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Terry Crews Recreates His Classic ‘A Thousand Miles’ Scene From ‘White Chicks’ While Filming ‘AGT’

White Chicks came out 17 years ago, and while the main hook of the 2004 movie is Shawn and Marlon Wayans dressing as, to use their words, white chicks, that’s not the most element of the film nearly two decades later. Instead, it’s the classic scene in which Terry Crews’ character does some passionate singing along with Vanessa Carlton’s “A Thousand Miles.”

Crews has regularly acknowledged and had fun with that scene over the years, and now he has done so yet again, this time on the set of America’s Got Talent. While filming a recent episode, in an on-set moment that didn’t make it to air, Crews delighted the receptive crowd by exuberantly dancing and lip-syncing as “A Thousand Miles” played.

As aforementioned, this isn’t the first time Crews has re-created his White Chicks moment. He performed the song on an episode of Comedy Central’s Lip Sync Battle in 2015, for example. He also re-created the scene on Today in 2014.

Meanwhile, Carlton has some tour dates coming up towards the end of 2021. She wrote of them recently, “Is there a chance we can actually see each other in person? May I play you some songs in real time? Can we have a real exchange of energy and spirit and tears and all those human connections that we’ve missed? I hope you can attend a show. I am always grateful to be able to perform and to connect with you all. There will be safety measures at these performances so that we can all stay alive and well:-) See you there baby! X.”

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Big Boi, Like All Of Us, Was Captivated By The ‘Malice At The Palace’ Documentary

LOS ANGELES – Just like the Hawks or the Falcons, Big Boi is a staple of Atlanta. The Outkast member, aka Daddy Fat Sax, aka Sir Lucious Left Foot, aka Billy Ocean, is often spotted wearing local sports gear, in attendance at big games, and reps the city proudly. Without Atlanta there is no Big Boi, but without Big Boi, there really is no Atlanta, at least not the Atlanta we’ve come to know and love.

So it’s no surprise he continues to be around in big sports moments. That led him to Exposition Park on Tuesday, just outside the Coliseum, as he and Sleepy Brown performed the MLS All-Star Concert presented by Heineken following the Skills Challenge. Sporting an Atlanta United hat and an All-Star jersey, Big Boi took a masked and raucous crowd through a medley of hits from his Outkast days and his solo career.

Big Boi and Sleepy Brown took a couple minutes to run through Dime’s “Seven Questions Or Less” series, as they showed love for Michael Jordan, pondered their favorite NBA villains, and more.

1. What is your favorite basketball memory?

Sleepy Brown: Favorite basketball memory? Shiiiit. Jordan.

Big Boi: Dominique Wilkins. Spud Webb in the Dunk Contest. Malice At The Palace. I just watched that on Netflix, when they were knocking motherfuckers out. How about that?

2. Favorite player growing up and why?

Sleepy Brown: Michael Jordan.

Big Boi: Michael Jordan.

Sleepy Brown: Period.

3. Most memorable game y’all have been to?

Big Boi: When we performed at the All-Star Game.

Sleepy Brown: Yes. That was amazing. With Kobe, and everything.

Big Boi: “Speakerboxxx/The Love Below” was out. So, ’04. We killed that bitch.

4. What do you think about the Hawks heading into this season?

Sleepy Brown: The Hawks showed their ass last season. Very proud of them. I’m so excited for next season.

Big Boi: I’m glad they paid that money to our boy to stay. We’re building. We’ve got some good rookies coming in, so we’re looking good. Yessir.

5. Who was your villain growing up?

Big Boi: Shit, goddamned Dennis Rodman.

Sleepy Brown: But I used to like Dennis Rodman too.

Big Boi: Yeah, I don’t know if he’s “bad.” Isaiah Thomas though … Yeah, yeah.

6. Most surreal moment that you’ve had, either meeting a player or around a player?

Sleepy Brown: That All-Star Game, we was in the tunnel, and next thing you know everybody came out, Kobe, AI, it was everybody. We were standing there like ….

