Showing posts with label ESPN. Show all posts
Showing posts with label ESPN. Show all posts

Thursday, July 7, 2016

Sport: The Edge and the Quads of"peaceful warrior" Nzingha Prescod

This is an online exclusive story from ESPN The Magazine's Body Issue 2016. Subscribe today! And for more from the 2016 Body Issue, check out espn.com/bodyissue, and pick up a copy on newsstands starting July 8.
U.S. fencer Nzingha Prescod is 23 years old and preparing for her second Olympics. Thing is, that might not even be the most impressive thing about her. Prescod sat down with the Body Issue's Morty Ain and talked about how she got into the sport and what it's taken to reach the top.

Yes, there are black fencers.
Yes, fencing is a "real" sport and requires you to be very athletic. I feel like there's this myth that it's just something you see in movies. But it's not. It's really fast-paced and high-energy, and you have to be really athletic and able to change directions and change speeds. It requires a lot of control and endurance.
People come up to me and ask, "Is that hard?" That's a question I get a lot: "Is it hard?" I'm like, "It's really hard" [laughs].
You live up to who you're told you are. I'm named after a 17th-century queen from Angola, Nzinga Mbande. During the colonial period, the Europeans would try to come to Africa and take their land, and she defended her territory. I think it's not a coincidence that I'm named Nzingha and I go off with my sword and fight people for my country. I was always told that I'm a strong woman, and I was named after a strong woman, and I think it's not a coincidence that I've become this top fencer.
I think I fell in love with fencing because you never do the same thing twice. No one touch is going to be the same. It's not like you're swimming the same 100 meters every single day at practice. You're always trying new things and making things happen. It's never boring because no one is perfect at it -- someone is always going to get hit. You could fence the same person every day and it's always going to be different.
My boobs get in the way a lot when I'm working out.When I was younger, I didn't know how to deal with them. I would always run with my hands a little bit under my boobs so they wouldn't move as much and I ended up looking really funny. My coach would make fun of me; he had to get someone to teach me how to run. But I knew how to run, I just felt uncomfortable with these things. They are just heavy and a lot of extra weight. But I do feel very comfortable putting my fencing stuff on because I get to hide them. I don't have to worry about them moving around. I'm really glad that I do a sport where I'm so covered, otherwise I'd be really self-conscious.
At the Olympics, I get asked a lot, "Oh, what track event are you?" "Fencing." "Oh, I thought you did track." I guess because our quads are very similar to track quads. Fencing is a quad-dominant sport.
I think of fencing as part calculating and part doing. It's very mental. When Plan A doesn't work, you have to be ready to shift quickly to Plan B, C, D, E. People call it physical chess, but that's a corny analogy; I hate when people say that.
Fencing is basically being able to capitalize on someone else's mistake. I talk to myself a lot when I'm fencing -- to be confident, to be strong, just giving myself encouragement. With my psychotherapist, we work on avoiding thoughts that make you hesitate. Hesitating in fencing is not going to work.
On the subway, I get a lot of stares, so I try to avoid eye contact. Growing up in Brooklyn, I'd be taking the train with my fencing gear, and people would be staring at me like, "What are you doing?" People would always ask me, "What are you doing with that?" ... that kind of thing. Now I get more, "Oh, you fence? That's awesome! Keep it up."
This was my mom's bright idea. I started fencing when I was 9 at the Peter Westbrook Foundation. I started with my sister, my best friend and one other girl. Fencing is usually pretty exclusive because it's so expensive, and Peter started the foundation to make fencing more accessible to minorities. I was doing ballet and gymnastics and tennis, swimming, karate, all these sports. But the amount of resources that the foundation had and could offer was so much more, so this was the clear path for me and my sister.
I think I fell in love with fencing because you never do the same thing twice. You could fence the same person every day and it's always going to be different.
Nzingha Prescod
This is an opportunity to be special. That was my thinking going to practice all the time: "This is a privilege, and I'm going to take advantage of this privilege." With other people, it might have felt very normal to them to do an after-school activity like fencing, but it wasn't normal for me, it was amazing.
I think I was born to be an athlete. I was pretty good at tennis. My coach would call me and my sister Serena and Venus. I feel like tennis would have been a sport I would have pursued if I had the right resources. But with fencing I got the whole package.
Except I'm really bad at basketball. I used to think I could do anything, but no, no basketball for me. I don't even want to try -- I'll just make myself upset. I'm really not good at catching either. I just have butterfingers.
I wouldn't say I've dealt with any overt prejudice. But my first couple World Cups I was definitely the only black girl in the competition and that would make me feel weird. I don't remember people being prejudiced toward me, but I know that when we traveled to these tiny towns in Germany, with me and my mom, people would stare at me. I remember that being kind of discouraging. In New York you have a sprinkle of everything, but you go to Europe and everyone is white. And then you get to the competition and everyone is still white. That was new to me. But I didn't let that bother me, it's just something I noticed. I remember getting on that strip and being very eager to win that bout, and I'm sure that feeling of being the only one gave me some fuel.
Fencing gives you really athletic legs. That's probably my best feature. When you fence, you are primarily using the front of your legs, so any time I'm working out, I try to hit the back to even it out. That's why I do a lot of dead lifts, because it's for your glutes and your hamstrings. People tell me I have nice legs, but they're just a little bulky because there's so much muscle in them.
Pants are the worst. I don't wear jeans. First of all, my waist is so small. This is the problem with all clothes I have: My boobs are kind of big, so I'm a 38 on the bust and a 28 waist and I'm a 38 in the hips. People don't understand my struggle.
I do like my curves. I just don't think they make clothes to fit my proportions.
Fencing is really asymmetrical -- you develop your right side way more than your left side. So if you see a fencer who is right-handed, they'll have bigger right legs than left legs. I'm pretty even because I cross-train a lot. But it's very asymmetrical. I really have to take care of being stable and not being imbalanced because that just causes injury.
A lot of black girls look up to me, and I want to make them proud. -- Nzingha Prescod

