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Ben Bolch’s Los Angeles Times column about LSU is the latest example of how traditional media perpetuates misogynoir

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In journalism school we’re taught that we have to be objective in our reporting and writing.

I could go on and on about how objectivity in journalism is a myth created by gatekeepers in traditional media who wanted to regulate each what stories are told and how those stories are told.

The whole point of “objectivity” in journalism was to avoid offending the news’s primary readers, who were and still are white men. Sections dedicated to white women were later added, but at no point were any black people featured, and our stories weren’t considered in traditional media or in the overall debate about objectivity. White men and white women have all the time been the target market and still are.

This signifies that the way stories about Black individuals are told have historically been told from a perspective that pleases the sensibilities of white people.

New media – the media spaces which have emerged since the advent of the Internet – have modified all this.

As more Black publications and media outlets enter the arena and tell our stories in ways in which honor us and uplift our stories, traditional media outlets shouldn’t have the same level of control over what is considered “objective.”

Nowadays, who you might be is directly reflected in the way you write your stories and the stories you select.

Opinion writing is not objective; in actual fact, it’s exactly the opposite. That’s subjective AF.

Opinion writing is a subset of journalism during which journalists, commentators, critics, etc. share their personal thoughts on a subject of their selection.

These topics might be movies, current events, albums, politics, racial justice issues, social justice issues, and the list goes on.

The text in opinion articles is barely looser than in reportage articles. Op-eds often rely more on how the author personally expresses himself. They may use slang or jargon that may not otherwise appear in regular news, and their personality often comes out more in writing because, again, it is an expression of their deep, personal thoughts.

With all this in mind, let’s talk about it Article by Ben Bolch published in the LA Times. before the UCLA-LSU matchup in the NCAA Women’s Basketball Tournament.

Ben Bolch is a beat author for the Los Angeles Times covering the University of California, Los Angeles. His Twitter bio (remember we never call it X) says he’s “an absurdist who tweets for me, not you.”

Ben wrote the comment last Friday before Saturday’s matchup between the two teams. The headline of the article was “UCLA-LSU Are America’s Sweethearts vs. Basketball Villains” and truthfully, that ought to have been our first clue that the article can be full of the same kind of anti-black, dehumanizing rhetoric that has been pushed repeatedly over the last yr at LSU.

The original light in the column read: “This isn’t just a basketball game, it’s a reckoning. Choosing sides goes far beyond school loyalty. Do you prefer America’s sweethearts or its dirty debutants? Milk and cookies or Louisiana hot sauce?

Aside from the fact that these first two independent sentences should be separated by a semicolon or a period, what about “white people sometimes gets on my nerves”?

Who calls the University of California, Los Angeles women’s basketball team “America’s Sweethearts”?

No offense to these young ladies, as I’m sure they’re all very lovely human beings, but how do you portray them as the light in this equation while simultaneously portraying LSU – the Black team for the purposes of this exercise – as the darkness?

He then writes: “Do you prefer a team that wants to grow women’s basketball or one that seems very keen to divide it?”

I’ll say it again: where does this narrative come from?

LSU’s squad is dominated by blacks, so portraying them as the “bad” opposition to the “good” UCLA team is greater than a bit disturbing, nevertheless it doesn’t end there.

It makes Angel Reese, who has suffered from a lot scrutiny and criticism from the white media, for doing the same thing that every one basketball players – including Caitlin Clark, who is white – do all the time.

How is it different from what Angel Reese does? Steph Curry’s ‘nightie’ gesture?

The comment in the article was misogynistic, sexist and anti-black towards a bunch of young women who’re still learning, growing and deserve all the grace in the world while attempting to balance the enormity of celebrity sports and college life. They operate in an area where they’re expected to be athletic and dominant of their sport, but additionally to be the epitome of grace and civility, if white people have anything to say about it.

The response to Bolch’s comment was quick and immediate. People on Twitter criticized him repeatedly until the Times finally updated the story on Saturday with several disclaimers, including the following editor’s note:

On the ice, the line “Do you prefer America’s sweethearts or her dirty debutants? Milk and cookies or Louisiana hot sauce? was removed and replaced with a note from a second editor that said: “A previous version of this commentary did not meet Times editorial standards. It has been updated.”

This article probably went through at least a line editor and a copy editor and neither of them initially saw a problem with it, so I question the editorial standards the Times references and wonder whether all of its editors were trained in this alleged ” standard”.

The question “Do you prefer a team that wants to grow women’s basketball or one that clearly wants to divide it?” still remains in the article, as does the previously mentioned comment on Angel Reese.

Now let’s go back to what I said at the beginning of this comment.

Ben Bolch is an experienced columnist who has worked for the Los Angeles Times since 1999. Over the course of 25 years, he has had time to practice and perfect his craft, including his writing style and word choice.

