Spelman Sees Influx In Applicants Amid Supreme Court Ruling Ending Considering Race In The Admissions Process

Spelman Sees Influx In Applicants Amid Supreme Court Ruling Ending Considering Race In The Admissions Process

Spelman College has witnessed a remarkable surge in applications since George Floyd’s murder in 2020, including a 13% influx within the last year.

Bloomberg noted the all-women’s HBCU in Atlanta saw applicant submissions grow by nearly a third between 2020 and 2024, which physician and Spelman President Dr. Helene Gayle credited to Floyd’s murder. The surge within the past year comes amid the Supreme Court’s ruling on race, which BLACK ENTERPRISE previously mentioned, the high court decided to cease considering race in college admissions.

“It has changed the way young people feel about being in an environment that’s nurturing, that they know that they are valued, that they see people that reflect who they are, understand the cultures that they came from,” Gayle told Bloomberg TV. “The Supreme Court decision had a chilling effect, whether or not it’s yet had the time to have a practical impact.”

As colleges share admission decisions for the first application season since the Supreme Court ruling, some institutions face financial constraints due to enrollment declines and demographic shifts like Birmingham-Southern College, which stated it would cease operations on May 31, 2024, due to a lack of funding.

However, Spelman’s surge in applicants defies the nationwide trend of declining enrollments that has forced some smaller colleges to shut down. The college has recently received substantial donations, including a historic $100 million gift from businesswoman Ronda Stryker and her husband, William Johnston. Of this amount, $75 million will fund endowed scholarships to attract top students, while $25 million will support public policy and democracy studies, housing improvements, and strategic needs. This is the largest single donation to a Historically Black College or University.

In 2022, Spelman announced it received a $5 million grant from the Mellon Foundation for faculty development and interdisciplinary programs. The previous year, a $5 million grant from Google aimed to increase diverse representation in STEM fields. These followed two $40 million donations in 2020 from philanthropists MacKenzie Scott and Patty Quillin, who donated with Netflix CEO Reed Hastings.

Meet Tanner Adell: The Artist Who Manifested Her Way Onto Beyoncé’s ‘Cowboy Carter’

Meet Tanner Adell: The Artist Who Manifested Her Way Onto Beyoncé’s ‘Cowboy Carter’

Country baddie Tanner Adell’s feature on Beyoncé’s “Act 2: Cowboy Carter” is a message in manifesting. Not only did the 27-year-old envision working with the Renaissance artist one day, but she repeatedly spoke her dreams into existence.

In 2023, she proclaimed herself “Beyoncé with a lasso” in her chart-topping song, “Buckle Bunny.” And following Queen Bey’s February announcement of entering the country music world, Tanner spoke up again in hopes of working on the new project. 

Tanner Adell tells Instagram, “Beyoncé raised her.”

Fast-forward to now: She is one of several country artists featured on “Cowboy Carter.” In addition to Brittney Spencer, Tiera Kennedy, and Reyna Roberts, she has a featured solo on “Blackbiird.” She also sings backup on “Ameriican Requiem.”

Working with Beyoncé marks the first collab of the young artist’s career. “I always say Beyoncé raised me,” Tannell writes on Instagram.

She continued pouring her manifestation into fans, saying, “The last two years in Nashville, I have kept my head down, counted all my blessings big and small, and tried to perfect this craft of my artistry. When I saw Renaissance last summer, I knew I was NOT working hard enough. I was reminded again watching the Renaissance documentary. I sat in that theatre bawling my eyes out and said out loud, I will work with Beyoncé in 2024.”

 

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A post shared by Tanner Adell (@tanneradell)

So, who is Tanner Adell?

Tanner is a fabulous force taking country music by storm. Growing up loving music, the artist caught the entertainment bug early. After taking up the piano, she taught herself how to play the guitar and attended the Utah Valley University program for Commercial Music. She eventually moved to Nashville – often considered the heart of country music – to immerse herself in the culture, pursue her dreams, and help propel her career.

The move worked. Since then, Tanner has signed to Columbia Records, released her debut album, “Buckle Bunny,” in 2023, and earned a spot in CMT’s 2024 Next Women of Country class.

What makes Tanner arguably most intriguing is her diverse background. She is bi-racial and a native of Lexington, Kentucky. Tanner was adopted by a California family with roots throughout the West Coast. 

The “Love You a Little Bit” singer is a fluent Swedish speaker, a former Mormon, and a horse rider. She doesn’t fit into one mold – and that uniqueness has made her unstoppable. 

 

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A post shared by Tanner Adell (@tanneradell)

Tanner is a “Glam Country” girl who has always been that way.

Tanner embodies a term she’s coined: “Glam Country.” The moniker comes from a blend of high fashion, western roots, and rodeo magic. 

