grounded” is actually a fair criticism. It manages to fall into the space between realism and escapism, excelling at neither.

Michael Ealy plays Derrick, an athlete-turned-sports-agent so successful that he parks his Lamborghini on one of those rotating showcase disks (a wealthy Susan?) outside his tacky, modernist glass-and-steel baller mansion. Weird flex, but okay. Despite his aspirational (yet somehow corny) lifestyle, Derrick’s beautiful wife with very shiny hair (Traci, played by Demaris Lewis) seems to hate him — allegedly on account of he’s chosen his career over her. Seeing that he’s depressed over his rocky marriage, Derrick’s business partner, Rafe (Mike Colter from Luke Cage) takes him to Vegas for the weekend to get his mind off things. Over drinks at the club, Rafe makes Derrick take off his wedding ring and be not married for the weekend. A nice little vacation from monogamy, another perk of being rich.

Almost immediately, Derrick meets a tigress — Val, played by Swank — who refers to herself as an “unaccompanied adult.” She has a high-stress job and goes to Vegas from time to time to “blow off steam,” she tells Derrick. Someone who goes to Las Vegas, alone, to go to clubs, as a way to blow off steam, sounds like a nightmare human, and a statement that should interpreted as be the world’s biggest red flag. But what the heck, it’s not every day you take a marriage vacation and immediately find someone so redolently DTF. And so Derrick and Val retire to a hotel room to have some sex, which they do, set to Fatale‘s bizarrely loud and intrusive musical score. This screeching track periodically swells up throughout the movie, drowning out everything else with thumping distorted fuzz, presumably as a way to make sure we’re still paying attention.

When Derrick wakes up the next morning, he naturally tries to flee as fast as he can. Before he can, he discovers that Val has taken his cell phone hostage, locking it in the hotel room safe. She won’t give him the combination until he does what she wants. “I have to f*ck it out of you?” asks an incredulous Derrick, who nonetheless f*cks it out of her (a man’s gotta do what a man’s gotta do).

It’s probably Fatale‘s most effective scene, naughty enough to keep us hooked and making us wonder, Is Hilary Swank crazy, or just clever and horny? The writing, by David Loughery, and direction by Taylor, excels at staying grounded, with dialogue that sounds just naturalistic enough, like classed-up Skinemax. When the action flows directly from characters, it works. It’s only later, when it has to do the heavier narrative lifting, that it falters.

Derrick comes home, driving his Lambo back to its rotating disk (what’d he do, stick his $300,000 convertible in long-term parking at the airport?), and tries to make fake-nice with his unsuspecting wife. Everything seems to be going swimmingly — the monogamy vacation worked! — until Derrick becomes the victim of a home invasion. Which unexpectedly thrusts Val back into his life.

This is the point at which the movie both gets interesting and also falls apart. It feels like Taylor and Loughery figured, probably correctly, that a Vegas lady looking for a one-night stand and then getting it wouldn’t be justification enough for her to go all Single White Female on Derrick. And so they write for Val instead a subplot in which she’s trying to regain custody from her ex, a corrupt city politician who is siphoning money from “children’s charities in South Central,” who also has all the cities’ judges in his pocket.

That’s, ah… a bit much to try to work into Derrick’s story, considering that he’s also dealing with a flaky wife, an attempted hit, and corporate intrigue at his sports agency. Trying to cover that much ground was probably a bad idea to begin with, and in order to resolve it all in under five hours Fatale‘s solution is to just sort of turn everyone into action heroes and have them start shooting at each other. Meanwhile, all the backstory sucks the fun out of Val as a character, explaining her away until there’s nothing left for her to do but react. That she’s trying to get her daughter back makes the sexual angle basically irrelevant, transforming the story from naughty to simply wordy.

All that being said, it’s impossible to deny that a lot of stuff happens in Fatale. If judged by quantity alone, it’s a masterpiece. Fatale isn’t a good movie, per se, but it does seem like a perfect movie to watch while really stoned and say “Oh damn” at every wild plot twist.

‘Fatale’ hit theaters December 18th, and VOD January 8th. Vince Mancini is on Twitter. You can access his archive of reviews here.