I assume Ben Bolch knew what he was doing when he wrote this article. He is a white man who works in a predominantly white school and knows his audience. This comment was written in a way that appealed to the sensibilities of the audience, but also included words and phrases that he deliberately chose.

Again, the editor saw this story and thought it was okay to publish it.

Ben himself probably thought he had done something big with it because he couldn’t stop promoting it on Twitter, even after being yelled at multiple times on Twitter.

He finally issued a lame “apology” on Monday, but the damage was already done. The apology has already been added at the end of the original article, but I’ll prevent the time and energy of reading by summarizing it this manner:

Ben Bolch is not sorry about the language he used towards the young women on the LSU team. He’s sorry he was called out on it so loudly and openly.

The daring emphasis is mine.

It’s hard for me to persuade him, at his great age and at this stage of his profession, especially in any case the white “woke” bullshit from 2020, that he really didn’t understand the seriousness of what he was writing. He not only sees it now; he knew all along, and when his editors agreed, he figured he had gotten away with it.

It’s the journalistic equivalent of throwing a stone and covering your hand.

You’re not smart, Ben.

What Ben did was follow the path paved by all the white media that got here before him.

It’s okay to place down Black people or talk down Black people. There’s nothing incorrect with portraying us as villains, thugs, and terrible people for doing the same things they do all the time and never get called out for. There is nothing incorrect with using weapons against a complete group of young black women who do nothing greater than play sports and take a look at to advance in the world.

White traditional media perpetuates misogyny. We’ve seen this occur in real time with athletes like Serena Williams AND Coco Gauffamongst others.

Ben Bolch was simply following a script that had already been written for him. He said things about black female athletes that he would never say about white women, and when you don’t think me, have a look at his later comment about UCLA losing. He wrote this story as gently as possible, while criticizing the many mistakes they made that ultimately led to them losing the match.

White traditional media perpetuates misogyny all the time.

They needs to be prepared for Black writers (and Black people generally) to point this out regularly.


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LaMelo Ball Charlotte turns heads as she arrives at the game in Scooby-Doo’s “The Mystery Machine.”

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LaMelo Ball, LaMelo Ball Charlotte Hornets, LaMelo Ball Mystery Machine, Scooby Doo Mystery Machine, Scooby Doo, theGrio.com

CHARLOTTE, N.C. (AP) – Say what you’ll about Charlotte’s LaMelo Ball, but there isn’t any denying the 2022 NBA All-Star has a mode all his own.

The Hornets point guard turned heads on Thursday night when he I drove as much as the Spectrum Center for the team’s game against the Detroit Pistons in a colourful Hummer a reproduction of Scooby-Doo’s “Mystery Machine” – only rather more expensive than the one Shaggy and Velma rode in the kid’s cartoon.

Ball, a lover of enormous dogs, promoted the release of his Scooby-Doo x Puma MB.04, which might be released on November 27.

Ball wore vivid, multi-colored Puma shoes during warm-ups after which become vivid orange shoes for the match.

After the Hornets won 123-121 in extra time, Ball said he liked how his rental equipment was dressed up.

Ball, nonetheless, stopped in need of saying he might try to purchase one, joking, “I already have a Hummer, so I wouldn’t even bother.”

This article was originally published on : thegrio.com
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Angelina Jolie’s disturbing performance in new interview sparks criticism Years after health problems caused her face to sag

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Angelina Jolie promotes her next film, “Maria”, in which she plays the role of the famous opera singer Maria Callas.

However, for some fans, the press was more about Jolie’s health and appearance than her work in film.

On November 21, Jolie sat down with Michael Strahan for an interview on “Good Morning America” ​​to discuss her fear of using her real voice to sing opera for the role and the enjoyment of motherhood. However, in the course of the chat, some fans claimed they noticed Jolie’s face looked different than usual.

In the newest interview, Angelina Jolie expresses concerns about her health. (Photo: Gilbert Flores/Variety via Getty Images)

One person was cited by Express US for this story he said“It looks rough.”

Another commentator on Page Six he wrote“Ok, I just read that her face looks different because she stated that she developed hypertension and Bell’s palsy, a condition that she said caused her face to droop to one side. I assumed she looked like she had a stroke, in order that explains it.

Debates about Jolie’s sickly appearance erupted when fans noticed visibly large veins on her arms during separate red carpet appearances. Even those that knew her health were still shocked and anxious by her photos.

Jolie first revealed that she had the disease in 2017. In an interview with Vanity Fair she said he said she discovered she had hypertension and Bell’s palsy in 2016, the identical yr she filed for divorce from Brad Pitt.

So when she was diagnosed with the disease, she said she wasn’t sure what could have caused it. “I can’t tell if it’s menopause or if it’s just the year,” said Jolie, then 42. “Sometimes women in families put themselves last until it manifests itself in their own health.”