Tanner talked to BET about her interests, noting her unique perspective on country music, fashion, and entertainment. “It’s made me the artist that I am today, which is a hundred percent glam country. I absolutely love western wear and western fashion, and I absolutely love high fashion as well,” Tanner told the outlet.

She continued, “Combining both worlds has been so fun for me, but I don’t see how I could have ended up anywhere else.”   

 

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A post shared by Tanner Adell (@tanneradell)

We love to see the collaboration, manifestation, and fulfillment of purpose! Tanner, we are all taking notes.

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The post Meet Tanner Adell: The Artist Who Manifested Her Way Onto Beyoncé’s ‘Cowboy Carter’ appeared first on Black America Web.

VIDEO:  Joe Rogan Experience #2111 – Katt Williams

VIDEO: Joe Rogan Experience #2111 – Katt Williams

 

Comedian Katt Williams’s appearance on the Joe Rogan podcast was nothing short of electrifying, as he brought his trademark wit and unfiltered insights to the forefront. Williams, known for his rapid-fire delivery and keen observations on society, delved into a myriad of topics with Rogan, showcasing his unique perspective on everything from politics to pop culture. With a career spanning decades in the comedy scene, Williams didn’t hold back, offering candid reflections on the industry, sharing hilarious anecdotes, and dropping gems of wisdom along the way.

Throughout the interview, Katt Williams’s magnetic presence kept listeners engaged as he effortlessly navigated between humor and introspection. His ability to tackle sensitive subjects with a blend of humor and sincerity was evident as he touched on issues of race, identity, and social justice. Williams’s candidness and authenticity shone through, making his appearance on the Joe Rogan podcast not only entertaining but also thought-provoking, leaving a lasting impression on both fans and newcomers alike.

 

Black designers who popularized fan gear 20 years ago struggle as white designers leap ahead

Black designers who popularized fan gear 20 years ago struggle as white designers leap ahead

These new successes show how hard it is for small, independent creators to break into sportswear-as-womenswear — especially Black designers, who popularized and innovated it two decades ago.

It started as a fun project. A white bodysuit, emblazoned with Cincinnati Bengals quarterback Jake Browning’s number and initials.

Taylor Damron had made it for her cousin, Browning’s girlfriend Stephanie Niles, to wear to the Jan. 7 game against the Cleveland Browns. Then, the outfit went viral.

“The next day, I woke up, and the world had kind of fallen in my lap,” Damron, 29, says.

Damron’s design rocketing to internet fame is just one story of how women’s fan apparel has found itself in the spotlight. Just a few days later, Taylor Swift would don a red puffer jacket with boyfriend and Kansas City Chiefs’ tight end Travis Kelce’s number for his game against the Miami Dolphins. Within a month, that jacket’s designer, Kristin Juszczyk, would score a NFL licensing deal.

These meteoric success stories have illustrated the potency of a market for women’s sports apparel that merges fashion and fan culture. They have also highlighted how hard it is for smaller, independent creators to break into the business — especially Black designers, who popularized and innovated sportswear-as-womenswear two decades ago.

Before Swift catapulted Juszczyk’s clothes to a new level of attention, the 29-year-old designer built a following online by repurposing jerseys into more high-fashion pieces — corsets, suits, skirts — for herself as she attended San Francisco 49ers games to support her husband, fullback Kyle Juszczyk. Her NFL chic couture has spread to other players’ partners and supporters across the league, including Simone Biles, Taylor Lautner and Brittany Mahomes.

Before Juszczyk sent Swift and Mahomes jackets for the Jan. 13 game, she had about 100,000 followers, according to Social Blade. Within a month, she had more than 1 million.

With her official license in hand, Juszczyk designed puffer vests commemorating Super Bowl LVIII, sported by celebrities. One such vest sold for $75,000, with proceeds going to the National Breast Cancer Foundation. Juszczyk herself wore a jacket stitched from jerseys, an ode to her husband’s football career, for Sunday’s big game.

While players’ wives and girlfriends have long represented their partners with custom designs, adopting team colors, logos and numbers, the interplay of fashion and gameday apparel was energized in the ’90s and early aughts, when Black artists were “pushing the needle of what was cool and trendy,” says Tayler Adigun, a culture and style writer.

“A lot of up-and-coming entertainers in the Black sphere maybe had difficulty getting larger names or fashion houses to want to outfit them or costume them for events and award shows and performances, so they kind of had to be a little bit more innovative in their approach,” Adigun says. “It’s something that was definitely born out of necessity.”

It led to a fusion of sportswear, fan merchandise and cutting-edge design, she says. And, of course, iconic looks: Mya’s blue North Carolina jersey dress was one. Then there was Mariah Carey in a floor-length Washington Wizards dress. Carey’s dress prompted a surge of interest and the NBA increased the designs they had in their NBA4her collection, according to a 2003 Baltimore Sun article.