Big Boi: What about smoking cigars in Japan with Michael Jordan in the skybox?

Sleepy Brown: Oh yeahhhhhhh.

Big Boi: That was the coolest shit ever.

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Delta Air Lines’ Decision To Fine Unvaccinated Employees $200 Each Month Is Sparking Some Strong Opinions

Delta Airlines announced earlier today that it would begin fining employees who are unvaccinated, becoming the first U.S. company to use a monetary penalty to encourage immunization.

In a memo sent out by Chief Executive Officer Ed Bastian Wednesday morning, the company outlined the new fees, stating that any employee currently on the company’s health-care plan who didn’t get the shot by November 1st would be subject to a $200 monthly surcharge. Starting in September, any employee who remains unvaccinated will also have to undergo weekly testing. While plenty of other companies, like United Airlines, Google, and Facebook have made vaccinations mandatory and announced their own immunization policies, Delta is the first to develop financial consequences for remaining unvaccinated.

Naturally, people had opinions. More than a few questioned Delta’s ability to penalize workers for their personal health choices:

Others applauded the company for making an effort to improve vaccination rates among its employees (currently around 75% of Delta employees are vaccinated.)

But, perhaps the sharpest commentary came from the eagle-eyed commenters who noticed Delta got very specific when naming the Coronavirus variant in question.

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Rhye’s Ex-Wife Files A Lawsuit Accusing Him Of Sexual Assault, Grooming, And Emotional Distress

A few months ago, actor Alexa Nikolas accused her ex-husband Michael Milosh, aka indie musician Rhye, of atrocious acts of sexual assault. Nikolas’ story was first posted on Instagram, detailing years of grooming and abuse she endured throughout their relationship. Now, Nikolas has officially filed a lawsuit against Milosh that makes further claims of assault and emotional distress.

According to a report from The AV Club, official court documents claim Milosh “utilized his power of authority and seniority over [Nikolas],” who was just 16 when she first began talking to 33-year-old Milosh. The lawsuit also claims Milosh manipulated Nikolas “into trusting him” after grooming her for years as a minor. “Upon gaining her trust, Defendant Milosh terrorized, sodomized, and abused [Nikolas] as part of his continuous conduct aimed at satisfying his prurient and economic desires,” the documents say.

Along with making claims about Milosh’s abuse, the lawsuit also asserts that “record labels, management companies, and other corporate entities enabled Milosh” by financially supporting his endeavors. This was done by continuing to work with the musician despite the “knowledge that Nikolas was a minor and continuing to suffer abuse even after the age of majority.”

Elsewhere in the lawsuit, court documents accused specific members of the music industry for attending an album rollout party in which nude images of Nikolas were on display without her consent:

“In 2013, Milosh released his fourth solo album ‘Jetlag’ under the label Deadly Records, owned and operated by Milosh alone. Milosh used recordings of Nikolas during sex throughout the album, including a specific recording of her saying ‘no’ in response to his attempt to anally penetrate her. At the album release party, Milosh displayed his photographic ‘art’ to the guests which consisted of huge photographs of Nikolas, completely naked. These photographs were not modest in nature, but rather, displayed Nikolas’ young naked body for all to see. Nikolas did not consent to the use of naked photographs of herself to be used in public in this manner. During the party, Milosh proudly told attendees of the party that they were listening to Nikolas during coerced anal sex throughout his entire album. Not surprisingly, Milosh did not disclose to his guests that he obtained these recordings when Nikolas was highly intoxicated and incapable of refusing. Nikolas’ own mother left the party in disgust.

Individuals from Innovative Leisure, Polydor, BIZ3, Loma Vista, and KCRW Public Radio were in attendance at this party, with prior knowledge of the foundation of the deceitful relationship which was rooted in childhood sexual assault. On information and belief, these industry professionals lauded Milosh in his ‘art’ with reckless disregard to the severe psychological damage suffered by Nikolas.”

Read The AV Club’s full report here.