Friday, April 29, 2016

Bayless "Skips" Out on ESPN, Headed for FOX

Skip Bayless is leaving the company he’s called home the past dozen years.
“Skip Bayless has decided to leave ESPN when his contract expires at the end of August,” a company spokesperson said on Tuesday. “His final appearance on ‘First Take’ will be the day after the NBA Finals conclude.”
The company continued: “We want to thank Skip for his many contributions to ESPN. His hard work and talent have benefited ESPN for 12 years.”
“First Take” will continue on sans Skip, no one has been tapped for his chair as of yet. Stephen A. Smith is the guy who yaps from the other end of the popular morning show’s debate table. “First Take” is moderated these days by Molly Qerim.
It’s one that would make sense, however, as the very outspoken Bayless has a good relationship with Fox Sports National Networks President Jamie Horowitz, who also hails from ESPN. Just last month, the executive told  The Sporting News that he was courting his former colleague: “Of course, I’m interested in Skip,” Horowitz said.
Per Sports Illustrated’s Richard Deitsch, ESPN had previously been prepared to offer Bayless $4 million annually in his next contract.
Bayless first made his mark in print, mostly in the Dallas market.

Monday, July 13, 2015

Film Biz: After the inaugural JA Film Fest, will it be "Lights, Camera....Industry?"







Having been briefly denied access to the Opening and voluntarily skipped the Closing ceremony, we managed to skip much of the glitzier aspects of the inaugural Jamaica Film Festival, put on by JAMPRO through its Jamaica Film Commission, and with help from the CHASE Fund, FOX Audience Strategy and other corporate and institutional partners.

we also screened relatively few films - four if an exact figure be demanded: the quirky yet ultimately sad and ironic "Country" (A peek into the present hardscrabble existence of the star of the 80s novelty Countryman), the compelling "Mas Man" (a peek, not into the life, but into the brilliant design philosophy of the irascible Peter Minshall), the dazzling yet lightweight romance "Destiny" and the unassuming yet ultimately heroic drama "Kingston Paradise" (more on these in a separate post).

So then, where was the "gold" in attending this high-powered gathering? In the seminars/panel discussions, There, the likes of  Paula Madison, writer-producer-channel owner (The AFRICA Channel), Basil Wallace (of "Marked for Death" Steven Seagal notoriety, but so much more), Tonya Williams (Young and the Restless alum and founder of her own filmfest, the Reel World Film Festival), Arthur Wylie (lanky, cool, soft-spoken but brilliant money manager turned film producer), Bernard Thomas (33 years with ESPN...nuff said), Marlon Paul (Betcha never knew that Timbaland's wedding videographer was a Caribbean man) and many others unfurled skeins of valuable (indeed invaluable) info.

Madison, who took NBC news from worst to first, was a co-owner of the WNBA's LA Sparks (before selling....to Magic Johnson) and had the temerity to take star producer Brian Grazer's regular limo driver, told how an upbringing by Jamaican parents in Harlem (including a Chinese mother, more on that) helped her and her brothers formulate and activate a philosophy on collective wealth, which, of course, she is still living.

Wylie, who overcame a Malcom x-style discouragement that he was "just a little too dark" to succeed in finance to build a firm that managed just over three-quarters of a billion dollars by the time  he sold it, told of his serendipitous association with Black writer Omar Tyree ("Fly Girl") and the attendant foray into the film business, on the heels of a major deal with Lionsgate. He also spoke of his Arthur Wylie Foundation, the upcoming Crazy and Fearless Golf tournament in Mobay (named after his inspirational book, Only the Crazy and Fearless win BIG!) and the in-development "White Witch" movie project, in which he is involved with Rollins family scion Michael Rollins and J Reddick, of the Final Destination horror/sci-fi franchise.

Tobago-born, Canada-based camera nut Paul spoke of travelling the world as a news cinematogpher/producer/cameraman and of the fateful call to go to Aruba from the Timbaland camp, a call which he initially rejected several times as a prank. There, he would distinguish himself by disregarding the objections of a co-ordinator and stashing a light bank in nearby bushes so as to compensate for the bride's proverbial late arrival, which would otherwise have thrown the wedding party beyond sundown and into darkness.

One of the points reinforced by the panelists, to the chagrin of some attendees, was that commercially, Los Angeles/Hollywood was still the global epicenter of the film business, even if volumes in Nigeria and India had overtaken those in the US. Therefore, posited Williams and others (including former pro baseballer turned "Being Mary Jane" star Stephen Bishop) to be truly successful on a global scale in film would require, at some point, a move to La-la Land, and further, for aspiring actors, it was imperative. This assertion prompted a minor storm of debate which was thankfully, soon quieted.

Overall, the main takeaway is that film is a collaborative, demanding business (that will "eat you up" in Wallace's words) but one with massive potential, particularly for the acknowledged talent pool present in Jamaica. the question still to be answered is can the required mobilization of people and funds take place in a post-IMF Jamaica to allow us to make the kind of dent, beyond high-placed individuals overseas, that the country needs and that our heritage deserves?

Stay tuned....


localjoe.myorganogold.com