When Larena Hoeber began doing research on women and sports, she didn’t set out to study apparel. But women kept bringing up how difficult it was to find something they actually wanted to wear to rep their teams. A decade ago, licensed women’s merchandise was often made with three key principles: “pink it, bling it, shrink it,” Hoeber says.

Sports leagues not taking risks on smaller creators is to their own detriment, says Hoeber, a University of Regina professor who has written about women’s sportswear and its perceptions. Smaller designers sometimes understand the market, and women’s varying desires, better.

“What’s really critical for women, I think, as sports fans, is they want the official logo, like they want it to look like, ‘This is it. I’m supporting my team,’” she adds. “So they want that, but they want it in clothing that matches their style.”

Women have wanted variety, and sports leagues have often underestimated the market, leading to innovation. Damron, who designed Niles’ viral bodysuit, launched a new collection of themed clothing that nod toward league teams after an outpouring of interest.

At Frankie Collective, employee Sara Gourlay saw a chance to rework vintage jerseys that weren’t selling — they became women’s streetwear, including corsets and crops, says Zak Miller, head of operations. The mission of the company is sustainability, and even without licensing deals, they’ve partnered with big brands like Adidas and Nike, or even the National Hockey League, to keep clothes from ending up in landfills.

“I thank Kristin just for the fact that, like, hey, she’s brought some visibility to an industry that has been around for a period of time right now,” Miller says.

Her high-fashion pieces stand out among other NFL license holders, which include powerhouse companies like Nike, Under Armour and Fanatics. (Juszczyk isn’t alone, though: Kiya Tomlin, a designer whose husband Mike Tomlin is the head coach of the Pittsburgh Steelers, has a license for her high-end apparel.)

Juszczyk did not respond to multiple requests for comment.

A spokesperson for the NFL said that the league has a standard application process for all partners, like Juszcyzk. A number of programs seek to make it easier for smaller companies to partner with the league, he added.

Twenty years ago, when fashion like this was taking shape, there weren’t the same partnerships and opportunities, Adigun says.

On one hand, Alexis Robinson, 32, is glad to see Juszczyk got a license.

“I’m glad more of this stuff can start being made,” Robinson, a Black designer who runs Boujee Basics, says. “And then on the other hand, it’s like it sucks because it’s been getting made for a long time and it’s just the process has been nearly impossible.”

Robinson started by making cropped denim jackets for herself. As they caught on, she started looking into licenses. It kicked off applications to all major leagues — from basketball, to football, to hockey and baseball. While it was a relatively simple process, with fees for all of them, she never heard back about her application to the NFL.

The upfront costs were too steep for another Black designer, De’fron Fobb, 45, who wanted to craft items when the New Orleans Saints made the Super Bowl in 2010. Since then, the Louisiana native has focused his apparel on college sports. He’s followed Juszczyk’s work for a while, he says.

“She does great work. Her designs and custom stuff is amazing,” he says. “But again, she’s fortunate enough to be in that field. So it’s a different lane for her than it is for most small business, like myself.”

Hoeber hopes the attention will open the door for more creators.

“Women are not a homogeneous group or a homogeneous market,” she says. “I think we’re starting to see cracks with recognizing that, it wasn’t just an offering of, ‘We’re going to take the men’s stuff and shrink it down to women.’”

The post Black designers who popularized fan gear 20 years ago struggle as white designers leap ahead appeared first on TheGrio.

 

Angry White Conservatives Just Can’t Accept The Black National Anthem Being Sung At The Super Bowl

Angry White Conservatives Just Can’t Accept The Black National Anthem Being Sung At The Super Bowl

Andra Day performs Lift Every Voice and Sing prior to Super Bowl LVIII between the Kansas City Chiefs and the San Francisco 49ers at Allegiant Stadium on February 11, 2024 in Las Vegas, Nevada. | Source: Perry Knotts / Getty

At this point, it’s just kind of amusing to watch white conservatives get their Klan-derwear all in a bunch over literally any mundane thing that has the word “Black” behind it.

For the second year in a row, “Lift Every Voice and Sing,” aka the Black National Anthem, has been performed during the Super Bowl, and for the second year in a row, prominent white conservatives, along with their white-and-teary followers, have complained about it ad nauseam.

Here’s Megyn Kellythe former Fox News host who famously took umbrage with Santa Clause and Jesus being depicted as Blacksuddenly taking a pro-colorblind stance on the official national anthem, “The Star-Spangled Banner.”

“The so-called Black National Anthem does not belong at the Super Bowl. We already have a National Anthem and it includes EVERYONE,” said the woman who thinks blackface is fine but considers the Black National Anthem an insult.