However, she also said that she is trying to pay more attention to her health. “I actually feel more like a woman because I make wise choices, I put my family first and I am responsible for my life and health. I think that’s what makes a woman complete.”

Last yr, the “Maleficent” star opened up again about her condition, revealing that it was caused by the stress of ending her relationship with Pitt.

In an interview with The Wall Street Journal, she said he said“My body reacts very strongly to stress. My blood sugar levels go up and down. Six months before the divorce, I suddenly developed Bell’s palsy.

According to National Institute of Neurological Disorders and Stroke“Bell’s palsy is a neurological disorder that causes paralysis or weakness on one side of the face. It occurs when one in every of the nerves that control the facial muscles becomes damaged or stops working properly, which may cause the facial muscles to droop or sag.

This article was originally published on : atlantablackstar.com
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“The Honorable Shyne” is a hit. This is why I wanted to tell this story. — Andlandscape

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One of the primary reasons Andscape culture author Justin Tinsley and I were tapped to co-executive produce was our backgrounds as music journalists. The documentary chronicling Moses “Shyne” Barrow’s rise to fame, imprisonment, and re-emergence as a political leader suits firmly into our wheelhouse, as his best rap years got here within the early 2000s – right at the center of our hip-hop fandom. I donated my time helping with the documentary, which was a top ten show in its debut week on Huluas a likelihood to help tell the story of hip-hop. I got here away from the project with an understanding of a man in conflict, at odds with himself and his past, and wanting to forge a path forward.

Shyne’s story illustrates the American dream: a poor black immigrant comes to America and from nowhere becomes one in all the largest rap stars. It is also a story about how the American criminal justice system and music industry chew up and spit out so many young Black people. To carelessly follow Shyne’s story is to consider him as just one other young black man who fell into a bad situation and never recovered. After all, his rap profession was effectively derailed when in 2001 he was sentenced to ten years in prison for the 1999 shooting at Club New York in Manhattan. But what inspired me about Shyne’s story was his refusal to let this devastation define him.

In 2021, I hung out in New Orleans with former No Limit rapper McKinley “Mac” Phipps, who had just been released from prison after spending 21 years in prison for a murder he denied committing. As I listened to Shyne’s story, I considered Mac. Both were avatars of a system that tested rap as much because it tested individual men. Mac’s story was about how hip-hop lyrics may be used to accuse someone within the face of overwhelming evidence of their innocence. Similarly, Shyne’s trial created a sensation about hip-hop’s relationship to violence in a city hungry for head on a plate.

Both Shyne and Mac emerged from prison as completely different people than once they entered. In Mac’s case, it was the period of time he spent at home, during which he transformed from a teenage rapper into a man after 20 years spent in confinement. For Shyne, his transformation got here from faith when he converted to Orthodox Judaism in prison. When I have a look at people like Shyne and Mac, I wonder how they’ll survive being locked in a cage, and their answers are inspiring.

While Shyne’s rap stories are what drew me to this project, it’s his journey as a man that makes me proud to help tell his story. And we actually get to see that journey after he raps the ultimate bars of his rap profession.

Shyne got here to the film wanting to discuss his lowest moments – the time after his release from prison in 2009, when he lashed out, frustrated at seeing a latest crop of rap stars emerge within the void left by his absence. He was rudderless. As rudderless as anyone may be who has lost a decade to a prison system that wanted to destroy him. And much more, since it was closed when the superstar’s fame was on the tip of his fingers.

The raspy-voiced rapper could have let these mishaps define him, but that is where Shyne’s story resonates with everyone, whether or not they’re a rap fan or not. Shyne’s second act, the one through which he finds purpose in community and family, where he uses his innate charisma and true genius to turn out to be a political leader and motivational speaker.

I cannot discuss Shyne’s reappearance without mentioning Sean “Diddy” Combs. Combs, the disgraced hip-hop mogul who signed Shyne to his label Bad Boy Records and helped launch his profession, is the elephant within the room throughout the documentary and in Shyne’s life. So lots of the artists who emerged under Diddy – from G Depp and Mase to The Notorious BIG – suffered terrible consequences. Shyne’s name was all the time on the list because he spent ten years in prison. And yet, Shyne’s approach to healing and moving forward is as inspiring as his ability to overcome what he sees because the sabotage of his life and profession.

These are lessons I didn’t expect to learn from the stories in regards to the hip-hop star from my childhood. These are inspiring moments that can be of interest to those that haven’t yet turn out to be inquisitive about the Brooklyn, or somewhat Belizean, rapper featured within the documentary. These are the points that make me proud to be a a part of telling Shyne’s story.

DavidDennis Jr. is a senior author at Andscape and the creator of the award-winning book “The Movement Made Us: A Father, a Son, and the Legacy of a Freedom Ride.” David is a graduate of Davidson College.

This article was originally published on : andscape.com
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