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Harry Styles Will Require Masks, As Well As Vaccine Proof Or A Negative COVID Test, For His 2021 Tour

Next month, Harry Styles will finally kick off his Love On Tour run of dates featuring Jenny Lewis, starting on September 4 at the MGM Grand Garden Arena in Las Vegas. Now, the “Watermelon Sugar” singer is asking that all attendees please provide proof of COVID vaccination or proof of a negative COVID-19 test 48 hours ahead of time (in addition to wearing a mask).

Posting the following message to Instagram, Harry’s team wrote: “We are looking forward to seeing everyone as we return to the road! Please know our band and crew will be taking every possible precaution to protect each other so we can bring the show to everyone who wants to attend and we ask that you do the same.

For the health and safety of everyone attending Love On Tour, all ticket holders must provide proof of full COVID-19 vaccination or proof of a negative COVID-10 test within 48 hours prior to entry, in addition to wearing a mask. Thank you. We can’t wait to see you!”

Like the previously announced tour dates, which were rescheduled from 2020, Jenny Lewis is set to be the opening act for the tour’s entirety, with the exception of October 30 and 31, which will be Styles “Harryween” concerts at New York’s Madison Square Garden.

Look into getting “Love On Tour” tickets here.

Jenny Lewis is a Warner Music artist. Uproxx is an independent subsidiary of Warner Music Group.

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Please read this before you post another RIP on social media

This article originally appeared on 05.07.19

Grieving in the technology age is uncharted territory.

I’ll take you back to Saturday, June 9, 2012. At 8:20 a.m., my 36-year-old husband was pronounced dead at a hospital just outside Washington, D.C.

By 9:20 a.m., my cellphone would not stop ringing or text-alerting me long enough for me to make the necessary calls that I needed to make: people like immediate family, primary-care doctors to discuss death certificates and autopsies, funeral homes to discuss picking him up, and so on. Real things, important things, time-sensitive, urgent things.

At 9:47 a.m., while speaking to a police officer (because yes, when your spouse dies, you must be questioned by the police immediately), one call did make it through. I didn’t recognize the number. But in those moments, I knew I should break my normal rule and answer all calls. “He’s dead??? Oh my God. Who’s with you? Are you OK? Why am I reading this on Facebook? Taya, what the heck is going on?”

Facebook? I was confused. I hadn’t been on Facebook since the day before, so I certainly hadn’t taken the time in the last 90 minutes to peek at the site.

“I’ll call you back”, I screamed and hung up. I called my best friend and asked her to search for anything someone might have written and to contact them immediately and demand they delete it. I still hadn’t spoken to his best friend, or his godsister, or our godchild’s parents, or a million other people! Why would someone post it to Facebook SO FAST?


While I can in no way speak for the entire planet, I certainly feel qualified to propose some suggestions — or, dare I say, rules — for social media grieving.

How many RIPs have you seen floating through your social media stream over the last month? Probably a few. Death is a fate that we will each meet at some point. The Information Age has changed the ways in which we live and communicate daily, yet there are still large voids in universally accepted norms.

This next statement is something that is impossible to understand unless you’ve been through it:

There is a hierarchy of grief.

Yes, a hierarchy. It’s something people either don’t understand or understand but don’t want to think or talk about — yet we must.

There is a hierarchy of grief.

Hierarchy is defined as:

  1. a system or organization in which people or groups are ranked one above the other according to status or authority, and
  2. an arrangement or classification of things according to relative importance or inclusiveness.

What does this mean as it relates to grief? Let me explain. When someone dies — whether suddenly or after a prolonged illness, via natural causes or an unnatural fate, a young person in their prime or an elderly person with more memories behind them than ahead — there is one universal truth : The ripples of people who are affected is vast and, at times, largely unknown to all other parties.

A death is always a gut punch with varying degrees of force and a reminder of our own mortality. Most people are moved to express their love for the deceased by showing their support to the family and friends left behind.

In the days before social media, these expressions came in the form of phone calls, voicemail messages, and floral deliveries.

If you were lucky enough to be in close proximity to the family of the newly deceased, there were visits that came wrapped with hugs and tears, and deliveries of food and beverages to feed all the weary souls.