Honestly, it isn’t clear why Kelly and other white people feel left out of a song that literally directs us to “Lift EVERY Voice and Sing.” It’s not as if the original poem written by James Weldon Johnson included the lyrics: “Lift every voice and sing…aht aht aht…not you, white people, y’all gotta whisper.”

Ironically, none of these so-called American patriots appear to be familiar with the history of either anthem.

White people across social media have insisted that America has only ever had one national anthem and that’s why it’s the only one that should be observed. Factually, America has only had an official anthem at all for less than a century. “The Star-Spangled Banner” may have been written in 1814, but it only became the national anthem in 1931, and that was after racist lyrics were omitted that have been interpreted as threats to enslaved Black people who fought for the British during the Revolutionary War.

They also appear to think the Black National Anthem is something new. I mean, we all know that like critical race theory, the word “woke,” Swag Surfing and Travis Kelce’s haircut, a thing doesn’t really become a thing until white people discover it no matter how long said thing has been around. So, it isn’t terribly surprising that ever-Columbusing white people appear to believe the song is something new put forth to further divide America, as opposed to a poem written in 1900 before it was adapted into a song and eventually dubbed by Black people as the “Black National Anthem.” The anthem isn’t something that was given to us, it’s something we created during a time when their anthem simply didn’t apply to us—which is the real reason they need it buried. 

It’s also worth mentioning that white America’s favorite jingoism jingle is essentially a song about war, whereas the Black National Anthem is a song about peace and love—so which song is really the divisive one? (Hint: it’s not the one that had to Etch A Sketch pro-slavery lyrics.) 

Here’s the thing, white people, you really just need to let this one go. You have no argument here. Black people, by and large, have never identified with or had an affinity for your precious little white nationalist Diddy-bop, so we made our own. If you have a problem with the existence of dual anthems, we can always just ditch yours. It’s been our anthem for a relatively short time, and just because it came first doesn’t mean we have to stick with it. It doesn’t have to be our default just because centuries after it was created by and for white people, white people suddenly decided it’s a song for everyone.

Actually, if white conservatives really took issue with two opposing symbols being represented in America, they wouldn’t be flying the Confederate flag and protecting Confederate monuments with every “patriotic” breath they breathe.

So, the issue with the Black National Anthem clearly isn’t that America already has an anthem. What is the problem then? It’s a positive, inclusive song about love, God and unity. What part of that has MAGAts of the MAGA world all up in arms? Is it simply the “Black” part?

Nah, couldn’t be. That would be racist.

The post Angry White Conservatives Just Can’t Accept The Black National Anthem Being Sung At The Super Bowl appeared first on NewsOne.

First The Swag Surf, Now This: X Users Collectively Roll Their Eyes At The Fade Being Called The “Travis Kelce Haircut”

First The Swag Surf, Now This: X Users Collectively Roll Their Eyes At The Fade Being Called The “Travis Kelce Haircut”

Source: Patrick Smith / Getty / Travis Kelce

Damn, we can’t have nothing. First, the Swag Surf, and now the fade haircut.

Barbershop enthusiasts are stark raving mad, and understandably so, after witnessing the colonization of the fade haircut. The hairstyle that Queensbridge MC NaS and other rappers have famously donned has become the go-to hair choice for white men trying to be like Kansas City Chiefs tight end and Taylor Swift’s boo, Travis Kelce.

Like with the Taylor Swift Swag Surf incident, Kelce is not directly responsible for what’s going on; instead, a news article from the New York Times is getting folks riled up.

In the article, Jeffrey Dugas, a barber at Obsidian Barbers in New Brunswick, Canada, says his white clientele are rushing to his shop to get the “Travis Kelce cut” because they know he made the hairstyle popping, according to them.

@jeffcutshairsTravis Kelce Haircut! My brother in law walked into the shop today wanting me to perform a miracle. @taylorswift who’s hotter? Mike or Travis?♬ original sound – Jeff Dugas | Saint John Barber

Black folks on X collectively rolled their eyes, pointing out that Kelce’s haircut ain’t nothing but a damn fade.

“Isn’t the Travis Kelce haircut a regular fade?? Isn’t this more Caucasian people throwing sum blonde hair on things POC been doing and saying it’s new and exciting/trendsetting?” another post on X, formally Twitter, read.

There were white folks just as perplexed. “That’s called a buzz cut and it has been an extremely popular hairstyle for men for like… a century,” a post read.

Another noted, “Isn’t the Travis Kelce haircut a regular fade?? Isn’t this more Caucasian people throwing sum blonde hair on things POC been doing and saying it’s new and exciting/trendsetting,” Bossip reports.

We’re sure even Travis Kelce rolled his eyes at any posts suggesting he made the fade popular or invented the haircut.

You can see more reactions in the gallery below.