Insert social media. All of those courtesies still occur, but there is a new layer of grief expression — the online tribute in the form of Facebook posts, Instagram photo collages, and short tweets.

What’s the problem with that? Shouldn’t people be allowed to express their love, care, concern, support, and prayers for the soul of the recently deceased and for their family?

Yes.

And no.

Why? Because there are no established “rules,” and people have adopted their own. This isn’t breaking news, and you’re not trying to scoop TMZ. Listen, I know you’re hurt. Guess what? Me too. I know you’re shocked. Guess what? Me too. Your social media is an extension of who you are. I get it. You “need” to express your pain, acknowledge your relationship with the deceased, and pray for the family.

Yes.

However…

Please give us a minute.

We are shocked.

We are heartbroken.

Give the immediate family or circle a little time to handle the immediate and time-sensitive “business” related to death. In the minutes and early hours after someone passes away, social media is most likely the last thing on their minds. And even if it does cross their mind, my earlier statement comes into play here.

There is a hierarchy of grief.

Please pause and consider your role and relationship to the newly deceased. Remember, hierarchy refers to your status and your relative importance to the deceased. I caution you to wait and then wait a little longer before posting anything. This may seem trivial, silly, and not worth talking about, but I promise you it isn’t.

If the person is married, let the spouse post first.

If the person is “young” and single, let the partner, parents, or siblings post first.

If the person is “old” and single, let the children post first.

If you can’t identify the family/inner circle of the person, you probably shouldn’t be posting at all.

Do you get where I’m going with this?

In theory, we should never compare grief levels, cast the grief-stricken survivors into roles, or use words like status and importance. But maybe we need to at this moment (and for the next few weeks and months).

The “RIP” posts started hitting my timeline about an hour after my husband’s death, and I certainly didn’t start them. This created a sense of confusion, fear, anxiety, panic, dread, and shock for the people who knew me, too. What’s wrong? Who are we praying for? Did something happen? Did someone pass? Why are there RIPs on your wall and I can’t reach you? Call me please! What’s going on?

That’s a small sample of messages on my voicemail and text inbox. I had to take a minute in the midst of it all to ask a friend to post a status to my Facebook page on my behalf.

Your love and expressions of support are appreciated and needed, but they can also be ill-timed and create unintended additional stress.

The person is no less dead and your sympathy no less heartfelt if your post, photo, or tweet is delayed by a few hours. Honestly, the first couple of hours are shocking, and many things are a blur. Most bereaved people will be able to truly appreciate your love, concern, prayers, and gestures after the first 24 hours.

I’ve learned this from the inside — twice within the last four years. And I assure you that if we each adopted a little patience and restraint in this area, we would help those who are in the darkest hours of their lives by not adding an unnecessary layer of stress.

A few extra hours could make all the difference.

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3rd-grade teacher shares a brilliant Band-aid lesson she uses to teach kids about fairness

Kids develop a sense of justice quite early, as evidenced by how often parents and teachers hear the words, “That’s not fair!” But children’s understanding of justice and fairness tends to be simplistic until they are taught what those concepts truly mean in a not-so-simple world.

A 3rd-grade teacher named Aimee shared how she helps her students broaden their understanding of fairness in a viral TikTok video. It’s a basic-yet-brilliant way to help kids “get it” when they see another student getting something or being able to do something they’re not allowed to have or do.

Watch:


“Fair doesn’t mean everyone gets the same thing,” she says in the video. “Fair means that everyone gets what they need to be successful.”

She explains that this lesson helps kids be understanding when a student with diabetes needs a snack or when an autistic student needs noise-canceling headphones, or a kid with ADHD needs a fidget device.

The video has gone wildly viral, with 3.7 million views on her TikTok channel (@aimeesedventures) and more through shares on other social media channels.

In a follow-up video, Aimee explains that the fairness lesson was really about equity, but “not fair” is the terminology that kids use when they don’t have a good grasp of that concept.

She also explained in more detail why this lesson is important. Some kids need certain tools to help them work better, but those tools aren’t helpful to kids who don’t need them. In fact, sometimes they can be more distracting than helpful and hinder a kid’s learning.

Showing how a child with a fidget toy might use it while completing a task vs. a child playing with it instead of completing a task is a great example of how that works.

Kudos to this awesome teacher for a lesson that not only reaches kids where they are but also makes the concept clear for adults who need it as well. Here’s to all of the amazing educators who help our kids learn the lessons they need not only to succeed academically but to become better humans overall.

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Jalen Rose Wants To Challenge Society’s Definition Of Success For Students With The JRLA

Jalen Rose was 12 years old when he saw how the other half lived, riding in a van with his childhood hoops squad, the Superfriends, to Detroit Country Day for practice.

“I look off to my left, and there’s a lake called Cass Lake, and I’m like, hold on, they boatin’ and jet skiin’ in Detroit?” Rose tells Dime. “Like that’s happenin’? Like, whoa! I didn’t know that was goin’ on,” Rose recalls while speaking with Dime over the phone last week. “I’m like 12 — and by the way, I’m from the Great Lakes state. But I had never really been exposed to that. I ain’t see that. I ain’t know that was happenin’. I’m like, wait a minute it’s three in the afternoon and they’re [on the lake]? I’m like yo, I need that.”

It’s a story that sticks out because it was one of the first times Rose realized that where you live can define your dreams, goals, and opportunities, something he’s been determined to try and change for Detroit kids for more than two decades.

In 2000, he started the Jalen Rose Foundation with a focus on helping youth, eventually creating a scholarship endowment that helped send five kids from Detroit to the University of Michigan every year. After eight years, Rose wanted to find a way to spread that impact to more kids, and began kicking around the idea of starting a school. He drew inspiration from a CNN segment with Dr. Steve Perry, who started Capital Preparatory Schools in Connecticut.

“I was just watching TV, and I was fascinated that he was the principal and the bus driver,” Rose says. “I was like, hold on, so the principal is picking up the students on the bus? I was like, alright. And then, Detroit had a scarcity of schools because of [white] flight. When I grew up in Detroit when I was young, we probably had 1.5-2 million people, as a population. Well now we have 600,000 or so. One of the things that started to happen is schools were closing. So, I realized that, wait a minute, the quality of somebody’s education is defined by their zip code. People that have more money get better education. The people in the suburbs don’t get the same money that the kids in the inner city get.

Oh, what is the reason? Because they pay more in taxes. Got it, that’s an indirect version of gentrification.

How can I do more? And I was watching the news and I saw that Detroit had a scarcity of schools, in particular high schools. And what ends up happening is people who usually start schools deal with the younger population, because they’re easier. They have parental involvement, parental punishment if they do something, their parents gonna wake him up, make sure they get to school or not get to school, and they haven’t been jaded by society and the system. So they haven’t started with sex. They haven’t been exposed to drugs or violence. They don’t have a voice yet, so they become the easier group to influence. So, in Detroit, people were starting schools, but they were doing it only for the young kids because the high school demo was the toughest one to get money from the state.”

This represented a challenge to Rose, who wanted to prove that he could start a charter high school that would help students compete with their suburban and private school counterparts. The result was the Jalen Rose Leadership Academy, which he founded with Michael Carter in 2011, as an open enrollment, 9-16 model that provides assistance for students (who are determined by a lottery rather than selection based on application) beyond their high school graduation and into whatever secondary educational path they choose to take. For Rose, that last part was important, as he knew the success of the school would be incumbent on providing opportunities for students beyond what traditional institutions do, because they so often fail to account for the needs of the individual kid.

Where the JRLA’s mission differs from some other charter schools is how it takes a more tailored approach and understands the realities of the challenges their students have and will face from systems in place. Rose didn’t want to come in and instill a mandate that every JRLA graduate go off to a four-year college. Instead, he hoped to make it a place that supports students on whatever path they choose, whether it be a university, community college, or trade school, all while giving them the best opportunity to pursue a career where they can support their families.

“The young people want to be successful. They want to be game changers in their families in their communities,” Rose says. “They just don’t have the love, the support, and the guidance to put them in position to chase their goals and dreams. That’s what we’re trying to provide, and society tries to paint a picture that we’re not successful if we don’t graduate from Harvard, right? We’re not successful if we don’t graduate from Princeton. But what happens is when I’m getting ninth graders, they’re reading and doing math at a sixth or seventh grade level. So imagine me being Jalen Rose walking into a room of educators and telling them — and this was my thought my idea, my baby. I am not starting the school with four hundred kids, 9-12 grade, promising these 10th and 11th graders that’s reading at a sixth grade level that I’m gonna get them to college. Flat out, I’m not doing that, because I now become the system failing them again.”

JRLA couldn’t be about selling an unattainable dream, but elevating what these kids’ realistic opportunities are. Pushing every kid to a four-year university without continued support would be, undoubtedly, setting some up to fail. Instead, they need to show the various paths you can take to being a successful person and that it isn’t just about where you graduate from or what you do for a living, but that you’re able to have the skills to find a career and change it as you continue forward in life. Rose wants his school to support his students dreams, but also prepare them for the alternatives.

“Make sure that each young person finds what you just say, a tree, a path of a secondary interests, besides their dream or their goal,” Rose says. “So, let’s say Jalen’s goal is to be in the NBA, you should also create a second path. Because while we think that we’re going to have one job the rest of our lives, that’s inaccurate. That will never happen for anybody. So not only are we putting the young people on the path to be educated, but we’re also putting them on the path to be able to take care of themselves and those that they love.”

Rose was reminded of this recently, as he was sorting through things at his mother’s house after she passed earlier this year. When he had a junk removal service come to help take some stuff from the house, one of the guys that showed up to help was a JRLA graduate.

“One of them is a white gentleman probably like in his 40s. The second one was a JRLA graduate. He had his truck, had his clipboard, was professional. He made me so proud,” Rose says. “But what now happens is society tries to govern what we do and only again try to make it like success stories happen when they graduate from elite colleges, when success stories for inner city kids is putting themselves on a path to do something with their lives that’s in a positive.”

There’s no one version of success for Rose when it comes to those stories.

“I’ve seen my students work at Wingstop, I’ve seen my students work at Chase Bank, you can do more than one thing,” he continues. “This idea — we always sit around and say what we want to do for a living, but you’re not allowed to just have one job your whole life. It doesn’t work like that. And your dream job may just not be available yet. So, what are you going to do to take care of yourself in the process? I always say, life changes for young people, when all of your bills are in your name. That’s when it gets real. That’s when life changes.”

For Rose, when he looks back on a decade of the JRLA, he’s most proud that they’ve created something lasting that provides opportunity and support for kids in an area that so often aren’t afforded one.

“There’s nothing tougher than educating,” Rose says. “Teachers, to me, are the hardest working, most underpaid, taken for granted group of human beings walking the face of the earth. Not only are they tasked with educating your kid, but they’re also tasked with nurturing, and a lot of ways, babysitting your kid because they’re at school, eight hours a day. So what I’m most proud of is we set up an infrastructure that’s a safe learning environment in the community that has become a pathway of success for so many different young people at various degrees.”

Those things are paid forward in ripple effects that go well past an individual student. By reinvesting in the community, there’s no limit to the compounded impact of such an infrastructure.

“I look at the young person that graduates from Michigan equal to the young person that takes a trade, or has a job, or is doing what they choose to pursue in order to take care of themselves,” he continues. “Because they could be sticking a gun in somebody’s face or making the wrong decisions. And so, to me, that’s the thing that I’m most proud of, and how we did it.”

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Mandy Patinkin Shared A Heartbreaking Memory From His Work In ‘The Princess Bride’ As Inigo Montoya

Just as it’s nearly impossible to not be charmed by The Princess Bride, it’s equally as impossible to not simply adore Inigo Montoya actor Mandy Patinkin. On top of just seeming like an all-around great guy, Patinkin’s dazzling performance as the Spanish swordsman with a heart even larger than his alcohol tolerance has gone on to be one of the most beloved — and quoted — in all of cinema. However, it’s the way his personal life and the iconic film were recently revealed to be connected that has us a more-than-a-bit choked up.

On August 22, a TikTok user named Alaska_Webb shared a heartbreaking video addressed to Patinkin revealing she had just lost her father. She explained that since his passing, she had turned to one of their favorite movies — The Princess Bride — for comfort, and found herself relating more so than ever to Patinkin’s character, Inigo Montoya. She then asked Patinkin if he could possibly confirm a rumor she heard that stated Patinkin’s performance in his final duel with the six-fingered man — and in particular the line “I want my father back, you son of a bitch” — was actually driven by his own grief towards losing his father at such a young age to cancer. Last night, Patinkin found the video, and offered an incredibly emotional reply.

In the video, Patinkin — alongside his wife Kathryn Grody — breaks down and explains the scene was driven by his love for his father, and he felt that besting the six-fingered man in the film was his way of “killing the cancer that killed [his] dad.” According to Patinkin, both before and after the scene he spoke to his father and told him his performance was for him. He then told Alaska (whose name was later revealed to be Amanda) she too could talk to her father anytime she wanted to, and to reach out and tell him her father’s name so he could pray for the both of them.

After sharing the video, Patinkin wrote multiple tweets on his personal Twitter account offering her condolences and support, including a link to an organization called The Dinner Party that aims to help young people coping with the loss of a loved one. According to Patinkin and Grody, both they and their daughter-in-law have all experienced the loss of parent at a young age, and therefore knew what a difficult process it was.

While this story is almost certain to make you start your day off a bit teary-eyed, it sure is nice to hear there’s still some warmth and kindness in the world, huh? Since Patinkin shared his response, Amanda has uploaded a new TikTok expressing gratitude and giving her father’s name to the actor. According to Amanda, if her father knew what had happened, he’d have said, “oh shit, girlie. That’s pretty cool,” which sure sounds like a pretty great father to me.

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Joni Mitchell Will Be Honored As MusiCares’ 2022 Person Of The Year

This has been an exciting few months for Joni Mitchell. The folk icon’s beloved fourth album Blue turned 50 in 2021, her good friend Brandi Carlile is performing Blue at Carnegie Hall this fall, and now the Recording Academy has announced that Joni will be 2022’s MusiCares Person Of The Year.

According to Variety, Joni will be the honoree during the 31st annual Person Of The Year benefit gala, which will be held at the Los Angeles Convention Center on January 29, 2022, two nights before the 2022 Grammys. (For context, 2020’s Person Of The Year was Aerosmith, in 2019 it was Dolly Parton, in 2018 Fleetwood Mac, 2017 Tom Petty, and the list goes on.) “I’m honored to be chosen as person of the year by this great charity,” Mitchell said in a statement. “I look forward to being part of this gala that will help MusiCares continue their inspired work in providing a support system for those in need.”

When the COVID-19 pandemic first set in, MusiCares launched their COVID-19 Relief Fund, which was established to help music workers directly affected by event cancellations. The organization distributed more than $25 million in relief, and last June announced that it would be distributing a “final round” of funding.

As for Mitchell, the singer recently gave a rare interview to Cameron Crowe in the Los Angeles Times, where she talked about what Blue meant to her. “Like all of my albums, Blue came out of the chute with a whimper. It didn’t really take off until later. Now there’s a lot of fuss being made over it, but there wasn’t initially. The most feedback that I got was that I had gone too far and was exposing too much of myself. I couldn’t tell what I had created, really. The initial response I got was critical, mostly from the male singer-songwriters. It was kind of like [Bob] Dylan going electric. They were afraid. Is this contagious? Do we all have to get this honest now? That’s what the boys were telling me. ‘Save something of yourself, Joni. Nobody’s ever gonna cover these songs. They’re too personal.’”